|
|
Efthimiou, C. (2014). ”Gott, da draußen sind eine Viertelmillion Menschen versau es nicht”. Ein Versuch, den typischen Iron Maiden-Klang aus musikanalytischer Sicht zu beschreiben. In F. Heesch, & A. - K. Höpflinger (Eds.), Methoden der Heavy Metal-Forschung: Interdisziplinäre Zugänge (pp. 117–134). Münster: Waxmann Verlag.
|
|
|
|
Gyulai, A. (2017). Taming the Extreme: Hungarian Black Metal in the Mainstream Publicity. In E. Barna, & T. Tófalvy (Eds.), Made in Hungary: Studies in Popular Music (10 pages in length). Routledge Global Popular Music Series. New York, New York: Routledge.
Abstract: << The story of Hungarian black metal tells us about the pitfalls of influence. What happens when a genre that is defined by obscurity and adversarial attitude earns wide recognition and becomes acknowledged beyond its own territory? The ideology of black metal does not merely determine the boundaries of the genre but also aims to control its reception. However, Hungarian black metal has crossed not only national borders but the boundaries of the scene as well.
This contradiction between the story of Hungarian black metal and the genre’s ideology is what this chapter is about. Hungarian black metal exemplifies the taming of a genre that follows from the loss or lack of transgressive practices that would trigger controversy (Hjelm et al. 2011). Black metal in Hungary became widely known without provoking conflicts and the moral panic that have characterized the reception of the genre in other countries. >>
[SOURCE: https://www.taylorfrancis.com/chapters/edit/10.4324/9781315689982-10/taming-extreme-hungarian-black-metal-mainstream-publicity-attila-gyulai?context=ubx]
|
|
|
|
Monteanni, L. (2023). “More Metal than Metal”: Preliminary Reflections on Imagined Genealogies. Brief Encounters, 1(7).
Abstract: "Réak is the Bandung subregional variant of the “horse trance dances”: a popular group of animist performances present throughout and outside Indonesia. During theevent, a trance master coordinates a series of spirit possessions with themusical accompaniment of a percussions and shawm ensemble. Like other artforms, including metal, réak is described as ramé(tangled/interesting/noisy) and kasar (coarse) due to its chaotic social ambiance and distorted, fast-paced music.
Indeed,due to geographical proximity and the genre’s local relevance, réak is experiencing the influence ofextreme metal. Although most participants avoid hybridity, a conversation istaking place among participants, debating the aesthetic affinities between thegenres, generating a commentary stressing similarity and genealogy. Moreover, while metal bands invite réak troupes to open concerts, réak practitioners, often familiar with the metal community, appropriate the genre’s stylistic elements such as distorted electric guitars and “Metal Distortion” pedals.
Despite réak’s and metal’s resistance to assimilation, stylistic musical and extra-musical cross-fertilisation generated a non-synthetic hybridisation that safeguards genre boundaries. The discussion will be useful in laying the foundation to problematise concepts of hybridity that classic analyses of genre do not grasp."
(SOURCE: https://briefencounters-journal.co.uk/article/id/3/)
|
|
|
|
Sabbath, J. (2021). Bienvenidos al Sabbath: Crónicas, Reseñas y Reflexiones en Torno a la Vigencia del Underground, 2001–2021. Sogamoso, Boyacá, Republic of Colombia: Nixx Editores.
Abstract: El libro 'Bienvenidos al Sabbath' ofrece reflexiones en torno a la apreciación de la música metal y la vigencia del underground que contribuyen a la construcción de una teoría del metal. Además, recopila ensayos inéditos junto a una antología de las entrevistas, crónicas y reseñas sobre rock & metal hechas por el autor durante los últimos 20 años.
|
|
|
|
Sweers, B. (2014). Der lettische Pagan Metal. Eine ethnomusikologische Quellenkritik und Diskursanalyse. In F. Heesch, & A. - K. Höpflinger (Eds.), Methoden der Heavy Metal-Forschung: Interdisziplinäre Zugänge (pp. 101–116). Münster: Waxmann Verlag.
|
|
