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| Author | Triplett, Andrew G. | ||||
| Title | Music and aggression: Effects of lyrics and background music on aggressive behavior | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 57 | ||
| Keywords | Aggression; Aggressive behavior; Heavy metal; Lyrics; Music; Psychology | ||||
| Abstract | Given the ever-growing popularity of music in daily life, it is of the utmost importance to understand how it influences affect, cognition, and behavior, especially given the violence of certain genres of music. The present study was designed to investigate the relationship between music and behavior, specifically to examine how the lyrics and background music interact to influence affective hostility and aggressive behavior. Data were collected from a sample of 168 students (61% Female; MAge = 19.24, SD = 2.470) at a large, private, Midwestern university to investigate this relationship. The music was manipulated by randomly assigning the participant to listen to one of four versions of a song. These versions included the match of either antisocial or prosocial lyrics with heavy metal or calm background music. Although there was no significant main effect of the lyrical content on participant’s aggressive behavior as hypothesized, there was a significant main effect of the lyrical content on an individual’s level of affective hostility F(4,159) = 8.818, p < .001, η 2</super> = .186. Specifically, pairwise comparisons showed antisocial lyrics resulted in a higher level of hostility as compared to the prosocial lyrics. This pattern suggests that music influences an individual’s affective hostility, but counter to previous research, music does not necessarily alter aggressive behavior. The relationship between music and aggression requires further investigation in order to determine whether music does in fact influence behavior, including potential moderators of this relationship. |
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Loyola University Chicago | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-27199-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2217 | ||
| Permanent link to this record | |||||
| Author | Watts, Chelsea Anne | ||||
| Title | Nothin' But a Good Time: Hair Metal, Conservatism and the End of the Cold War in the 1980s | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 232 | ||
| Keywords | Communication and the arts; Free market capitalism; Gender studies; Glam metal; Masculinity; Popular culture; Reagan era; Rock and roll; United States history | ||||
| Abstract | This dissertation offers a cultural history of the 1980s through an examination of one of the decade’s most memorable cultural forms—hair metal. The notion that hair metal musicians, and subsequently their fans, wanted “nothin’ but a good time,” shaped popular perceptions of the genre as shallow, hedonistic, and apolitical. Set against the backdrop of Reagan’s election and the rise of conservatism throughout the decade, hair metal’s transgressive nature embodied in the performers’ apparent obsession with partying and their absolute refusal to adopt the traditional values and trappings of “yuppies” or middle-class Americans, certainly appeared to be a strong reaction against conservatism; however, a closer examination of hair metal as a cultural form reveals a conservative subtext looming beneath the genre’s transgressive façade. In its embrace of traditional gender roles, free market capitalism, and American exceptionalism, hair metal upheld and worked to re-inscribe the key tenants of conservative ideology. Historians have only recently turned an analytical eye toward the 1980s and by and large their analyses have focused on the political and economic changes wrought by the Reagan Revolution that competed America’s conservative turn over the course of the decade. This study adds to historical understandings of the decade’s political history by telling us how non-political actors—musicians, producers, critics, and fans—shaped and were shaped by the currents of formal politics. Though heavy metal music and the rise of conservatism seem to share little common ground, by putting these two seemingly disparate historiographies into conversation with one another, we gain a clearer picture of the breadth and depth of conservatism’s reach in the 1980s. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of South Florida | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-42831-5 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2218 | ||
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| Author | Calandra, Nicole | ||||
| Title | Metal health: Measuring depression and anxiety within the heavy metal community | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 41 | ||
| Keywords | Anxiety; Depression; Heavy Metal; Mental Health; Mental illness; Music; Psychology; Rock Music | ||||
| Abstract | Heavy metal has a long and controversial history. One of the many things it has been blamed for is causing mental illness among its listeners. However, is the music to be blamed or are there other factors coming into play? Numerous studies have been done on various aspects of heavy metal such as its link to violence, but few have been done on mental health within the community. This paper replicated a French study examining levels of depression and anxiety within the community. Forty three participants, all active metal listeners, completed a survey examining various factors such as employment status and education levels, and completed the Hospital Anxiety and Depression Scale (HADS). Like the French study, it found that participants had generally low levels of depression and anxiety, but high levels were linked to outside factors. Hopefully, this will help open the floor for more valuable research on the community. | ||||
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Long Island University, The Brooklyn Center. | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-35554-3 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2219 | ||
| Permanent link to this record | |||||
| Author | McDowell, Michael A., II | ||||
| Title | Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 80 | ||
| Keywords | American south; American studies; Communication and the arts; Film studies; Heavy metal; Musicology; Popular music; Subculture | ||||
| Abstract | The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied. | ||||
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of South Florida | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-00899-9 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2220 | ||
| Permanent link to this record | |||||
| Author | Hereld, Diana Christine | ||||
| Title | Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 141 | ||
| Keywords | Communication and the arts; Clinical psychology; Emotion regulation; Heavy metal; Heavy music; Plasticity; Resilience; Self-destructive behavior | ||||
| Abstract | This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite intuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action. Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music. Through review and analysis of existing literature, qualitative research, and in-depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self. |
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| Address | |||||
| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of California, San Diego | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-93488-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2221 | ||
| Permanent link to this record | |||||
| Author | Miller, Michael Brian | ||||
| Title | Nicodemus! The beds are burning again: The ascension of Gorgomath | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 163 | ||
| Keywords | Communication and the arts; Chamber; Concerto; Heavy metal; Musical composition; Narrative; Orchestra; Piano | ||||
| Abstract | Nicodemus! The Beds are Burning Again: The Ascension of Gorgomath is a 22-minute concerto for piano and chamber orchestra that explores the use of narrative as a means of unifying disparate musical languages into a cohesive single-movement structure. The narrative, as implied by the fourteen programmatic indicators within the score, features a protagonist, Nicodemus, and an antagonist, Gorgomath. Additional contrasting elements essential to the plot are: the burning beds, outer space, the ultimate weapon, and the three rituals. The programmatic indicators, to be listed in the program, function as a framework from which the listener can fabricate their own version of the story. The narrative begins with “The beds are burning,” a heavy-metal inspired musical theme characterized by a pervasive rhythmic structure interspersed with virtuosic piano displays. Full orchestral forces add to the intensity of a relentless motor rhythm heard first in the piano. Following “Ritual I,” a transitionary theme of soli strings and piano, Nicodemus’s theme develops, a musical antithesis to “The Burning Beds” theme. It employs a simple melodic loop over a basic four-chord harmonic structure, reminiscent of 8-bit video game themes, and is voiced as piano accompanied by tremolo in the woodwinds and strings. Nicodemus’s journey into space begins with a rapid deceleration in tempo. The following slow ternary form includes a funerary dirge bookended by the piece’s most lyrical piano writing, expressed by the rise and fall of melodic octaves. The pounding neo-Shostakovian strings of “Ritual II” transition directly into the development section, “Nicodemus seeks the ultimate weapon.” Nicodemus’s theme undergoes significant transformation, assuming the guise of stride piano and North Indian tabla music. These styles are unique to this section, as is their orchestration of high, sustained winds alternating with orchestral hits between low strings and percussion. The piece’s recapitulation, “Meanwhile…,” begins with a return of the burning beds. Here, “Gorgomath’s Theme,” identifiable by the instability of its 7/16 motor rhythm is briefly foreshadowed. It appears in its entirety in the coda, “Boss Battle.” The resulting work uses original narrative to blend polystylistic elements into a cohesive single movement structure with a dramatic musical arc. |
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| Corporate Author | Thesis | Doctoral thesis | |||
| Publisher | University of Missouri - Kansas City | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-70801-0 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2222 | ||
| Permanent link to this record | |||||
| Author | Carter, Molly | ||||
| Title | Perchten and krampusse: living mask traditions in austria and bavaria | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Austria; Authenticity; Bavaria; Cultural heritage; Folklore; Heavy metal; Krampus; Masks; Perchten; Traditions | ||||
| Abstract | Two centuries-old mask traditions native to Austria and Bavaria enjoy ongoing popularity due to a creative mingling of old and new elements (heavy metal music and fireworks alongside hand-carved wooden masks and birch rod switches). The Krampus is the menacing companion of St. Nikolaus, who visits children on December 5 and 6, although nowadays groups of Krampusse may appear alone. The Perchten, who are associated with the magical female folk-figure Perchta, appear on January 5 and the week before. While the Perchten and Krampusse represent distinct traditions, their history has intersected at various points, and their contemporary manifestations share many elements, including a movement towards a “modern” aesthetic and the employment of such resources as tourist publicity and the internet to promote their appearances, educate the public, and network with each other. While the house visit was formerly the primary setting for these masked figures (or mummers), today it is the public parade. These parades, while rooted in and resembling conventional display-custom performances marked by a static division between performer and spectator, actually consist of a kind of fluid, interactive ritual theater in which the partially improvised, partially scripted performances of masked figures and the responses of spectators shape one another. Contemporary manifestations of Perchten and Krampus traditions will be explored in light of the ongoing cultural dialogue between performers and non-performers who seek to define and interpret the tradition, and the interplay of academic and popular discourses surrounding invented tradition, Folklorismus (folklorism) and Rücklauf (feedback), and the nature of authenticity. Questions of cultural heritage “ownership” surface in the debates over form and meaning, while in the hands of the Perchten and Krampusse themselves, tradition emerges as an active process and collaborative artwork rather than a fixed commodity with boundaries which can be defined and navigated by outside observers. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of Sheffield (United Kingdom) | Place of Publication | Editor | ||
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| Series Volume | Series Issue | Edition | |||
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| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2223 | ||
| Permanent link to this record | |||||
| Author | Vaughn, Erin M. | ||||
| Title | Harmonic resources in 1980s hard rock and heavy metal music | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 94 | ||
| Keywords | Communication and the arts; Guns N' Roses; Hard rock; Harmony; Heavy metal; Malmsteen, Yngwie; Metallica; Music theory | ||||
| Abstract | The first objective of this work was to review the existing literature relating to popular music analysis to determine if standards of harmonic practice within hard rock and heavy metal music have been considered and established. This led to the review of the analytical methods of Guy Capuzzo, Christopher Doll, Walter Everett, Allen Moore, and Ken Stephenson. For the needs of this study, Everett's work (and to a lesser degree, Stephenson's work) is primary as it best summarizes the harmonic schemes used in the pieces analyzed. Three songs were selected within different subgenres of hard rock and heavy metal: thrash metal (Metallica, “Master of Puppets”), neo-classical metal (Yngwie Malmsteen, “Far Beyond the Sun”), and commercial hard rock (Guns-N-Roses, “Welcome to the Jungle”). These pieces were analyzed extensively to understand the primary harmonic resources that are at work in each. Additionally, the three pieces were compared with regard to their formal elements, melodic materials, texture, and dynamics to draw conclusions about what similarities they share and also how they differ. Depending on the piece and the section under consideration, these three examples exhibited a reliance on modal structures, blues-based materials, and common-practice influences. |
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Kent State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-41655-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2224 | ||
| Permanent link to this record | |||||
| Author | McLaughlin, Adria Ryan | ||||
| Title | Navigating Gender Inequality in Musical Subgenres | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 52 | ||
| Keywords | Communication and the arts; Gender inequality; Heavy metal; Individual & family studies; Motherhood; Punk rock; Riot Grrrl; Sociology; Women's studies; Women musicians | ||||
| Abstract | This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music. | ||||
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| Publisher | East Tennessee State University | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-31926-1 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2225 | ||
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| Author | Rekedal, Jacob Eric | ||||
| Title | Warrior Spirit: From Invasion to Fusion Music in the Mapuche Territory of Southern Chile | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 418 | ||
| Keywords | Araucanía; Communication and the arts; Cultural anthropology; Ethnography; Heavy metal; Hip-hop; Latin American history; Mapuche; Multiculturalism; Rock music | ||||
| Abstract | This dissertation chronicles the cultural, musical and performative fronts during two centuries of struggle and negotiation between Mapuche and Chilean societies. The perspective is mainly ethnomusicological, including two years of fieldwork in the Araucanía region, concerning new genres of Mapuche fusion music such as rock and hip-hop. This writing demonstrates how Mapuche expressions and representations accrued various forms of value during Chile's modernization—including colonization, nation building, the emergence of modern social movements, and the implementation of neoliberal policies—and how artists contend with and subvert those values today. The opening chapters are historical. Following the invasion of Araucanía in the 1880s, Mapuche political activism eventually gained traction by carefully managing a relationship with the Chilean political establishment, while also cultivating a unique approach to political processes that incorporated preexisting rituals. Concurrently, the Mapuche transitioned from adversaries to objects of study, while concepts such as folklore took root in Chilean society. As popular culture took note of Mapuche sounds and symbols toward the mid-twentieth century, non-Mapuche artists and activists codified their progressive ideologies through their embrace of indigeneity, exemplified in art music, and most famously, nueva canción. Based directly on fieldwork, the second half of the thesis discusses how Mapuche cultural continuity has involved both the recovery of traditions and the incorporation of non-traditional elements. I describe the conversion of a mingako ritual into a festival of music and poetry in the Mapuche comunidad of Saltapura. This transfer from agriculture to expressive culture demonstrates the diminishing value of Mapuche lands, parallel with the increasing value of their expressions, under neoliberal multiculturalism. Meanwhile, Mapuche heavy metal and hip-hop groups such as Pewmayén and Weichafe Newen build their music around ancestral principles of sound, ritual and language, raising the question as to whether Mapuche musical elements thus become ingredients of popular music, or whether popular music becomes Mapuche for incorporating these elements. Through detailed discussions of this music and its broader contexts, this dissertation issues a critique of the culture concept underpinning neoliberal multiculturalism, inherited from the investigations of the Mapuche during the early republican period. |
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| Corporate Author | Thesis | ||||
| Publisher | University of California, Riverside | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-321-73632-8 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2226 | ||
| Permanent link to this record | |||||