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| Author | Heesch, Florian | ||||
| Title | Voice of anarchy: Gender aspects of aggressive metal vocals. The examples of Angela Gossow (Arch Enemy) | Type | Journal Article | ||
| Year | 2018 | Publication | Criminocorpus: Revue hypermedian d'Histoire de la justice, des crimes et des peines | Abbreviated Journal | |
| Volume | 11 | Issue | Pages | 1-18 | |
| Keywords | Aggression, Death metal, Gender and music, Vocal practice, vocal sound | ||||
| Abstract | Issue theme: Actes du colloque: Rock et violences en Europe: Metal et violence. - Résumé: Growling can be regarded as a key aesthetic practice of death metal. This practice, throughout the history of the genre, has been heavily gendered; while practiced both by men and women since the early 1990s it has nevertheless been associated with masculinity, due to its perceived aggressive sound, as well as corresponding notions of perceived low pitch and noise. In 2001 Angela Gossow became the singer of the band Arch Enemy and has since established herself as one of the most outstanding female growlers within the global metal scene. An analytical look at Gossow’s individual vocal style will be applied to argue that growling could potentially contribute to a more complex understanding of how voice, gender and aggression are related. This article examines the musical phenomenon of death metal growling, as well as the marginalization of women in what has been conceived as a primarily masculine style. |
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Address  |
https://journals.openedition.org/ | ||||
| Corporate Author | Thesis | ||||
| Publisher | OpenEdition Journals (Centre pour l'Édition Électronique Ouverte) | Place of Publication | Marseille, France | Editor | |
| Language | English | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | 2108-6907 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | https://en.wikipedia.org/wiki/Centrepourl%27%C3%89dition%C3%89lectroniqueOuverte | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2320 | ||
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| Author | Cárdenas Azuaje, Diana María | ||||
| Title | MUJERES Y SUS REPRESENTACIONES SOCIALES DENTRO DEL METAL EN BOGOTÁ | Type | Book Chapter | ||
| Year | 2021 | Publication | Representaciones Sociales e Imaginarios Colectivos del Género, el Cuerpo y la Sexualidad | Abbreviated Journal | |
| Volume | Issue | Pages | 355-393 | ||
| Keywords | Bogotá; música Metal; mujeres; representaciones sociales | ||||
| Abstract | El presente texto muestra los hallazgos de la investigación “Representaciones sociales de la mujer en la cultura del Metal en Bogotá”, tesis de maestría presentada en la Universidad Distrital Francisco José de Caldas en 2012. Dicha investigación fue de corte cualitativo y abordó la perspectiva teórica estructural de las Representaciones Sociales (RS) de Jean Claude Abric (2001). Con ese constructo se determinaron el núcleo central (idea estable y organizadora) y los elementos periféricos (idea flexible auxiliar del núcleo) para las categorías: Mujer y Metal. Para el estudio, se recurrió a la recolección e interpretación de 19 entrevistas semiestructuradas que se realizaron en Bogotá – Colombia. Las participantes son mujeres escuchas e intérpretes de música Metal con diversas características. En el análisis de instrumentos, se identificaron varios términos con alta frecuencia de reiteración (fuerza, vida, valentía y música), que se agruparon por semejanza, contigüidad o contraste, relacionados con la vivencia de la música Metal desde la perspectiva de las mujeres. Los hallazgos se presentan relacionados a las categorías: 1. Mujer, asociada a cuatro núcleos: superficialidad, espiritualidad, liberación, pautas restrictivas. 2. Metal, que tiene como núcleos cultura/contracultura, machismo, Identidad/gusto, música, ritmo e interpretación. Así mismo se encontró (entre otras cuestiones) que las entrevistadas definen al Metal, como cultura en tanto genera elementos identitarios a partir de preferencias musicales, rituales, territorios, lenguajes, indumentarias y significados. Las mujeres del medio realizan una “transformación” frente a algunos parámetros de feminidad difundidos tradicionalmente consolidando una especie de feminidad transgresora. |
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| Address |
https://imaginariosyrepresentaciones.com/miembros/diana-maria-cardenas-azuaje/ | ||||
| Corporate Author | Thesis | ||||
| Publisher | Red Iberoamericana de Academias de Investigación, A.C. (978-607-99621) | Place of Publication | XALAPA, VERACRUZ, MÉXICO | Editor | ELIZABETH BALLÉN GUACHETÁ; LUIS ENRIQUE PÉREZ MÉNDEZ; SINDY PAOLA DÍAZ BETTER; DIANA MARÍA CÁRDENAS AZUAJE |
| Language | Spanish | Summary Language | Original Title | ||
| Series Editor | Series Title | Colección Imaginarios y Representaciones | Abbreviated Series Title | ||
| Series Volume | Series Issue | Edition | First | ||
| ISSN | ISBN | 978-607-99388-5-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | See also INTRODUCCIÓN, pages 1-19. www.redibai.org; redibai@hotmail.com | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2288 | ||
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| Author | Martínez, Susana González | ||||
| Title | Enseñar a transgredir: Metal feminista, a través de la investigación-acción participativa, como herramienta artística de liberación y pedagógica en el aula | Type | Book Whole | ||
| Year | 2023 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 528 | ||
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| Abstract | Esta tesis presenta, en primer lugar, una indagación profunda sobre las manifestaciones feministas en la música y cultura metal, desde un abordaje transdisciplinar y multidimensional. En tal sentido, el texto ofrece un análisis crítico exhaustivo de los diversos discursos, procesos relacionales y prácticas corporales del metal feminista en diferentes contextos del Norte y el Sur Global, desde un enfoque interseccional, psicosociológico y pedagógico feminista. Tal análisis está basado en entrevistas en profundidad realizadas con 21 bandas feministas de metal de diferentes países, 32 letras de canciones y 19 portadas de álbumes. Así como otras fuentes complementarias, tales como imágenes promocionales, declaraciones de las bandas en medios, webs/perfiles promocionales, y perfiles personales de las/los artistas en redes sociales. De otro lado, esta tesis, entra en conversación con el campo más amplio de las artes —de forma comparativa— ofreciendo una identificación de los vínculos y distancias del metal feminista con el arte feminista de los 70. Delinea, por otro lado, un patrón didáctico observable en la práctica metal extrema feminista, que permite su conceptualización como praxis liberatoria y, finalmente, como un ejercicio bastardo de a/r/t/ografía ritual social. En segundo término, el texto muestra el desarrollo de un proyecto de investigación-acción participativa (IAP) internacional, con la comunidad feminista del metal. La IAP —desarrollada en entornos virtuales por un grupo de 36 personas (artistas, activistas y académicas) integrantes de las escenas de metal— ofrece un diagnóstico social sobre las barreras de género que afectan la participación en las diferentes escenas de metal, en contextos del Norte y el Sur Global. Dicho diagnóstico social está desarrollado a partir de una revisión bibliográfica panorámica y una encuesta virtual global, en la que han participado 32 países. Al tiempo, la IAP ha generado varios productos destinados a la intervención/devolución comunitaria de la información obtenida. Por ende, se ofrecen en este texto: un artículo colectivo, una web, un vídeo-hechizo en consonancia con las estrategias simbólicas del metal feminista, y la serie de vídeos explicativos No Me Toques el Ampli. Con todo, el diseño del proyecto IAP ha conseguido informar de forma rigurosa sobre la clave contextual del fenómeno de estudio objeto de esta disertación —el metal feminista—, al tiempo que ha contribuido a realizar un aporte en pro de los intereses de los sujetos/comunidades de estudio. Por último, esta tesis muestra el desarrollo de una experiencia piloto en el ámbito educativo, que ha tenido como fin explorar la potencialidad que tienen las estrategias y técnicas artísticas del metal feminista identificadas, como herramientas en el marco de las pedagogías feministas restaurativas. En conclusión, este estudio contribuye a la comprensión de las expresiones artístico-políticas feministas dentro del campo especializado de los estudios del metal y, del arte feminista, en un sentido más amplio. Asimismo, ha servido al impulso de las reivindicaciones feministas en las escenas artísticas del metal, haciendo permeables los límites de la investigación académica —en particular dentro del campo del metal— mediante un enfoque metodológico socialmente comprometido. De otro lado, realiza un aporte a las pedagogías feministas restaurativas, a través de la exploración de una fórmula didáctica innovadora, centrada en el uso de nuevas herramientas y técnicas. En un sentido más amplio y último término, este estudio pone un granito de arena a la empresa utópica de la llamada ecología de saberes —a partir de la interacción de prácticas científicas, prácticas artísticas subalternizadas y saberes encarnados— como una fuente de conocimiento valioso, para activar un pensamiento científico interconectado, siguiendo a Boaventura de Sousa Santos (2010, pp. 52-53). [This dissertation presents, first, an in-depth perusal of feminist artistic manifestations in metal music and culture from a transdisciplinary and multidimensional approach. In this sense, the text offers an exhaustive critic analysis of the diverse discourses, relational processes, and bodily practices of feminist metal in different contexts of the Global North and South from an intersectional, psycho-sociological, and pedagogical feminist approach. The analysis is based on in-depth interviews conducted with 21 feminist metal bands from different countries, 32 song lyrics and 19 album covers. As well as other complementary sources, such as promotional images, statements of the bands in the media, promotional websites/profiles, and personal profiles of the artists in social networks. Likewise, this dissertation, enters conversation with the broader field of the arts —in a comparative way— offering an identification of the links and distances of feminist metal with feminist art of the 1970s. On the other hand, it delineates a didactic pattern observable in extreme feminist metal music, which allows its conceptualization as a liberatory praxis and, finally, as a bastard exercise in socioritual a/r/t/ography. Secondly, the text explains the development of an international participatory action-research (AR) project with the feminist metal community. The AR — developed in virtual environments by a group of 36 people (artists, activists, and academics) from the metal scenes— offers a social diagnosis of the gender barriers that affect participation in the different metal scenes in contexts of the Global North and South. This social diagnosis is based on a panoramic literature review and a global survey in which 32 countries participated. At the same time, the AR project has generated several products aimed at community intervention/dissemination of the information obtained. Thus, this thesis offers the following: a collective article, a web page, a video-spell in line with the symbolic strategies of feminist metal, and the series of explanatory videos Don't Touch My Amp. All in all, the design of the AR project has succeeded in rigorously informing the contextual key to the study phenomenon object of this dissertation —feminist metal— while contributing to the interests of the subjects and community of study. Finally, this dissertation shows the development of a pilot experience in the educational field, which aimed to explore the potential of the identified feminist metal art strategies and techniques as tools within the framework of restorative feminist pedagogies. Therefore, this study contributes to the understanding of feminist artisticpolitical expressions within the specialized field of metal studies, and feminist art in a broader sense. It has also served to advance feminist claims in the metal scenes, permeating the boundaries of academic research —particularly within the field of metal— through a methodological approach socially committed. It also contributes to feminist restorative pedagogies by exploring an innovative didactic formula focused on using new tools and techniques. In a broader sense and lastly, this study contributes to the utopian enterprise of the so-called ecology of knowledge —based on the interaction of scientific practices, subalternized artistic practices and embodied knowledge— as a source of valuable knowledge, which activates an interconnected scientific thought, following Boaventura de Sousa Santos (2010, pp. 52-53).] * Source for both was: https://digibug.ugr.es/handle/10481/89687 |
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| Address |
https://digibug.ugr.es/contact | ||||
| Corporate Author | Thesis | Doctoral thesis | |||
| Publisher | Universidad de Granada, Escuela de Doctorado de Humanidades, Ciencias Sociales y Jurídicas, Programas de Escuela de Doctorado de Humanidades. | Place of Publication | Granada, Andalusia, Spain | Editor | UniveVallecillos, Rafael Liñán; Varas-Díaz, Nelson |
| Language | Spanish | Summary Language | English | Original Title | |
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 9788411951623 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2537 | ||
| Permanent link to this record | |||||
| Author | Khalil, Lucas Martins Gama (UNIR) | ||||
| Title | A QUALIDADE DE VOZ GUTURAL: APONTAMENTOS PARA UMA CARACTERIZAÇÃO ACÚSTICA E ARTICULATÓRIA. | Type | Journal Article | ||
| Year | 2017 | Publication | Miguilim: Revista Eletrônica do Netlli. | Abbreviated Journal | |
| Volume | 6 | Issue | 2 | Pages | 198-218 |
| Keywords | Qualidade de voz, Gutural, Death metal; Voice quality, Guttural, Death metal. | ||||
| Abstract | O gênero musical death metal, subdivisão do heavy metal, tem como característica o emprego de uma voz urrada, distorcida e pouco compreensível. No âmbito da música, essa qualidade de voz é denominada “gutural”, nomenclatura que faz referência, de maneira ampla, a perceptíveis tensões na região da garganta (por isso, “gutural”) observadas por falantes que empregam essa técnica. Tendo em vista que, em estudos sobre qualidade de voz, não existem muitas descrições que abordam tal produção, objetivamos realizar alguns apontamentos que contribuam para a caracterização acústica e articulatória da voz gutural. Para isso, apresentaremos alguns aspectos introdutórios do conceito de qualidade de voz (LAVER, 1980) e, adicionalmente, referências a estudos que possam contribuir para a nossa proposta, como os de Sakakibara et al. (2004) e de Smialek et al. (2012). Além disso, analisaremos espectrogramas da voz empregada nas canções Crucifier Avenged e Hammer Smashed Face, ambas da banda Cannibal Corpse, com o objetivo de descrever as peculiaridades acústicas da voz gutural. | ||||
| Address |
http://periodicos.urca.br/ojs/index.php/MigREN/issue/view/84 | ||||
| Corporate Author | Thesis | ||||
| Publisher | Núcleo de Estudos de Teoria Linguística e Literária (NETLLI) [Linguistics and Literary Theory Research Group] at Universidade Regional do Cariri, Brazil. | Place of Publication | http://periodicos.urca.br/ojs/index.php/MigREN | Editor | |
| Language | español | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | 2317-0433 | ISBN | Medium | PDF (no longer available) | |
| Area | Expedition | Conference | |||
| Notes | Open access: https://creativecommons.org/licenses/by/3.0/ | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2402 | ||
| Permanent link to this record | |||||
| Author | Szpajdel, Christophe | ||||
| Title | Archaic Modernism: The Art of Christophe Szpajdel | Type | Book Whole | ||
| Year | 2020 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 252 | ||
| Keywords | |||||
| Abstract | “Christophe's work is extremely sought after, and it has now gained interest from clients outside the metal scene. By far one of the most prolific but also the furthest reaching artist with now around 10,000 logos completed to date. Art Deco and Art Nouveau are the real sources of inspiration, exploring the abyss of imagination in crafting a logo and at the same time, aesthetically pleasant, attractive and functional. 'Archaic Modernism' takes a journey into the artist visual universe and philosophy, accompanied by the works of Stanislav Krawczyk.” | ||||
| Address |
Heavy Music Artwork, PO Box 5778, Sevenoaks, TN13 9RW, UK | ||||
| Corporate Author | Thesis | ||||
| Publisher | Heavy Music Artwork | Place of Publication | UK | Editor | |
| Language | English | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 9781800490413, 1800490410 | Medium | Hardback | |
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2471 | ||
| Permanent link to this record | |||||
| Author | Kotila, Sanna | ||||
| Title | Frost, Blood and a Thousand Lakes: Representing Finnishness in Metal Lyrics | Type | Book Whole | ||
| Year | 2012 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | black metal, discourse, Finland, representation, articulation, national identity, the narrative of the nation, metal lyrics | ||||
| Abstract | << Tutkielmassani selvitän, millaisena suomalaisuus artikuloituu viime vuosien kansainväliselle yleisölle suunnatussa, englanninkielisessä metallilyriikassa. Tutkielmani pohjaa teoreettisesti ajatukselle, että kansallista kulttuuria ja identiteettiä rakennetaan ja tuotetaan diskursiivisesti. Benedict Anderson luonnehtii valtiota kielen avulla kuviteltuna ja määriteltynä yhteisönä. Kansallinen diskurssi tuottaa yhteisöllisyyttä, se määrittelee ”meidät” erityislaatuisina. Kansallisvaltio on käsitteenä historiallisesti suhteellisen uusi, ja jokainen kansakunta on kulttuurisesti hybridi. Silti diskurssin avulla kansakunnasta luodaan representaatio, joka esittää sen olleen olemassa jo määrittelemättömän kauan, ja joka esittää sen olevan kulttuurisesti homogeeninen. Stuart Hallin teorioima ”kansallinen narratiivi” on metafora, joka asettaa kaikki tiettyä kansallisuutta kuvaavat esitykset yhteyteen. Niistä syntyy kansallinen kertomus, jossa painottuvat usein toistetut kansallisuutta kuvaavat elementit, viitteet ja symboliikka. Mitä enemmän jotain kuvausta toistetaan, sitä itsestään selvempänä se alkaa näyttäytyä, ja sitä vaikeampi se on haastaa, vaikka se ei vastaisikaan totuutta. Tässä piilee diskursiivisuuden voima. Kansalliseen keskusteluun osallistuvat saattavat toistaa vallalla olevia käsityksiä jopa tiedostamattaan. Tutkimusaineistossani suomalaisuuden elementit; symbolit ja erilaiset viittaukset artikuloituvat metallilyriikan aineksiksi. Kontekstualisointi on keskeisin tekniikkani analysoidessani lyriikoita, tästä syystä myös Deena Weinsteinin teoria metallidiskurssista on oleellinen osa teoriapohjaani. Jotkin viittaukset paljastavat monitahoisen merkityksensä vain, kun ne luetaan asetettuna metallidiskurssin ja kansallisen diskurssin leikkauskenttään. Aineistokseni olen valinnut seitsemän laulun lyriikat, joista jokainen lähestyy suomalaisuutta hieman eri näkökulmasta ja eri painotuksin. Jokainen laululyriikoista muodostaa omanlaisensa kuvan suomalaisuudesta. Pohdin tutkielmassani lyriikoiden ”kertojien” positioitumista suhteessa suomalaisuuteen. Lyriikoiden suomalaisuus artikuloituu suhteessa toisiin kansallisuuksiin, mutta myös suhteessa valtion sisäiseen dynamiikkaan. Tärkeitä viitekehyksiä ovat kansallisessa diskurssissa keskeiset ja myös perinteiset: kansakunnan näkeminen perheenomaisena, valtion näkeminen kotina, kansallinen luonto ja kansallismaisema, mentaliteetti, sekä poliittinen historia. Lopuksi pohdin vaikutteita, jotka näyttävät kumpuavan kansallislaulugenrestä; tutkimusaineistoni metallilyriikoilla ja Maamme-laululla on yllättävän paljon yhteistä. >> |
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| Address |
Finnish: Vaasan yliopisto; Swedish: Vasa universitet | ||||
| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of Vaasa | Place of Publication | Vaasa, Finland | Editor | Mäntymäki, Tiina (Supervisor) |
| Language | English | Summary Language | Finnish | Original Title | |
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Faculty of Philosophy, English Studies; not found in ProQuest Dissertations & Theses Global database | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2522 | ||
| Permanent link to this record | |||||
| Author | Zapata, Alex | ||||
| Title | La voz en los ochenta. Nuevos estilos al baile. | Type | Journal Article | ||
| Year | 2003 | Publication | Pensamiento Crítico: Revista Electrónica de Historia | Abbreviated Journal | |
| Volume | Issue | 3 | Pages | 1-63 | |
| Keywords | |||||
| Abstract | Rock in Chile (1983 – 1992). Authors, styles, its industry, social function of its lyrics among others. Period studied is one in which this musical movement was revised and recast after a long period of marginalization in Chile. | ||||
| Address |
eJournal that is No longer available online. | ||||
| Corporate Author | Thesis | ||||
| Publisher | Pensamiento Crítico | Place of Publication | Santiago de Chile | Editor | |
| Language | Spanish | Summary Language | English | Original Title | |
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | 0717-7224 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Article/issue is available online. | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2291 | ||
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| Author | Yépez Aguirre, Jimmy Renzo | ||||
| Title | La Metaldad y el Habitus y Metalicus en la ciudad de Lima 1994-2014 | Type | Journal Article | ||
| Year | 2019 | Publication | Pluriversidad, the academic journal of Vicerrectorado Académico de la Universidad Ricardo Palma | Abbreviated Journal | Pluriversidad |
| Volume | Issue | 3 | Pages | 21 | |
| Keywords | Individualism; mercantilism; fetichism; rock music; habitus-field | ||||
| Abstract | This study has been oriented, to identify the benefits of the qualitative method of the theory built on the different aspects of feeling and thinking of the Metaleros1 in the city of Lima, in order to analyze their impersonal relations with society. In this sense the following objective was proposed: to understand why the social life individualization, the cultural commodification and the music fetishism is reproduced in the feeling and thinking of Lima’s metaleros. An in-depth interview was conducted with 23 young adults and metaleros between aged 14 to 48 years old as a range or limit, which resulted in a non-probabilistic sample. Two conceptual categories were identified: Rockandad and Metaldad, which serve to give interpretation to the problematic raised. In addition, a conceptual theoretical instrument called pyramidal dialectic was elaborated, to give way to the explanation of the research carried out. | ||||
| Address |
Av. Benavides 5440 – Santiago de Surco Lima 33 Perú | postal section 1801 | ( 0511 ) 708 0000 | Email: helpdesk@urp.edu.pe | ||||
| Corporate Author | Thesis | ||||
| Publisher | Universidad Ricardo Palma | Place of Publication | Lima, República del Perú | Editor | Martínez Llaque, José |
| Language | Spanish | Summary Language | English | Original Title | |
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | Print: 2617-6254 / Online: 2617-6262 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Creative Commons 4.0 (CC BY-NC) | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2282 | ||
| Permanent link to this record | |||||
| Author | Guibert, Gérôme | ||||
| Title | Marche ou crève: The band Trust and the singular case of the birth of French heavy metal | Type | Book Chapter | ||
| Year | 2018 | Publication | Made in France: Studies in Popular Music | Abbreviated Journal | |
| Volume | Issue | Pages | 296 | ||
| Keywords | |||||
| Abstract | Book summary: Made in France: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary French popular music. The volume consists of essays by scholars of French popular music, and covers the major figures, styles, and social contexts of pop music in France. | ||||
| Address |
711 Third Avenue, New York, NY 10017 | ||||
| Corporate Author | Thesis | ||||
| Publisher | Routledge | Place of Publication | New York, NY | Editor | Gérôme Guibert, Catherine Rudent |
| Language | English | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-138-79304 (hbk), 978-1-315-76161 (ebk) | Medium | ||
| Area | Expedition | Conference | |||
| Notes | paperback, hardback, eBook | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2470 | ||
| Permanent link to this record | |||||
| Author | Pichler, Peter | ||||
| Title | To the sources! On historical source criticism in metal studies | Type | Journal Article | ||
| Year | 2023 | Publication | Popular Music History | Abbreviated Journal | |
| Volume | 15 | Issue | 1 | Pages | 54–77 |
| Keywords | Metal Studies, History, Source Criticism, sonic knowledge, Styria, historical sources, metal scenes | ||||
| Abstract | Metal studies is usually considered to be a fundamentally interdisciplinary field of research. However, the disciplines that were included at its beginning (mostly sociology, cultural anthropology, musicology, and philosophy) are still theoretically dominant. As a consequence, several important research questions that do not reflect these disciplines’ epistemologies have remained unanswered to this day. To a great extent, this applies to historical research questions on metal scenes. In this respect, the author argues that metal studies could benefit from the expertise of history in general and source criticism in particular. In order to develop this argument, necessary basic traits of contemporary historical source criticism are introduced. Then, the author proceeds by individually discussing three fundamental types of sources that are structurally tied to the historical long-term processes in metal scenes: concert flyers, album covers and band T-shirts. Research into the Styrian metal scene in south-eastern Austria provides examples. To conclude, it is posited that starting from a semiotic concept of source criticism and then adapting such a concept for the specific purposes of metal studies is necessary to nurture historical awareness and the accuracy of relevant research. | ||||
| Address |
15 The Workstation 15 Paternoster Row, Sheffield, S1 2BX United Kingdom | ||||
| Corporate Author | Thesis | ||||
| Publisher | Equinox Publishing Ltd | Place of Publication | United Kingdom | Editor | Catherine Strong; Shane Homan |
| Language | English | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | 1740-7133 (Print); 1743-1646 (Online) | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2469 | ||
| Permanent link to this record | |||||