|
|
McLaughlin, A. R. (2015). Navigating Gender Inequality in Musical Subgenres. Ann Arbor: East Tennessee State University.
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.
|
|
|
|
Rekedal, J. E. (2015). Warrior Spirit: From Invasion to Fusion Music in the Mapuche Territory of Southern Chile. Ann Arbor: University of California, Riverside.
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.
|
|
|
|
Faingold, N. (2015). Portfolio of compositions and technical commentary. Ph.D. thesis, University of London, King's College (United Kingdom), Ann Arbor.
Abstract: The six pieces in this portfolio explore contemporary musical narratives as if approached from a traditional outlook. In these pieces many harmonic and rhythmic processes (modal, serial,‘post-serial’ and minimalist) that emerged in Post-War music, as well as their resulting forms or modes of continuity interact with a traditionally grounded, intuitive approach to 'thematicism'. Another important topic in this music is an engagement with certain formal elements and mannerisms of contemporary popular, rock and dance music, and the ethnic musical traditions of my cultural heritage. Writing for string instruments informed by the composer’s personal experience as a double bass performer is a central concern of the thesis. Knife in the Water (for violin and cello) explores elements of heavy metal rhythms, Middle Eastern incantations, and free and strict meter. Bonaparte Born to Party (for mixed quintet) builds on the jagged heavy metal and dance elements found in Knife in the Water, subjecting some of the harmonic structures of the latter to a fairly strict process of transformation while relying to a much greater extent!on repetition.
A Poem is a Burning City (for ten players) explores the possibility of creating a sort of'modality' by means of timbre as well as the 'transformation of sonority' itself as a means for delineating a binary form. While its harmonic language shares many aspects with the earlier pieces, here they are no longer the main concern of the music, which relies primarily on ‘colour', 'sonority' and extensive 'repetition' for the unfolding of a slowly evolving texture. In the string quintet Everything is Amazing and Nobody is Happy, the Suite for solo violin and the Lullaby for double bass and orchestra, the type of explorations of colour and! sonority incipient in A Poem is a Burning City are extended and combined with the developmental processes and clear thematic and! melodic/harmonic!materials that characterise the earlier pieces.
|
|
|
|
Hosman, S. S. (2019). Gender inequality in metal music production (book review). Gender & Society, 33(4), 652–654.
|
|
|
|
Johnson, H. (2014). Music-making in the faroes: The experience of music-making in the faroes and making metal faroese (book review). Island Studies Journal, 9(1), 176–178.
|
|
|
|
Banchs, E. (2022). Scream for Me Africa! Heavy Metal Identities in Post-Colonial Africa. Bristol: Intellect.
|
|
|
|
Pichler, P. (2021). „Breaking the Law…!?“ Zur Rolle von Recht und Rechtsbezug in der Kulturgeschichte der steirischen Heavy Metal-Szene seit 1980. Graz Law Working Paper, .
|
|
|
|
Swiniartzki, M. (2021). Szene-Eliten. Selbststilisierung, soziale Praxis und postmoderne Ästhetisierung am Beispiel des norwegischen Black Metals. Archiv für Sozialgeschichte, 61, 445–472.
|
|
|
|
Jordan, J. B. (2021). Harmonic Structures of 21st Century Heavy Metal. Master's thesis, University of Huddersfield, Huddersfield.
|
|
|
|
Pascuchelli, M. N., & Vidal Vargas, P. (2021). Los estudios metálicos (metal studies) en Latinoamérica y Argentina: un posible estado del arte. El oído pensante, 9(2), 252–278.
|
|
