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Author |
González Hernández , José Omar |
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Title |
Imaginarios de la maldad. El espacio como perpetrador en el goregrind mexicano |
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Year |
2022 |
Publication |
Lenguas Radicales |
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1 |
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4 |
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52-60 |
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Goregrind; Mexico; Violence; Noise; Abjection |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2391 |
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Author |
Pikri, Zainal; Muthmainnah, Inna |
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Title |
Perdebatan Kontemporer tentang Islam, Gender dan Musik: Analisis Wacana atas Band Hijabi Metal VOB (Voice of Baceprot) [Contemporary Debates on Islam, Gender and Music: Discourse Analysis of the Hijabi Metal Band VOB (Voice of Baceprot)] |
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Year |
2022 |
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Keywords |
VOB (band); Voice of Baceprot (band); Hijab; Islam; Gender; Women |
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Bachelor's thesis |
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Universitat Islan Negeri Antasari Banjarmasin |
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Banjarmasin |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2392 |
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Author |
Hoad, Catherine |
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Title |
“Images and words”: Textual analysis and its uses for metal music studies |
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The Bloomsbury Handbook of Popular Music and Youth Culture |
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151-169 |
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Textual analysis |
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Bloomsbury Publishing |
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New York; London; Dublin |
Editor |
Bennett, Andy |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2393 |
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Author |
Couzineau-Zegwaard, Elizabeth; Anne, Nicolas; Meier, Olivier |
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Title |
Pulse of minoroty: La transgression pour l'activisme |
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2022 |
Publication |
Minorités en mode majeur |
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68-107 |
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Keywords |
Politics; Trangression; Activism |
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Éditions EMS |
Place of Publication |
Caen |
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Tarnaud, Laurent; Meier, Olivier; Couzineau-Zegwaard, Elizabeth |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2394 |
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Author |
Mattson, Douglas |
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Title |
Att välja blasfemi. Blasfemisk identitet i turkisk svartmetal [Choosing blasphemy. Blasphemous identity in Turkish black metal] |
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Book Chapter |
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Year |
2022 |
Publication |
Blasfemi, heresi, kätteri, apostasi |
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119-131 |
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Blasphemy; Turkey; Non-Western scenes; Black metal |
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Svenska Forskningsinstitutet i Istanbul & Föreningen Svenska Istanbulinstitutets Vänner |
Place of Publication |
Istambul |
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Sorgenfrei, Simon; Mattson, Douglas |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2395 |
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Author |
Burns, Lori |
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Title |
Framing the Female Voice in Doom Metal: Formal and Sonic Elements in The Gathering’s “Strange Machines” (Mandylion, 1995) |
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Book Chapter |
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Year |
2023 |
Publication |
Analyzing Recorded Music: Collected Perspectives |
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323–338 |
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Keywords |
The Gathering (band); Madylion (album); Female artists; Singing; Musicology |
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Routledge |
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Moylan, William; Burns, Lori; Alleyne, Mike |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2396 |
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Author |
Burns, Lori |
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Title |
Intersections of Gender, Race, and Genre: Cammie Gilbert and Black Female Subjectivity in Metal Music |
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Journal Article |
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Year |
2020 |
Publication |
American Music Perspectives |
Abbreviated Journal |
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1 |
Issue |
2 |
Pages |
98-118 |
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Keywords |
Oppression; Race; Gender; Oceans of Slumber (band); Cammie Gilbert (artist) |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2397 |
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Author |
Burns, Lori |
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Title |
Unsettling Masculinity: Illness Narrative in Pain of Salvation’s “In the Passing Light of Day” (2017) |
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Book Chapter |
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Year |
2020 |
Publication |
Popular Musicology and Identity: Essays in Honour of Stan Hawkins |
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Pages |
196–217 |
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Keywords |
Masculinity; Pain of Salvation (band); Disease |
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Routledge |
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Hansen, Kai Arne; Askeroi, Eirik; Jarman, Freya |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2398 |
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Author |
Burns, Lori |
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Title |
Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus |
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Book Chapter |
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Year |
2019 |
Publication |
The Bloomsbury Handbook to Popular Music Video Analysis |
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Pages |
183-200 |
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Keywords |
Dark Tranquility (band); Videoclips; Extreme metal |
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Bloomsbury Academic |
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Burns, Lori; Hawkins, Stan |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2399 |
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Author |
Castillo Bernal, Stephen |
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Title |
¡Invierte la cruz invertida! Primeras apreciaciones sobre el metal cristiano mexicano. |
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Year |
2020 |
Publication |
Etnomusicología y globalización: Dinámicas cosmopolitas de la música popular. |
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113-134 |
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Keywords |
Análisis etnográfico, simbólico e imaginario sobre el metal cristiano en México; Etnomusicología; Música–Aspectos sociales–México; Música y globalización–Aspectos sociales-México; Música popular mexicana–Aspectos sociales. |
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Abstract |
El heavy metal es un movimiento cultural que inició en la década de 1970. Este estilo musical periférico ha sido estigmatizado por gran parte de la sociedad, tachándolo de simple, de burdo, de satánico (Christe, 2004). De la misma forma, se ha estereotipado a sus fanáticos, dando por supuesto que se trata de drogadictos o delincuentes (Singer, Levi y Jou, 1993). Y, sin embargo, el heavy metal sigue siendo uno de los referentes musicales más socorridos entre las juventudes contemporáneas (Santos, 2016). Algo característico de esta escena musical, independientemente del subgénero, es su asociación con temas transgresores. El más característico es el cuestionamiento de los metarrelatos, como la religión judeocristiana o la política. A pesar de que existen muchas propuestas ideológicas, musicales y vocales dentro del heavy metal, el tocar temas tabú de la sociedad es algo fundamental de este género musical, por lo cual muchos jóvenes, en su época contestataria y rebelde, lo adoptan, casi siempre para no abandonarlo nunca más.
En este trabajo delinearé parte de los cimientos del heavy metal cristiano. Esta vertiente del heavy metal, a pesar de encontrarse dentro del movimiento planetario metalero, se estructura en función de su filiación cristiana, esto es, sus líricas aluden a Dios, a sus hazañas en la Tierra y a la lucha contra los pecados y la maldad del mundo. Pareciera ser que este tipo de ideología es impensable en el mundo del heavy metal, sobre todo porque éste se ha asociado erróneamente con el satanismo y con los temas tabú. Sin embargo, la música en sí misma del metal cristiano es transgresora, ya que las agrupaciones de este subgénero pueden especializarse en death, power, thrash o doom, o incluso en black metal, con sonidos y vocales que, definitivamente, alguien que no sea partícipe del movimiento lo tacharía de satánico.
Este trabajo será apuntalado mediante la mirada etnográfica realizada en el pasado XV Éxodo Metal Fest, festival musical celebrado en la montaña de La Malinche, en Tlaxcala, en abril de 2017. Este evento de metal al aire libre congrega a diferentes bandas de metal cristiano y a diversos seguidores del movimiento espiritual. Las pautas identitarias de los músicos, de los fans y de los organizadores serán utilizadas para perfilar un estudio más profundo de un movimiento que, desde mi punto de vista, constituye otra representación underground de lo underground. |
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El Colegio de la Frontera Norte (El Colef) |
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Tijuana, Baja California, México |
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Coordinación editorial: Érika Moreno Páez |
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español |
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Olmos Aguilera, Miguel (coordinator) |
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978-607-479-348-2 |
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INTech @ brianhickam2019 @ |
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2406 |
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