| Author |
Title |
Year |
Publication |
Volume |
Pages |
| Faingold, Noam. |
Portfolio of compositions and technical commentary |
2015 |
|
|
|
| Hosman, Sarah Siltanen |
Gender inequality in metal music production (book review) |
2019 |
Gender & Society |
33 |
652-654 |
| Johnson, Henry |
Music-making in the faroes: The experience of music-making in the faroes and making metal faroese (book review) |
2014 |
Island Studies Journal |
9 |
176-178 |
| Banchs, Edward |
Scream for Me Africa! Heavy Metal Identities in Post-Colonial Africa |
2022 |
|
|
|
| Pichler, Peter |
„Breaking the Law…!?“ Zur Rolle von Recht und Rechtsbezug in der Kulturgeschichte der steirischen Heavy Metal-Szene seit 1980 |
2021 |
Graz Law Working Paper |
|
|
| Swiniartzki, Marco |
Szene-Eliten. Selbststilisierung, soziale Praxis und postmoderne Ästhetisierung am Beispiel des norwegischen Black Metals |
2021 |
Archiv für Sozialgeschichte |
61 |
445-472 |
| Jordan, James Boddington |
Harmonic Structures of 21st Century Heavy Metal |
2021 |
|
|
|
| Pascuchelli, María Natalia; Vidal Vargas, Pablo |
Los estudios metálicos (metal studies) en Latinoamérica y Argentina: un posible estado del arte |
2021 |
El oído pensante |
9 |
252-278 |
| Marstal, Henrik |
Mercyful Fate's “Don't Break the Oath” |
2021 |
|
|
|
| Radovanović, Bojana |
Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies |
2021 |
Shaping the Present through the Future. Musicology, Ethnomusicology and Contemporaneity |
|
97-110 |
