Forshaw, J. (2011). Metal in Three Modes of Enmity: Political, Musical, Cosmic. Current Musicology, (91), 139–160,217.
|
Ribeiro, H. L. (2007). A Dinâmica das Identidades: análise estilística e contextual de três bandas de metal na cena rock underground de Aracaju. Ph.D. thesis, Universidade Federal da Bahia, Salvador de Bahia.
|
Martin, F. (2005). Pour une approche musicologique du black metal. Societes, 88(2), 103–108.
|
Berger, H. M. (1999). Death metal tonality and the act of listening. Popular Music, 18(2), 161–178.
|
Antonieto, T. (2004). O inventor do peso no heavy metal. Cover Guitarra, 120, 42–50.
|
González, O. T. (2019). We Came and Conquered: The Complexities of Viking Metal Music and Culture. Ph.D. thesis, California State University, Long Beach.
|
Lucas, O. R. (2018). “So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen. Music Theory Online, 24(3).
|
Scotto, C. (2016). The Structural Role of Distortion in Hard Rock and Heavy Metal. Music Theory Spectrum, 38(2).
|
McCandless, G. R. (2013). Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater. Music Theory Online, 19(2).
|
St-Laurent, M. - R. (2013). Quand Le Metal Flirte Avec Abba: Analyse Des Transformations Formelles Et Thématiques De « Summer Night City”. Intersections: Canadian Journal of Music, 34(1/2), 135–151,232.
|