| Author |
Title |
Year |
Publication |
Volume |
Pages |
| Forshaw, Juliet |
Metal in Three Modes of Enmity: Political, Musical, Cosmic |
2011 |
Current Musicology |
|
139-160,217 |
| Ribeiro, Hugo L. |
A Dinâmica das Identidades: análise estilística e contextual de três bandas de metal na cena rock underground de Aracaju |
2007 |
|
|
|
| Martin, Frédérick |
Pour une approche musicologique du black metal |
2005 |
Societes |
88 |
103-108 |
| Berger, Harris M. |
Death metal tonality and the act of listening |
1999 |
Popular Music |
18 |
161-178 |
| Antonieto, Thiago |
O inventor do peso no heavy metal |
2004 |
Cover Guitarra |
120 |
42-50 |
| González, Olga T. |
We Came and Conquered: The Complexities of Viking Metal Music and Culture |
2019 |
|
|
|
| Lucas, Olivia R. |
“So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen |
2018 |
Music Theory Online |
24 |
|
| Scotto, Ciro |
The Structural Role of Distortion in Hard Rock and Heavy Metal |
2016 |
Music Theory Spectrum |
38 |
|
| McCandless, Gregory R. |
Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater |
2013 |
Music Theory Online |
19 |
|
| St-Laurent, Méi-Ra |
Quand Le Metal Flirte Avec Abba: Analyse Des Transformations Formelles Et Thématiques De « Summer Night City” |
2013 |
Intersections: Canadian Journal of Music |
34 |
135-151,232 |
