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Hassemer, S. M. (2011). Green is the New Black (Metal): Wolves in the Throne Room, die amerikanische Romantik und Ecocriticism. In R. F. Sascha, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 263–277). Münster: Lit.
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Varas-Díaz, N., & Rivera-Segarra, E. (2014). Heavy Metal Music in the Caribbean Setting: Politics and Language at the Periphery. In E. J. Abbey, & C. Helb (Eds.), Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music (pp. 73–90). Lanham: Lexington Books.
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Burke, D. (2016). Esoteric Symbolism in Doom Metal. Bachelor's thesis, University of Southampton, Southampton.
Abstract: “By contrast, this study will focus on the way in which (some, but not all) doom metal artistsincorporate three cultural ideas into their works; horror, the occult, and the psychedelic. Whilstmuch of metal focuses on horror and monsters, particularly death metal, doom metal's use of moreesoteric material separates it from much of the larger metal genre, and connects it to an eclecticrange of cultural and musical influences. Doom metal's use of such paradigms has not beenexamined thus far, but there is much to be learned from such study; these cultural trends areintegral to understanding the history of esotericism and countercultural practice. In this study I willdefine each of those three cultural ideas, as well as further considering the cultural discourses thatcompose doom metal, and defining which styles within the genre are of the most interest. I will thenanalyse a range of music, album art and interviews with musicians, aiming to pinpoint how, and forwhat purpose, each band incorporates those elements into their style. Further, I will investigate howthese musicians and their works form part of larger zeitgeists (particularly that of esotericism), andwill consider how these artists, in different times and places, have come to utilise similar symbolsand ideas. These commonalities between musicians, I will argue, shows doom metal to be a 'glocal'musical phenomenon that has the ability to utilise a wide variety of cultural ideas and artifacts invariegated situations.” (from 4th page of introduction)
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Smialek, E. T. (2016). Genre and Expression in Extreme Metal Music, Ca. 1990-2015. Ph.D. thesis, McGill University, Montreal.
Abstract: Extreme metal music , a conglomeration of metal subgenres unified by a common interest in transgressive sounds and imagery, is now a global phenomenon with thriving scenes in every inhabited continent. Its individual subgenres represent a range of diverse aesthetics, some with histories spanning over thirty years. Scholarship on extreme metal now boasts a similar diversity as well as its own history spanning nearly two decades. With the rise of metal studies as an emerging field of scholarship, the scholarly literature on extreme metal has increased exponentially within the past seven years supported by annual conferences, the establishment of the International Society for Metal Music Studies (ISMMS), and a specialized journal ( Metal Music Studies). Despite this growth, the field is still characterized by what sociologist Keith Kahn-Harris has called “undoubtedly the most critical weakness in metal studies as it stands: the relative paucity of detailed musicological analyzes on metal” (Kahn-Harris 2011, 252). This blind spot in the literature is so pervasive that Sheila Whiteley began her preface to Andrew Cope's Black Sabbath and the Rise of Heavy Metal Music with the exclamation, “At last! A book about heavy metal as music ” (Cope 2010, xi).
As the first book-length musicological study of extreme metal, this dissertation responds to this critical gap by outlining, in previously unattempted detail, a wide range of genre conventions and semiotic codes that form the basis of aesthetic expression in extreme metal. Using an interdisciplinary mixture of literary genre theory, semiotics, music theory and analysis, acoustics, and linguistics, this dissertation presents a broad overview of extreme metal's musical, verbal, and visual-symbolic systems of meaning.
Part I: Interconnected Contexts and Paratexts begins with a critical survey of genre taxonomies, showing how their implicit logic masks value judgments and overlooks aspects of genre that are counterintuitive. This leads to an investigation of boundary discourses that reveals how fans define extreme metal negatively according to those subgenres and categories of identity that they treat as abject Others: nu metal, screamo, and deathcore as well as their associations with blackness, femininity, and adolescence . Part I concludes with a thick description of death metal and black metal that shows how its lyrics, album reviews, album artwork, band logos, and font styles collectively provide messages about the semantics of genre, most notably by drawing upon archetypes of the sublime and , in the case of raw black metal,
Part II: Analyzing Musical Texts synthesizes large corpus studies of musical recordings with close readings of individual songs. This section begins with a demonstration of how technical death metal bands Cannibal Corpse, Demilich, and Spawn of Possession play with listener expectations towards meter, syntax, and musical complexity to create pleasurable forms of disorientation that reward active and repeated listenings. It proceeds to investigate musical accessibility and formal salience in melodic death metal, showing through examples by In Flames and Soilwork how the notion of melody pervades this musicand contributes to its sense of rhetoric. Part II concludes with a study of musical expression in extreme metal vocals. Using discussions and recordings from a vocalist participant, a corpus study of eighty-five songs that begin with wordless screams, and close readings of excerpts by Morbid Angel, Zimmers Hole, and At the Gates, I demonstrate that the acoustical features of vowel formants are central to vocal expression in extreme metal, enabling vocalists to mimic large beasts in a way that fans find convincing and powerful.
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Varas-Díaz, N., Scaricaciottoli, E., & Nevárez Araujo, D. (2020). Introduction: A Window into Heavy Metal Scholarship in the Global South. In E. Scaricaciottoli, N. Varas-Díaz, & D. Nevárez Araujo (Eds.), Heavy Metal Music In Argentina: in black we are seen. Chicago: University of Chicago Press.
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Teichert, M. (2016). Die Antichristen. Satanistisch-, neugermanische’ Allianzen im Black Metal und ihre Wurzeln in Schwarzer Romantik. Wagnerianismus und (Vulgär-)Nietzscheanismus. In N. Penke, & M. Teichert (Eds.), Zwischen Germanomanie und Antisemitismus: Transformationen altnordischer Mythologie in den Metal-Subkulturen (pp. 59–74). Baden-Baden: Nomos.
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Arnett, J. (1991). Adolescents and Heavy Metal Music: From the Mouths of Metalheads. Youth and Society, 23(1), 76.
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Verne, M. (2012). Die Grenzen des Kontextualismus: Madagassischer Heavy Metal, ”satanische” Ästhetik und die ethnologische Erforschung populärer Musik. Zeitschrift für Ethnologie, 137(2), 187–206.
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Hudson, S. S. (2021). Compound AABA Form and Style Distinction in Heavy Metal. Music Theory Online, 27(1), n.p.
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Lopes, P. A. L. (2006). Heavy Metal no Rio de Janeiro e Dessacralização de símbolos religiosos: a música do demônio na cidade de São Sebastião das Terras de Vera Cruz. Ph.D. thesis, Universidade Federal do Rio de Janeiro, Rio de Janeiro.
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