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Ribeiro, H. L. (2004). Notas Preliminares Sobre O Cen??Rio Rock Underground Em Aracaju-Se. In Anais do V Congresso Latinoamericano da Associação Internacional para o Estudo da Música Popular (IASPM): “Música e territorialidades: os sons dos lugares e seus contextos socioculturais”. Salvador de Bahia: Universidade Federal da Bahia.
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Lilja, E. (2009). Theory and Analysis of Classic Heavy Metal Harmony. Ph.D. thesis, University of Helsinki, Helsinki.
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Pieslak, J. (2008). Sound, text and identity in Korn’s ’Hey Daddy’. Popular Music, 27(1), 35–52.
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Pieslak, J. (2007). Re-casting Metal: Rhythm and Meter in the Music of Meshuggah. Music Theory Spectrum; Oxford, 29(2), 219–223,225.
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Pillsbury, G. T. (2000). Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Popular Music and Society, 24(1), 125–128.
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Berger, H. M. (1997). The practice of perception: Multi-functionality and time in the musical experiences of a heavy metal drummer. Ethnomusicology; Champaign, 41(3), 464–488.
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Friesen, B. K., & Epstein, J. S. (1994). Rock ’n’ roll ain’t noise pollution: Artistic conventions and tensions in the major subgenres of heavy metal music. Popular Music and Society; Bowling Green, 18(3), 1.
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Walser, R. (1992). Eruptions: Heavy metal appropriations of classical virtuosity. Popular Music; Cambridge, 11(3), 263.
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Phillipov, M. (2012). Death Metal and Music Criticism: Analysis at the Limits. Lenham, Boulkder, New York, Toronto & Plymouth: Lexington Books.
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García-Peinazo, D. (2019). Flamenco Metal, mundos de género y transfonografía. In F. Galicia Poblet (Ed.), Heavy y metal, a través del cristal. Nuevas perspectivas culturales (pp. 133–154). Madrid: Apache Libros.
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