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Author  |
Zuch, Rainer | ||||
| Title | ”The Art of Dying” – Zu einigen Strukturelementen in der Metal-Ästhetik, vornehmlich in der Covergestaltung | Type | Book Chapter | ||
| Year | 2011 | Publication | ”Metal matters”. Heavy Metal als Kultur und Welt | Abbreviated Journal | |
| Volume | Issue | Pages | 71-85 | ||
| Keywords | Death; Motifs; Cover art; Aesthetics | ||||
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| Publisher | Lit | Place of Publication | Münster | Editor | Nohr, Rolf F.; Schwaab, Herbert |
| Language | ger | Summary Language | Original Title | ||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-3-643-11086-2 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ nohr_art_2011 | Serial | 217 | ||
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| Author |
Wuerz, Timo | ||||
| Title | The art of metal | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Cover art; Illustrations; Timo Wuetz (illustrator) | ||||
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| Publisher | Popcom | Place of Publication | Hamburg | Editor | |
| Language | ger eng | Summary Language | Original Title | ||
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| ISSN | ISBN | 978-3-8420-2584-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ wuerz_art_2017 | Serial | 1621 | ||
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| Author |
Weber, Joe | ||||
| Title | Ronnie James Dio: the man on the silver mountain | Type | Journal Article | ||
| Year | 2024 | Publication | Journal of Maps | Abbreviated Journal | |
| Volume | 20 | Issue | 1 | Pages | 2349164 |
| Keywords | Ronnie James Dio (artist); Concerts | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2567 | ||
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| Author |
Watts, Chelsea Anne | ||||
| Title | Nothin' But a Good Time: Hair Metal, Conservatism and the End of the Cold War in the 1980s | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 232 | ||
| Keywords | Communication and the arts; Free market capitalism; Gender studies; Glam metal; Masculinity; Popular culture; Reagan era; Rock and roll; United States history | ||||
| Abstract | This dissertation offers a cultural history of the 1980s through an examination of one of the decade’s most memorable cultural forms—hair metal. The notion that hair metal musicians, and subsequently their fans, wanted “nothin’ but a good time,” shaped popular perceptions of the genre as shallow, hedonistic, and apolitical. Set against the backdrop of Reagan’s election and the rise of conservatism throughout the decade, hair metal’s transgressive nature embodied in the performers’ apparent obsession with partying and their absolute refusal to adopt the traditional values and trappings of “yuppies” or middle-class Americans, certainly appeared to be a strong reaction against conservatism; however, a closer examination of hair metal as a cultural form reveals a conservative subtext looming beneath the genre’s transgressive façade. In its embrace of traditional gender roles, free market capitalism, and American exceptionalism, hair metal upheld and worked to re-inscribe the key tenants of conservative ideology. Historians have only recently turned an analytical eye toward the 1980s and by and large their analyses have focused on the political and economic changes wrought by the Reagan Revolution that competed America’s conservative turn over the course of the decade. This study adds to historical understandings of the decade’s political history by telling us how non-political actors—musicians, producers, critics, and fans—shaped and were shaped by the currents of formal politics. Though heavy metal music and the rise of conservatism seem to share little common ground, by putting these two seemingly disparate historiographies into conversation with one another, we gain a clearer picture of the breadth and depth of conservatism’s reach in the 1980s. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of South Florida | Place of Publication | Ann Arbor | Editor | |
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| ISSN | ISBN | 978-1-369-42831-5 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2218 | ||
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| Author |
Vestergaard, Vitus | ||||
| Title | Blackletter logotypes and metal music | Type | Journal Article | ||
| Year | 2016 | Publication | Metal Music Studies | Abbreviated Journal | |
| Volume | 2 | Issue | 1 | Pages | 109-124 |
| Keywords | Neomedievalism; Cover art; Aesthetics | ||||
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| Language | en | Summary Language | Original Title | ||
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| Series Volume | Series Issue | Edition | |||
| ISSN | 2052-3998 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ vestergaard_blackletter_2016 | Serial | 450 | ||
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| Author |
Vestergaard, Vitus | ||||
| Title | Medieval Media Transformations and Metal Album Covers | Type | Book Chapter | ||
| Year | 2019 | Publication | Medievalism and Metal Music Studies: Throwing Down the Gauntlet | Abbreviated Journal | |
| Volume | Issue | Pages | 21-34 | ||
| Keywords | Neomedievalism; Cover art; Media | ||||
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| Publisher | Emerald | Place of Publication | London | Editor | Barratt-Peacock, Ruth; Hagen, Ross |
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| ISSN | ISBN | 978-1-78756-396-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ barratt-peacock_medieval_2019 | Serial | 485 | ||
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| Author |
Vaughn, Erin M. | ||||
| Title | Harmonic resources in 1980s hard rock and heavy metal music | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 94 | ||
| Keywords | Communication and the arts; Guns N' Roses; Hard rock; Harmony; Heavy metal; Malmsteen, Yngwie; Metallica; Music theory | ||||
| Abstract | The first objective of this work was to review the existing literature relating to popular music analysis to determine if standards of harmonic practice within hard rock and heavy metal music have been considered and established. This led to the review of the analytical methods of Guy Capuzzo, Christopher Doll, Walter Everett, Allen Moore, and Ken Stephenson. For the needs of this study, Everett's work (and to a lesser degree, Stephenson's work) is primary as it best summarizes the harmonic schemes used in the pieces analyzed. Three songs were selected within different subgenres of hard rock and heavy metal: thrash metal (Metallica, “Master of Puppets”), neo-classical metal (Yngwie Malmsteen, “Far Beyond the Sun”), and commercial hard rock (Guns-N-Roses, “Welcome to the Jungle”). These pieces were analyzed extensively to understand the primary harmonic resources that are at work in each. Additionally, the three pieces were compared with regard to their formal elements, melodic materials, texture, and dynamics to draw conclusions about what similarities they share and also how they differ. Depending on the piece and the section under consideration, these three examples exhibited a reliance on modal structures, blues-based materials, and common-practice influences. |
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Kent State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| ISSN | ISBN | 978-1-339-41655-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2224 | ||
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| Author |
Temkin, Daniel | ||||
| Title | Intricate Machines for String Quartet | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Classical music; Heavy Metal; Musical composition; String quartets | ||||
| Abstract | Program Notes: Intricate Machines was composed for the 2016 Saarbrücken Somermusik festival in Germany. The festival theme was “travel to foreign lands” and this piece, in some sense, represents a larger journey from the chaos of the outside world into a more peaceful sphere of inner reflection. Each of the five movements is connected together and played without pause. Beginning with dense and rhythmic outbursts, the first movement (“Heavy-Metal Viola”) imagines a musical offspring of Bartok and Metallica somehow fused together by string quartet. The second movement (“Bump in the Night”) focuses on juxtaposition: a lone, delicate, solo violin hums quietly, only to face jarring interruptions from the ensemble underneath. Ending with an introspective chorale, the second movement gives way to movement three (“Churning Gears”) in which fast and repetitive ostinatos create a dense interlocking musical machine. The fourth movement (“Constellations”) begins with an eruption of heavy, sustaining, chords that are played freely, out of time. These vibrating orbs of sound gradually recede into distant and ethereal harmonics. Suggesting a celestial atmosphere, the solo cello gently sings a muted melody, leaving us in a place of transformation relative to the earlier movements. Movement five, a playful folk-dance, completes the total journey as an overt contrast to the tense opening movements. Amidst its quirky and bizarre groove, elements of rock, funk, folk-fiddling, and pedal-tone drone music, are assimilated into what composer Steven Mackey describes as “a vernacular music from a culture that doesn’t really exist”—or as I phrase it here, a “Martian Jukebox Hoe-down.” | ||||
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| Corporate Author | Thesis | Doctoral thesis | |||
| Publisher | University of Southern California | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| ISSN | ISBN | 9798460449484 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2214 | ||
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| Author |
Sikes, Laura | ||||
| Title | In the Groove: American Rock Criticism, 1966-1978 | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 390 | ||
| Keywords | American literature; Communication and the arts; Counterculture; Group identity; Journalism; Literature and linguistics; Music criticism; Music history; Nineteen sixties; Political discourse; Rock journalism; Rock music; Rolling Stone (magazine); United States history | ||||
| Abstract | Rock and roll music was a national youth obsession for more than ten years before the first rock critics began writing seriously about the form. Rock was dismissed by adult cultural authorities as empty, degraded, and even dangerous. However, to its fans, rock was an important form of personal expression, a source of group identity, and a mode of political discourse. Rock critics understood its cultural and political power. In their work, they explained its importance to the American public. In 1966, the first rock critic, Richard Goldstein, began writing about rock and roll in a weekly column in the Village Voice called “Pop Eye.” In it, he asserted that rock and roll was an art that deserved the same recognition and protections afforded to other art forms. By 1967, The New Yorker hired Ellen Willis to write about rock in a regular column called “Rock, Etc.” She brought an intellectual sophistication to the genre that would resound long after her career as a rock critic ended. Later in 1967, Rolling Stone debuted; it would become the most visible and influential source of rock criticism for the next fifty years. Editor Jann Wenner’s tastes and approach would affect the way rock was perceived in his own time and for decades after. Finally, in 1968, Lester Bangs debuted onto the scene, writing artful reviews for publications like Creem and Rolling Stone, explaining the changes that were taking place as rock music splintered into subgenres like punk and heavy metal. The quality of these rock critics’ thought and the influence of their writing makes rock criticism an important and under-studied branch of Sixties literature. Each of the rock critics addressed in this dissertation explained to the public what rock music meant and why it mattered. By placing rock in its social, political, and cultural context, they demonstrated that it was far from the empty form cultural authorities thought it was. Their work permanently changed perceptions of popular music, proving that it was substantial enough to stand up to the same kind of critical treatment as other art forms. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of Rochester | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-355-39567-9 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2208 | ||
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| Author |
Sellam, Michaël | ||||
| Title | Dead body of a performance | Type | Journal Article | ||
| Year | 2016 | Publication | Helvete: A Journal of Black Metal Theory | Abbreviated Journal | |
| Volume | 3 | Issue | Pages | 41-48 | |
| Keywords | Black Metal; Art | ||||
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| Language | en | Summary Language | Original Title | ||
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| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ sellam_dead_2016 | Serial | 425 | ||
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