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Author  |
Busey, Sean D. |
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Title |
Parental Advisory-Explicit Content: The Parents Music Resource Center, Conservative Music Censorship, and the Protection of Children |
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Book Whole |
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Year |
2018 |
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67 |
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Keywords |
Activism; American history; Censorship; Children; Communication and the arts; Conservativism; Heavy metal; PMRC; Political science; Social sciences |
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Abstract |
Historians have long overlooked and misunderstood the Parents Music Resource Center, an activist group formed in 1985 to correct perceived excesses in heavy metal music. Scholars have focused their analyses almost exclusively on the First Amendment implications of the group’s actions, largely dismissing the PMRC in the process. This thesis argues that by expanding the historical analysis of the group to include the social and political climate of previous generations and of the 1980s, the self-stated goals of the PMRC, and a musicological discussion of heavy metal and why the group specifically targeted this genre, we can see that the PMRC was in fact an incredibly influential sociopolitical activist group that is representative of the political shift in the United States in the 1980s. |
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University of Nevada |
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Ann Arbor |
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978-0-438-17184-8 |
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INTech @ brianhickam2019 @ |
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2206 |
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Author |
Calaça, Gleyber Eustáquio; Nascimento, Leonardo Alves; Diniz, Alexandre Magno |
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Title |
Na trilha do metal: a construção de terriotorialidades das bandas de heavy metal em Belo Horizonte nos anos 1980 / On metal tracts: the construction of terriotorialities of heavy metal bands in Belo Horizonte during the 1980s |
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Journal Article |
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Year |
2018 |
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Caderno de Geografia |
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28 |
Issue |
54 |
Pages |
650-673 |
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Keywords |
Sociology; History (metal music); Non-Western scenes; Brazil |
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2318-2962 |
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UCM - CAM @ amaranta.saguar.garcia @ calaca_na_2018 |
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1078 |
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Author |
Calvo, Manuela Belén |
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Title |
Perspectiva indigenista en la música metal de Argentina |
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Journal Article |
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Year |
2018 |
Publication |
Metal Music Studies |
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4 |
Issue |
1 |
Pages |
147-154 |
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Cultural Identity; Politics; Non-Western scenes; Argentina |
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en |
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2052-3998 |
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UCM - CAM @ amaranta.saguar.garcia @ calvo_perspectiva_2018 |
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514 |
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Author |
Calvo, Manuela Belén |
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Title |
Las escenas de la música metal: discusión teórica a partir del caso de la provincia de Buenos Aires |
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Journal Article |
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2018 |
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Question |
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1 |
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60 |
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22 |
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Sociology; Non-Western scenes; Argentina |
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spa |
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UCM - CAM @ amaranta.saguar.garcia @ calvo_escenas_2018 |
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929 |
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Author |
Carew, Francis |
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Title |
The Guitar Voice of Randy Rhoads |
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Book Whole |
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Year |
2018 |
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186 |
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Communication and the arts; Classical guitar; Guitar voice; Heavy metal; Music history; Musonia music; Osbourne, Ozzy; Rhoads, Randy |
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Abstract |
Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman.
The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music. |
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Master's thesis |
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Wayne State University |
Place of Publication |
Ann Arbor |
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978-0-438-01846-4 |
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INTech @ brianhickam2019 @ |
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2207 |
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Author |
Carvalheiro, Marcus; Moraes, Taiza Mara Rauen |
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Title |
O metal, suas especificidades e desdobramentos |
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Journal Article |
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Year |
2018 |
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Revista Confluências Culturais |
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7 |
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104-116 |
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Subgenres |
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2316-395x |
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UCM - CAM @ amaranta.saguar.garcia @ carvalheiro_o_2018 |
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1003 |
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Author |
Chelini, Gianluca |
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Title |
Javanese Black Metal: Towards a Definition of Post-Heritage Music |
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Book Chapter |
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Year |
2018 |
Publication |
Sounds of origin in heavy metal music |
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Pages |
95-116 |
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Keywords |
Black Metal; Non-Western scenes; Java |
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Cambridge Scholars Publishing |
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Cambridge |
Editor |
Karjalainen, Toni-Matti |
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English |
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978-1-5275-1170-5 |
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UCM - CAM @ amaranta.saguar.garcia @ karjalainen_javanese_2018 |
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477 |
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Author |
Coggins, Owen |
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Title |
Mysticism, ritual, and religion in drone metal |
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Book Whole |
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2018 |
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Religion; Sociology; History (metal music); Drone metal |
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Bloomsbury Academic |
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London & New York |
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978-1-350-02509-7 |
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UCM - CAM @ amaranta.saguar.garcia @ coggins_mysticism_2018 |
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269 |
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Author |
Coggins, Owen |
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Title |
Evil I? Witchfinders and the magical power of ambiguity at stake in doom metal |
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2018 |
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Metal Music Studies |
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4 |
Issue |
2 |
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309-328 |
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Motifs; Doom metal; Magic |
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2052-3998 |
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UCM - CAM @ amaranta.saguar.garcia @ coggins_evil_2018 |
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597 |
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Author |
Coulombe, Alexander Paul |
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Title |
Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture |
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Book Whole |
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Year |
2018 |
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110 |
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Keywords |
Asian Studies; Black metal; Community; Cultural anthropology; Globalization; Heavy metal; Japan; Localization; Social transgression |
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Abstract |
This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians. |
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Master's thesis |
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University of Arizona |
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Ann Arbor |
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978-0-438-33093-1 |
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Call Number |
INTech @ brianhickam2019 @ |
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2205 |
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