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Eckerström, Pasqualina |
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Title |
The Influence of Different Satanic Panics on the Transgressive Practices of Metal Music in Egypt, Iran, and Syria |
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2023 |
Publication |
Defiant Sounds. Heavy Metal Music in the Global South |
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Satanic Panic; Egypt; Iran; Syria |
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Lexington Books |
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London |
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Nevárez Araújo, Daniel; Varas-Díaz, Nelson; Wallach, Jeremy; Clinton, Esther |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2437 |
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Author |
Efthymiou, Charalampos |
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Title |
The Laws of Metal and Music Analysis |
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The Law of the Metal Scene: An Interdisciplinary Discussion |
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69-84 |
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Music Analysis; Law |
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Kohlhammer |
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Stuttgart |
Editor |
Pichler, Peter |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2575 |
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Author |
El Harami, Said; Yachoulti, Mohammed |
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Title |
Youth Heavy Metal Bands in Morocco: Resistance and the Struggle for Change |
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Journal Article |
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Year |
2023 |
Publication |
ESI Preprints |
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742-777 |
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Morocco; Lyrics; Symbolism; Activism; Sociology |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2546 |
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Author |
Evangelista Ávila, Iram Isaí |
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Title |
La recepción borgiana de At the Gates: refiguraciones, intertextualidades y heavy metal |
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Journal Article |
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Year |
2021 |
Publication |
Impossibilia. Revista Internacional de Estudios Literarios |
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21 |
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237-261 |
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At the Gates (band); Intertextuality; Reception |
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es |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2115 |
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Author |
Evangelista Ávila, Iram Isaí |
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Title |
Mihcailhuitl e Infierno, visiones del otro mundo interpretadas por Cemican y Luzbel |
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Book Chapter |
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Year |
2021 |
Publication |
Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano |
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113-120 |
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Keywords |
Cemican (band); Luzbel (band); Topics; Hell |
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Clara Beter Ediciones |
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Buenos Aires |
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Scaricaciottoli, Emiliano; Minore, Gito |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2156 |
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Author |
Evangelista Ávila, José Luis |
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Title |
Lo infernal y lo demoníaco como formas de subjetividad. Una lectura de las composiciones de Luzbel a partir de Kierkegaard y Sartre |
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Book Chapter |
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Year |
2021 |
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Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano |
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121-127 |
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Luzbel (band); Philosophy; Hell; Demon; Existentialism |
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Clara Beter Ediciones |
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Buenos Aires |
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Scaricaciottoli, Emiliano; Minore, Gito |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2157 |
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Author |
Faingold, Noam. |
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Title |
Portfolio of compositions and technical commentary |
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Book Whole |
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Year |
2015 |
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Bass instruments; Cultural heritage; Heavy metal; Middle Eastern music; Musical composition; Musical narratives |
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The six pieces in this portfolio explore contemporary musical narratives as if approached from a traditional outlook. In these pieces many harmonic and rhythmic processes (modal, serial,‘post-serial’ and minimalist) that emerged in Post-War music, as well as their resulting forms or modes of continuity interact with a traditionally grounded, intuitive approach to 'thematicism'. Another important topic in this music is an engagement with certain formal elements and mannerisms of contemporary popular, rock and dance music, and the ethnic musical traditions of my cultural heritage. Writing for string instruments informed by the composer’s personal experience as a double bass performer is a central concern of the thesis. Knife in the Water (for violin and cello) explores elements of heavy metal rhythms, Middle Eastern incantations, and free and strict meter. Bonaparte Born to Party (for mixed quintet) builds on the jagged heavy metal and dance elements found in Knife in the Water, subjecting some of the harmonic structures of the latter to a fairly strict process of transformation while relying to a much greater extent!on repetition.
A Poem is a Burning City (for ten players) explores the possibility of creating a sort of'modality' by means of timbre as well as the 'transformation of sonority' itself as a means for delineating a binary form. While its harmonic language shares many aspects with the earlier pieces, here they are no longer the main concern of the music, which relies primarily on ‘colour', 'sonority' and extensive 'repetition' for the unfolding of a slowly evolving texture. In the string quintet Everything is Amazing and Nobody is Happy, the Suite for solo violin and the Lullaby for double bass and orchestra, the type of explorations of colour and! sonority incipient in A Poem is a Burning City are extended and combined with the developmental processes and clear thematic and! melodic/harmonic!materials that characterise the earlier pieces. |
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Ph.D. thesis |
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University of London, King's College (United Kingdom) |
Place of Publication |
Ann Arbor |
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INTech @ brianhickam2019 @ |
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2227 |
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Author |
Faria, Fabio Coura de |
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Title |
Roots and Routes: The Cultural Politics and Translocality of Hip Hop and Heavy Metal |
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Book Whole |
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Year |
2022 |
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Hip Hop; Politics; Locality; Identity; Latin America; Colonisation; Hybridity |
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Doctoral thesis |
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Universidade Federal de Santa Catarina |
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Florianópolis |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2347 |
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Author |
Farías Álvarez, Ilse; Calderón Orellana, Majo |
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Title |
MINORÍAS EN EL METAL CHILENO. LETRAS DE RESISTENCIA Y MUJERES AL EXTREMO |
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2022 |
Publication |
Metal de Habla Hispana |
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1 |
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85-92 |
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Chile; Minorities; Women; Resistence |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2506 |
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Author |
Fejes, János |
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Title |
Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music |
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2017 |
Publication |
Acta Universitatis Sapientiae, Communicatio |
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4 |
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37-60 |
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Extreme metal; Reception Studies; Mythology |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2493 |
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