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Herbst, J. - P., & Mynett, M. (2022). What Is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers. Popular Music and Society, t.b.c., t.b.c.
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Herbst, J. - P., & Mynett, M. (2022). Toward a Systematic Understanding of “Heaviness” in Metal Music Production. Rock Music Studies, t.b.c..
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Hereld, D. C. (2016). Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music. Master's thesis, University of California, San Diego, .
Abstract: This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite intuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action.
Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music.
Through review and analysis of existing literature, qualitative research, and in-depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self.
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Hernández Parra, S. I. (2022). “NO SOMOS CHAPULINES”. LA ESTIGMATIZACIÓN DE LA PRÁCTICA MUSICAL METAL COMO VIOLENTA A FINALES DEL SIGLO XX EN COSTA RICA. Metal de Habla Hispana, 1, 67–73.
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Hernando González, P. (2021). La tradición clásica en el heavy metal y el rock. Bachelor's thesis, Universitat autònoma de Barcelona, Barcelona.
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Herrera Díaz, F. A. (2017). Metal colombiano: los sonidos de un país en guerra. Bachelor's thesis, Pontificia Universidad Javeriana, Bogotá.
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Hiebaum, C. (2024). Law and Its Cultural Representations (With a Focus on Heavy Metal Studies). In P. Pichler (Ed.), The Law of the Metal Scene: An Interdisciplinary Discussion (pp. 11–28). Stuttgart: Kohlhammer.
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Hill, R. L. (2021). When love and critique collide: Methodology ontology fandom and standpoint in metal research. Metal Music Studies, 7(2), 197–210.
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Hill, R. L. (2022). When Love and Critique Collide. Methodology, Ontology, Fandom and Standpoint in Metal Music. Samples. Open Access Journal for Popular Music Studies, 20, 197–210.
Abstract: This article is a slightly updated version of the article of the same name published in Metal Music Studies 7 (2), 197-210 (2021), with permission from the editor.
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Hissen. (2017). Score for a spatial composition. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 86–104). St. Louis: Void Front Press.
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