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Author  |
Montanero Vico, Luis | ||||
| Title | The New Wave of British Heavy Metal. Desarrollo, expansión y muerte de un movimiento juvenil | Type | Journal Article | ||
| Year | 2005 | Publication | Ex Novo. Revista d'Historia i Humanitats | Abbreviated Journal | |
| Volume | 2 | Issue | Pages | 123-139 | |
| Keywords | NWOBHM; Music History; Sociology; Spain | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2494 | ||
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| Author |
Möller, Lena | ||||
| Title | “Loads of love to all the Roadburn family”. Gemeinschaftsbildung auf einem virtuellen Festival während der Covid-19-Pandemie | Type | Book Chapter | ||
| Year | Publication | Superspreader – Popkultur und mediale Diskurse im Angesicht der Pandemie | Abbreviated Journal | ||
| Volume | Issue | Pages | 277-290 | ||
| Keywords | Roadburn Festival; Virtuality; Covid-19; Pandemics; Community | ||||
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| Publisher | Transcript | Place of Publication | Bielefeld | Editor | Görgen, Arno; Eichinger, Tobias; Pfister, Eugen |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2568 | ||
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| Author |
Mokrý, Matouš | ||||
| Title | The conference “Metal and Religion”, 7-8 September 2022, Brno | Type | Journal Article | ||
| Year | 2023 | Publication | Religio | Abbreviated Journal | |
| Volume | 31 | Issue | 1 | Pages | 153-156 |
| Keywords | Report; Conference | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2539 | ||
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| Author |
Mojica Ávila, Iris Fabiola | ||||
| Title | Las presencias de la muerte: ficciones de lo real | Type | Book Chapter | ||
| Year | 2021 | Publication | Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano | Abbreviated Journal | |
| Volume | Issue | Pages | 10-18 | ||
| Keywords | Death; Topics | ||||
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| Publisher | Clara Beter Ediciones | Place of Publication | Buenos Aires | Editor | Scaricaciottoli, Emiliano; Minore, Gito |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2140 | ||
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| Author |
Miranda Bonilla, Sergio | ||||
| Title | “Debajo de los cielos púrpura”: problematizando el metal desde la teología como estética trascendente | Type | Book Chapter | ||
| Year | 2021 | Publication | Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano | Abbreviated Journal | |
| Volume | Issue | Pages | 128-136 | ||
| Keywords | Theology; Aesthetics; Topics | ||||
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| Publisher | Clara Beter Ediciones | Place of Publication | Buenos Aires | Editor | Scaricaciottoli, Emiliano; Minore, Gito |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2158 | ||
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| Author |
Miranda Bonilla, Sergio | ||||
| Title | TENSIONES NORTE-SUR EN LOS ESTUDIOS DE METAL. DISCURSOS COMO FORMA DE INTERVENCIÓN, VISIBILIZACIÓN Y DENUNCIA A PARTIR DE UNA GUERRA INTERMINABLE | Type | Journal Article | ||
| Year | 2022 | Publication | Metal de Habla Hispana | Abbreviated Journal | |
| Volume | 1 | Issue | Pages | 105-107 | |
| Keywords | Metal Studies; Global North; Global South | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2509 | ||
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| Author |
Minore, Gito | ||||
| Title | Producir metal. Autogestión, independencia, mainstream | Type | Book Chapter | ||
| Year | 2021 | Publication | Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano | Abbreviated Journal | |
| Volume | Issue | Pages | 27-32 | ||
| Keywords | Music industry; Music production; Market | ||||
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| Publisher | Clara Beter Ediciones | Place of Publication | Buenos Aires | Editor | Scaricaciottoli, Emiliano; Minore, Gito |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2142 | ||
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| Author |
Miller, Michael Brian | ||||
| Title | Nicodemus! The beds are burning again: The ascension of Gorgomath | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 163 | ||
| Keywords | Communication and the arts; Chamber; Concerto; Heavy metal; Musical composition; Narrative; Orchestra; Piano | ||||
| Abstract | Nicodemus! The Beds are Burning Again: The Ascension of Gorgomath is a 22-minute concerto for piano and chamber orchestra that explores the use of narrative as a means of unifying disparate musical languages into a cohesive single-movement structure. The narrative, as implied by the fourteen programmatic indicators within the score, features a protagonist, Nicodemus, and an antagonist, Gorgomath. Additional contrasting elements essential to the plot are: the burning beds, outer space, the ultimate weapon, and the three rituals. The programmatic indicators, to be listed in the program, function as a framework from which the listener can fabricate their own version of the story. The narrative begins with “The beds are burning,” a heavy-metal inspired musical theme characterized by a pervasive rhythmic structure interspersed with virtuosic piano displays. Full orchestral forces add to the intensity of a relentless motor rhythm heard first in the piano. Following “Ritual I,” a transitionary theme of soli strings and piano, Nicodemus’s theme develops, a musical antithesis to “The Burning Beds” theme. It employs a simple melodic loop over a basic four-chord harmonic structure, reminiscent of 8-bit video game themes, and is voiced as piano accompanied by tremolo in the woodwinds and strings. Nicodemus’s journey into space begins with a rapid deceleration in tempo. The following slow ternary form includes a funerary dirge bookended by the piece’s most lyrical piano writing, expressed by the rise and fall of melodic octaves. The pounding neo-Shostakovian strings of “Ritual II” transition directly into the development section, “Nicodemus seeks the ultimate weapon.” Nicodemus’s theme undergoes significant transformation, assuming the guise of stride piano and North Indian tabla music. These styles are unique to this section, as is their orchestration of high, sustained winds alternating with orchestral hits between low strings and percussion. The piece’s recapitulation, “Meanwhile…,” begins with a return of the burning beds. Here, “Gorgomath’s Theme,” identifiable by the instability of its 7/16 motor rhythm is briefly foreshadowed. It appears in its entirety in the coda, “Boss Battle.” The resulting work uses original narrative to blend polystylistic elements into a cohesive single movement structure with a dramatic musical arc. |
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| Corporate Author | Thesis | Doctoral thesis | |||
| Publisher | University of Missouri - Kansas City | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
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| ISSN | ISBN | 978-1-339-70801-0 | Medium | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2222 | ||
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| Author |
Miller, Jason | ||||
| Title | What Makes Heavy Metal “Heavy”? | Type | Journal Article | ||
| Year | 2021 | Publication | The Journal of Aesthetics and Art Criticism | Abbreviated Journal | |
| Volume | 80 | Issue | 1 | Pages | 70-82 |
| Keywords | Aesthetics; Heaviness | ||||
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| Series Volume | Series Issue | Edition | |||
| ISSN | 0021-8529 | ISBN | Medium | ||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2258 | ||
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| Author |
Miller, Diana | ||||
| Title | Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 205 | ||
| Keywords | Cultural and symbolic capital; Cultural valuation; Gender and creative careers; Gender and habitus; Gender and organizations; Gender studies; Fields of cultural production; Heavy metal; Sociology | ||||
| Abstract | This dissertation uses a comparative case study of two grassroots music scenes—the folk music and heavy metal scenes in Toronto—to examine gender relations among cultural producers. I collect data using semi-structured interviews with 63 field actors, 70 instances of participant-observation, and discourse analysis of key public texts. Building on Bourdieu’s field theory, I argue that gender organizes fields of cultural production, including (1) the field’s economy of symbolic capital (2) the connection between field and habitus and (3) the spaces where musicians develop the embodied cultural capital required for music careers. The first paper shows that field organization impacts the extent to which field members’ gendered dispositions produce symbolic capital, or reputation. Two features of cultural fields shape whether symbolic capital is gendered: the degree to which symbolic capital is institutionalized, and the level of symbolic boundary-drawing in the field. The metal field’s low institutionalization of symbolic capital and high boundaries foreground gender as a basis of symbolic capital, while the folk field’s high institutionalization of symbolic capital and low boundary-drawing reduce the extent to which gender matters. The second paper situates gender as central to relationship between field and habitus. Participants in the metal field develop a metalhead habitus that privileges gendered practices centered on individual dominance and status competition, while the folkie habitus encourages gendered practices centered on caring, emotionality, and community-building. These gendered habitus support different working conventions: volunteer-based non-profit organizations in folk, and individual entrepreneurship in metal. The gendered habitus also supports different stylistic conventions: guitar virtuosity in the metal field, and participatory music-making in folk. The third paper finds gendered access to the learning spaces where musicians develop performance capital, a form of embodied cultural capital denoting the instrumental and interpersonal skills required to perform music. Folk’s learning spaces are largely public and do not require social networks for access, while heavy metal’s learning spaces are private and centered on male-dominated friendship networks from which women are often excluded. These different learning spaces creates gendered patterns of access to the embodied cultural capital required to develop a music career. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of Toronto (Canada) | Place of Publication | Ann Arbor | Editor | |
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| ISSN | ISBN | 978-1-369-67340-1 | Medium | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2215 | ||
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