Author  |
Title |
Year |
Publication |
Volume |
Pages |
| Tapia, Reynaldo; Mendoza, Boris (eds) |
El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
2022 |
|
|
|
| Tapia, Reynaldo; Mendoza, Boris |
Hardcore punk as an effort to Indigenize the underground scene in La Paz during the neo-liberal era of resistance 1993‐2003 |
2022 |
Metal Music Studies |
8 |
143-161 |
| Tapia, Reynaldo |
El Metal Underground como Cultura, Identidad y Resistencia |
2022 |
El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
|
9-30 |
| Tapia, Reynaldo |
Observaciones y Resumen del Primer Congreso y Encuentro de Rock y Metal en Bolivia |
2023 |
Perspectivas y Resistencias Musicales |
|
17-36 |
| Tapia, Reynaldo |
Perspectivas y Resistencias Musicales |
2023 |
|
|
|
| Szpajdel, Christophe |
Archaic Modernism: The Art of Christophe Szpajdel |
2020 |
|
|
252 |
| Sylvester, Steve; Cioppi, Gianni Della |
The Necromancer of Rock: The Origins of Death SS |
2021 |
|
|
207 |
| Swist, Jeremy J. |
Headbanging to Byzantium: The Reception of the Byzantine Empire in Heavy Metal Music |
2021 |
İstanbul’da Bu Ne Bizantinizm! / What Byzantinism is this in Istanbul! |
|
200-229 |
| Swist, Jeremy |
“Wolves of the Krypteia”: Lycanthropy and right-wing extremism in metal’s reception of ancient Greece and Rome |
2022 |
Metal Music Studies |
8 |
309-325 |
| Swiniartzki, Marco |
Why Florida?: Regional conditions and further development of the “Florida death metal” scene and the local public response (1984–1994) |
2021 |
Journal of Popular Music Studies |
33 |
168-193 |
