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Walser, R. (1993). Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover: Wesleyan University Press.
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Greene, P. (2001). Mixed messages: unsettled cosmopolitanisms in Nepali pop. Popular Music, 20(2), 169–187.
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Berger, H. M., & Fales, C. (2005). ”Heaviness” in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features. In P. D. Greene, & T. Porcello (Eds.), Wired for sound: engineering and technologies in sonic cultures (pp. 181–197). Middletown: Wesleyan University Press.
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Tolinski, B. (1989). Speed Kills: A Thinking Man’s Guide to Thrash. Guitar World, October.
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Marshall, W. (1989). Music appreciation: Iron Maiden. Guitar for the Practicing Musician, January.
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Marshall, W. (1989). ...And Justice for All. Guitar for the Practicing Musician, June.
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Aledort, A. (1988). Thrashing It Out. Guitar for the Practicing Musician, March.
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Armington, N., & Lofas, L. (1990). The Genesis of Metal. Drums and Drumming, August/September, 21–25;.
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Walser, R. (1997). Eruptions: Heavy metal appropriations of classical virtuosity. In K. Gelder, & S. Thornton (Eds.), The subcultures reader (pp. 459–472). London: Routledge.
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Moore, S. (2010). Dissonance and dissidents: the flattened supertonic within and without of heavy metal music. In R. Hill, & K. Spracklen (Eds.), Heavy fundametalisms: music, metal and politics (pp. 127–140). Oxford: Inter-Disciplinary Press.
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