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Author Coulombe, Alexander Paul isbn  openurl
  Title Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture Type Book Whole
  Year 2018 Publication Abbreviated Journal  
  Volume Issue Pages 110  
  Keywords Asian Studies; Black metal; Community; Cultural anthropology; Globalization; Heavy metal; Japan; Localization; Social transgression  
  Abstract This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.  
  Address  
  Corporate Author Thesis Master's thesis  
  Publisher University of Arizona Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 978-0-438-33093-1 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2205  
Permanent link to this record
 
 
Author Busey, Sean D. isbn  openurl
  Title Parental Advisory-Explicit Content: The Parents Music Resource Center, Conservative Music Censorship, and the Protection of Children Type Book Whole
  Year 2018 Publication Abbreviated Journal  
  Volume Issue Pages 67  
  Keywords Activism; American history; Censorship; Children; Communication and the arts; Conservativism; Heavy metal; PMRC; Political science; Social sciences  
  Abstract Historians have long overlooked and misunderstood the Parents Music Resource Center, an activist group formed in 1985 to correct perceived excesses in heavy metal music. Scholars have focused their analyses almost exclusively on the First Amendment implications of the group’s actions, largely dismissing the PMRC in the process. This thesis argues that by expanding the historical analysis of the group to include the social and political climate of previous generations and of the 1980s, the self-stated goals of the PMRC, and a musicological discussion of heavy metal and why the group specifically targeted this genre, we can see that the PMRC was in fact an incredibly influential sociopolitical activist group that is representative of the political shift in the United States in the 1980s.  
  Address  
  Corporate Author Thesis  
  Publisher University of Nevada Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 978-0-438-17184-8 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2206  
Permanent link to this record
 
 
Author Carew, Francis isbn  openurl
  Title The Guitar Voice of Randy Rhoads Type Book Whole
  Year 2018 Publication Abbreviated Journal  
  Volume Issue Pages 186  
  Keywords Communication and the arts; Classical guitar; Guitar voice; Heavy metal; Music history; Musonia music; Osbourne, Ozzy; Rhoads, Randy  
  Abstract Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman.

The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music.		  
  Address  
  Corporate Author Thesis Master's thesis  
  Publisher Wayne State University Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 978-0-438-01846-4 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2207  
Permanent link to this record
 
 
Author Sikes, Laura isbn  openurl
  Title In the Groove: American Rock Criticism, 1966-1978 Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages 390  
  Keywords American literature; Communication and the arts; Counterculture; Group identity; Journalism; Literature and linguistics; Music criticism; Music history; Nineteen sixties; Political discourse; Rock journalism; Rock music; Rolling Stone (magazine); United States history  
  Abstract Rock and roll music was a national youth obsession for more than ten years before the first rock critics began writing seriously about the form. Rock was dismissed by adult cultural authorities as empty, degraded, and even dangerous. However, to its fans, rock was an important form of personal expression, a source of group identity, and a mode of political discourse. Rock critics understood its cultural and political power. In their work, they explained its importance to the American public.

In 1966, the first rock critic, Richard Goldstein, began writing about rock and roll in a weekly column in the Village Voice called “Pop Eye.” In it, he asserted that rock and roll was an art that deserved the same recognition and protections afforded to other art forms. By 1967, The New Yorker hired Ellen Willis to write about rock in a regular column called “Rock, Etc.” She brought an intellectual sophistication to the genre that would resound long after her career as a rock critic ended. Later in 1967, Rolling Stone debuted; it would become the most visible and influential source of rock criticism for the next fifty years. Editor Jann Wenner’s tastes and approach would affect the way rock was perceived in his own time and for decades after. Finally, in 1968, Lester Bangs debuted onto the scene, writing artful reviews for publications like Creem and Rolling Stone, explaining the changes that were taking place as rock music splintered into subgenres like punk and heavy metal.

The quality of these rock critics’ thought and the influence of their writing makes rock criticism an important and under-studied branch of Sixties literature. Each of the rock critics addressed in this dissertation explained to the public what rock music meant and why it mattered. By placing rock in its social, political, and cultural context, they demonstrated that it was far from the empty form cultural authorities thought it was. Their work permanently changed perceptions of popular music, proving that it was substantial enough to stand up to the same kind of critical treatment as other art forms.		  
  Address  
  Corporate Author Thesis Ph.D. thesis  
  Publisher University of Rochester Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 978-0-355-39567-9 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2208  
Permanent link to this record
 
 
Author Polzer, Evan isbn  openurl
  Title Mosh Pits and Mental Health: Metal Communities and Emerging Adults' Well-Being Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages 122  
  Keywords Cultural anthropology; Emerging adult; Health and environmental sciences; Heavy metal; Mental health; Psychological anthropology; Well being; Youth studies  
  Abstract In this thesis I will examine relationships between metal music and community participation and the mental well-being of so-called “emerging adults” within these communities. Building upon previous research on these relationships, I examine how emerging adult mental well-being is affected – both positively and negatively – by engagement and involvement in metal music communities. Utilizing a mixed-methods approach, I employ ethnographic fieldwork, person-centered interviews, and survey methods to describe how not just metal music but other “ritual” activities of metal music culture enact euphoric and also sometimes potentially detrimental effects on the mental health of emerging adults within these communities. Through these methods, I aim to detail how in a paradoxical sense the chaos and aggression inherent in metal music can confer therapeutic calm to individuals through identification with the music, the group, and the performances conducted within these metal music communities.

The introductory Chapter One will first serve to provide an overview of what is exactly meant when describing heavy metal music communities, as ambiguities exist not only in the common understanding of the subculture, but also in the academic literature. In addition to this, a brief history of metal music communities will be discussed, detailing public perceptions, stigmas, and moral panics associated with the music and its fans. The chapter will be closed with a discussion of the research site, scope, and overall aims of the study, namely to provide greater insights into the mental health and well-being of emerging adults within these music scenes. Chapter Two consists of a review of existing literature on this subject, accounting for research within psychological anthropology, sociology, public health, popular music studies, and adolescent and emerging adult psychology. This Chapter will describe not just previous studies on heavy metal music communities, but should also provide a foundation on which this current study rests. Drawing upon literature and theory from these fields, the question of emerging adult mental health within these music scenes can be better understood, not just in terms of accuracy from a scholarly perspective, but also driven by emic perspective from the field.

In seeking answers to these questions, Chapter Three will discuss the methodology and research design of this study. Attention will be given to the study population, site, locales, and scope and the rationale for using particular methods employed in this study. Chapter Four follows, detailing the analyses of data generated from the field and the results gathered throughout each step of research. Results will be described in both quantitative and qualitative terms, hoping to thus better clarify this study’s central question. Limitations of the research will be described in the concluding segments of this chapter. Finally, Chapter Five will discuss the results of this study in relation to theory and previous research, future impacts and considerations in this field, and concluding remarks regarding the relationship between metal music and the mental health of emerging adults.		  
  Address  
  Corporate Author Thesis Master's thesis  
  Publisher Colorado State University Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 978-0-355-29631-0 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2209  
Permanent link to this record
 
 
Author Wang, Chi-Chung. openurl 
  Title Subcultural Distinction in East Asian Education : the Case of High School Rock in Taiwan Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages  
  Keywords Cover songs; Education; Heavy metal; Music; Secondary schools; Subcultures; Taiwan  
  Abstract What kind of rock culture would grow out of an exam-oriented educational system? In the western rock world, self-learning has been characterized as most popular musicians’ principal learning pattern, closely intertwined with the “DIY” ethos and the counter school culture. This research aims to present a different case, that of the “schooled” rock music in Taiwan. Over the last three decades, rock music in Taiwan has grown in popularity, while Taipei has gradually earned the reputation of being the “Mandarin pop/indie capital.” In its developmental process, a few characteristics are worthy of the attention of both the Sociology of Education and youth cultural studies.

Firstly, learning rock instruments in regular high school is the main route for teenagers to gain access to rock culture. Secondly, where elite students tend to devote more time to rock music activities than other students, their musical repertoire is characterized by producing covers of heavy metal tunes instead of song-writing. This thesis will probe the rationale behind this phenomenon by answering the following questions: What can best explain the appeal of heavy rock to Taiwanese elite high school students? Why do they not write their own songs?

Drawing upon data collected through a school ethnography, it is revealed that the ways Taiwanese elite high school students participate in musical activities can be best understood to be part of a subcultural milieu marked by the collective pursuit of “dual excellence in both study and play”. In this symbolic space, the demanding technical requirements for acquiring several playing techniques allow rock to become a rankable sphere of activity in which elite students struggle for subcultural superiority according to measurable musical standards. The emphasis on instrumental virtuosity conforms to students’ competitive disposition manufactured through academic exams. With these features, rock music becomes a particular form of subcultural activity which allows elite students to not only resist educational control, but also exert symbolic violence over peers of lower-ranked high schools by showing technical superiority.

This thesis extends the CCCS’s subcultural solution to the analysis of “subcultural distinction”. In distinction to the “internal perspective” of Sarah Thornton’s conception of subcultural capital (1995), a more holistic framework is developed to explore the relationship between the wider patterns of social division, young people’s subcultural participation, and the shaping of the value hierarchy both within and outside the subcultural sphere. Further, the thesis explores the educational system’s active role in shaping youth subcultures. I demonstrate how education in Taiwan is institutionally mediated by the exam regime to be a powerful logic of social differentiation, and the ways young people’s subcultural choices are constrained by their educational career advance from high school to university. The study also has important implications for the educational policy making in Taiwan. By looking at how students “play,” I propose a new exploratory route to illuminate the widespread impact of the exam-oriented educational system on students’ creativity and identity formation.		  
  Address  
  Corporate Author Thesis Ph.D. thesis  
  Publisher University of Edinburgh (United Kingdom) Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2210  
Permanent link to this record
 
 
Author Hughes, Mairead openurl 
  Title Is affiliation with alternative subcultures associated with self-harm? Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages 145  
  Keywords Aesthetics; Behavioral psychology; Cultural anthropology; Emos; Goths; Heavy metal; Metaphysics; Population; Subcultures; Self destructive behavior; Self harm; Sociology; Suicides & suicide attempts; Systematic review; Young adults  
  Abstract This thesis focuses on the relationship between young people who affiliate with alternative subcultures and self-harm and/or suicide. Alternative subcultures can be described as groups that are distinct from 'mainstream' cultures. Affiliation with such groups can be broadly defined as having a strong collective identity to a group with specific values and tastes, typically centred around music preference, clothing, hairstyles, make-up, tattoos and piercings (Greater Manchester Police; GMP, 2013; Moore, 2005). Some alternative subcultures have also been associated with 'dark, sinister and morbid' themes, such as Goths, Emos, and Metallers (Young, Sproeber, Groschwitz, Preiss, & Plener, 2014). Self-harm can be defined as the deliberate act of harming oneself, with or without suicidal intent. This commonly involves cutting and self-poisoning (NICE, 2013). Other behaviours that can be described using this term include non-suicidal self-injury (NSSI; the intentional destruction of body tissue without suicidal intent) and suicidal behaviours such as suicidal ideation and attempts (self-harm with some intent to die; Klonsky & Muehlenkamp, 2007; Nock, Borges, Bromet, Cha, Kessler, & Lee, 2008).

Some would argue that NSSI is distinct from self-harm, and as such it features as a disorder in the DSM-V as Non-Suicidal Self-Injury Disorder (NSSID; APA, 2013), however there remains some controversy over the latter (Kapur, Cooper, O'Connor, & Hawton, 2013). The associations between alternative subgroup affiliation and self-harm and/or suicide were explored through a systematic review and empirical research study using quantitative methodology. It is well documented in the literature that the prevalence of self-harm and suicide is particularly high in adolescents and young adults, with suicide being one of the leading causes of death in this population (Hawton, Saunders, & O'Connor, 2012; WHO, 2014). Self-harm has become a clinical and public health concern with up to 30,000 adolescents receiving hospital treatment each year (Hawton, Rodham, & Evans, 2006) and prevalence rates rising to between 7-14% for young people in the UK (Hawton & James, 2005; Skegg, 2005; Swannell, Martin, Page, Hasking, & St John, 2014).

Minority groups are another population who appear to have elevated rates of self-harm, including Lesbian Gay Bisexual and Transgender (LGBT; Jackman, Honig, & Bockting, 2016), ethnic minorities (Bhui, McKnezie, & Rasul, 2007) and alternative subcultures (Young et al., 2014). However, there is a paucity of research into the latter population. This presented a gap to conduct a systematic review of the available literature in an attempt to understand the association between alternative subculture affiliation and self-harm and suicide. Chapter 1 describes the systematic process taken in an attempt to understand the links between alternative subculture affiliation and both self-harm and suicide. Ten studies were included which focused on self-harm and/or suicide and alternative identity through subculture affiliation (e.g. Goth) or music preference (e.g. Heavy Metal). The results indicated that there is an association between alternative subculture affiliation and self-harm and suicide, though the lack of research in the area and methodological limitations impact on the extent to which the underlying mechanisms can be understood.

Leading on from the systematic review, Chapter 2 presents the empirical study which investigated the factors that might contribute to the increased risk of NSSI in alternative subcultures, specifically focusing on variables that have been found to be linked to NSSI in young people; emotion dysregulation, depression, identity confusion and exposure to self-harm. The aim of this study was to increase our understanding of the mechanisms involved that might explain this increased risk of NSSI. Alternative subcultures were found to be at a greater risk of NSSI in comparison to affiliations with other subcultures, though this association lessened when the other variables were accounted for. A key predictor of NSSI in this population was emotion dysregulation. The findings highlight the importance of raising awareness of the potential risk of self-harm/suicide in alternative subcultures in order to create a greater understanding and direct resources appropriately.		  
  Address  
  Corporate Author Thesis Doctoral thesis  
  Publisher University of Liverpool (United Kingdom) Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2211  
Permanent link to this record
 
 
Author Jameson, Benjamin Thomas openurl 
  Title Negotiating the cross-cultural implications of the electric guitar in contemporary concert music Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages  
  Keywords Classical music; Electric guitar; Heavy metal; Electric instruments; Musical composition; Musical performance; Musical theory; Popular music  
  Abstract Despite its ubiquity in rock and popular music, use of the electric guitar has only become commonplace within ‘classical’ concert music in recent decades. This increased prominence is partly due to the expanded sonic possibilities that the instrument offers, but also reflects composers’ greater willingness to engage with popular music practices. Use of the electric guitar in concert music often involves some form of encounter between contemporary compositional approaches and popular forms of cultural expression, presenting creative possibilities and challenges to composers, performers, listeners and scholars alike. This research project investigates the cross-cultural implications of employing the electric guitar in concert music through theory, analysis and composition. Case studies of electric guitar works by Tristan Murail and Laurence Crane provide an opportunity to consider how popular music scholarship relating to the electric guitar might figure in analysis of concert music featuring the instrument. These analyses informed the composition of four new works within the included portfolio (provided as scores with accompanying audio/video documentation) that feature the electric guitar or draw upon its related musical idioms, with a specific focus on rock and heavy metal styles.  
  Address  
  Corporate Author Thesis Ph.D. thesis  
  Publisher University of Southampton (United Kingdom) Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2212  
Permanent link to this record
 
 
Author Cardwell, Thomas openurl 
  Title Still life and death metal: painting the battle jacket Type Book Whole
  Year 2017 Publication Abbreviated Journal  
  Volume Issue Pages  
  Keywords Art history; Battle jackets; Death metal; Fashion; Semiotics; Still lifes; Subcultures  
  Abstract This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms.

David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.		  
  Address  
  Corporate Author Thesis Ph.D. thesis  
  Publisher University of the Arts London (United Kingdom) Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2213  
Permanent link to this record
 
 
Author Temkin, Daniel isbn  openurl
  Title Intricate Machines for String Quartet Type Book Whole
  Year 2016 Publication Abbreviated Journal  
  Volume Issue Pages  
  Keywords Classical music; Heavy Metal; Musical composition; String quartets  
  Abstract Program Notes: Intricate Machines was composed for the 2016 Saarbrücken Somermusik festival in Germany. The festival theme was “travel to foreign lands” and this piece, in some sense, represents a larger journey from the chaos of the outside world into a more peaceful sphere of inner reflection. Each of the five movements is connected together and played without pause. Beginning with dense and rhythmic outbursts, the first movement (“Heavy-Metal Viola”) imagines a musical offspring of Bartok and Metallica somehow fused together by string quartet. The second movement (“Bump in the Night”) focuses on juxtaposition: a lone, delicate, solo violin hums quietly, only to face jarring interruptions from the ensemble underneath. Ending with an introspective chorale, the second movement gives way to movement three (“Churning Gears”) in which fast and repetitive ostinatos create a dense interlocking musical machine. The fourth movement (“Constellations”) begins with an eruption of heavy, sustaining, chords that are played freely, out of time. These vibrating orbs of sound gradually recede into distant and ethereal harmonics. Suggesting a celestial atmosphere, the solo cello gently sings a muted melody, leaving us in a place of transformation relative to the earlier movements. Movement five, a playful folk-dance, completes the total journey as an overt contrast to the tense opening movements. Amidst its quirky and bizarre groove, elements of rock, funk, folk-fiddling, and pedal-tone drone music, are assimilated into what composer Steven Mackey describes as “a vernacular music from a culture that doesn’t really exist”—or as I phrase it here, a “Martian Jukebox Hoe-down.”  
  Address  
  Corporate Author Thesis Doctoral thesis  
  Publisher University of Southern California Place of Publication Ann Arbor Editor (up)  
  Language Summary Language Original Title  
  Series Editor Series Title Abbreviated Series Title  
  Series Volume Series Issue Edition  
  ISSN ISBN 9798460449484 Medium  
  Area Expedition Conference  
  Notes Approved no  
  Call Number INTech @ brianhickam2019 @ Serial 2214  
Permanent link to this record
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