| Author |
Title |
Year |
Publication |
Volume |
Pages  |
| Burkhardt, Guga |
Arte extrema para olhos atentos |
2022 |
Música Extrema: ruídos, imagens e sentidos |
|
187-202 |
| Rosa, Hartmut |
When Monsters Roar and Angels Sing: Eine kleine Soziologie des Heavy Metal |
2023 |
|
|
187 |
| Carew, Francis |
The Guitar Voice of Randy Rhoads |
2018 |
|
|
186 |
| Friconnet, Guillaume |
Establishing a taxonomy of metal subgenres based on quantitative musical and thematic features |
2022 |
Metal Music Studies |
8 |
183-203 |
| Burns, Lori |
Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus |
2019 |
The Bloomsbury Handbook to Popular Music Video Analysis |
|
183-200 |
| Guberman, Daniel |
Massive Scar Era, Heavy Metal, and Two Tyrannies |
2018 |
Tyrannny and Music |
|
183-198 |
| Tzu-Han Cheng; Chen-Gia Tsai |
emale Listeners’ Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs |
2016 |
Frontiers in Psychology |
7 |
art. 182 |
| Yang, Zixuan |
Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society |
2019 |
|
|
179 |
| Johnson, Henry |
Music-making in the faroes: The experience of music-making in the faroes and making metal faroese (book review) |
2014 |
Island Studies Journal |
9 |
176-178 |
| Reis Alecrim, Thales |
PRIMITIVE FUTURE: Metal, Tempo e Neoliberalismo na Produção Musical do Sepultura (1989) |
2023 |
História e Cultura |
12 |
175-197 |
