|
Khalil, L. M. G. (2021). O Death Metal e a desnaturalização do demoníaco sob a perspectiva do ethos discursivo. In R. Barchi (Ed.), Diálogos com a música extrema (pp. 96–120). Porto Alegre: editorafi.org.
|
|
Smialek, E., & Bassler, S. (2024). Dis-ruptions: Heavy Metal Appropriations of Disability in Media. In K. Kahn-Harris, & J. H. Shadrack (Eds.), Heavy Metal and Disability. Crips, Crowds, and Cacophonies (pp. 95–112). Bristol: Intellect.
|
Vaughn, E. M. (2015). Harmonic resources in 1980s hard rock and heavy metal music. Master's thesis, Kent State University, Ann Arbor.
Abstract: The first objective of this work was to review the existing literature relating to popular music analysis to determine if standards of harmonic practice within hard rock and heavy metal music have been considered and established. This led to the review of the analytical methods of Guy Capuzzo, Christopher Doll, Walter Everett, Allen Moore, and Ken Stephenson. For the needs of this study, Everett's work (and to a lesser degree, Stephenson's work) is primary as it best summarizes the harmonic schemes used in the pieces analyzed.
Three songs were selected within different subgenres of hard rock and heavy metal: thrash metal (Metallica, “Master of Puppets”), neo-classical metal (Yngwie Malmsteen, “Far Beyond the Sun”), and commercial hard rock (Guns-N-Roses, “Welcome to the Jungle”). These pieces were analyzed extensively to understand the primary harmonic resources that are at work in each. Additionally, the three pieces were compared with regard to their formal elements, melodic materials, texture, and dynamics to draw conclusions about what similarities they share and also how they differ. Depending on the piece and the section under consideration, these three examples exhibited a reliance on modal structures, blues-based materials, and common-practice influences.
|
|
Lopes, C. B., & Melo, F. D. (2022). Ratos de porão e o disco “Brasil”: “ame-o ou deixe-o” ou o passado presente. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 94–110). São Paulo: Pimenta Cultural.
|
|
Uribe Álvarez, J. J. (2022). DEL ROCK AL METAL EXTREMO EN COLOMBIA. DISCURSOS COMO FORMA DE INTERVENCIÓN, VISIBILIZACIÓN Y DENUNCIA A PARTIR DE UNA GUERRA INTERMINABLE. Metal de Habla Hispana, 1, 93–99.
|
|
Thibodeau, A. J., & Bond, S. (2023). “A Whole New Type of Isolation”: Resilience and Hope in the Navajo Nation Metal Scene during the COVID-19 Pandemic in 2020–2021. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 91–112). London: Lexington Books.
|
|
Karbownik, K. (2022). Counter…what? Metal Music and Its Culture in the 21st Century. Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura, 30, 91–100.
|
|
Vidal, Y. (2021). Repensar y refundar la P(M)atria: los tópicos del siglo XIX en el metal oriental en Cuchillagrande, Pecho E' Fierro y Libertad o Muerte. In E. Scaricaciottoli, & G. Minore (Eds.), Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano (pp. 90–98). Buenos Aires: Clara Beter Ediciones.
|
Nevárez Araújo, D., & Varas-Díaz, N. (2022). Lodes of Metal: The Texture and Sound of Memory in Latin American Heavy Metal Documentaries. In C. L. Ballengee (Ed.), Music, Sound, and Documentary Film in the Global South (pp. 89–112). Extreme Sounds Studies: Global Socio-Cultural Explorations. Lanham, Maryland: Lexington Books.
Abstract: Description of entire book:
"Music, Sound, and Documentary Film in the Global South, edited by Christopher L. Ballengee, represents an important step toward thinking about the production and analysis of the soundscapes of documentary film, all while exploring a range of social, cultural, technological, and theoretical questions relevant to current trends in Global South studies. Written by a diverse set of authors, including filmmakers, academics, and cultural critics, the ten essays in this book provide fresh evaluations of the place of music and sound in documentary films outside the European-American milieu. On the whole, the authors illuminate how the invention of documentary film was at first a product of the colonialist project.
Yet over time, access to filmmaking technologies led to the creation of documentary films relevant for local communities and national identities. In this sense, documentary film in the Global South might be broadly defined as a mode of personally or politically mediated storytelling that, by one route or another, has become a useful and recognizable means of memorializing traumatic histories and critiquing everyday lived experience. As the essays in this volume attest, close readings of documentary soundscapes provide fresh perspectives on ways of hearing and ways of being heard in the Global South." (source: Lexington Books)
|
|
Špoljarić, B. (2021). The Goat-God Motif in Heavy Metal Music: The Relevance and Meaning of the God Pan in the Black Metal Project – Arckanum. Studia Polensia, 10(1), 87–114.
|
