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Khalil, L. M. G. (2022). Metal extremo enquanto prática discursiva: modos de difusão, vocação enunciativa e ritos genéticos. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 221–244). São Paulo: Pimenta Cultural.
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Varas-Díaz, N., & Kobi Farhi. (2023). The Alternative Side of the Frame: A Dialogue on Southern Inspirations. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 219–226). London: Lexington Books.
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Baltazar, L. M. F. (2013). Are Heavy Metal Music Bands-Musicians, Managers of Their Own Music Business?: A Multiple Case Study: Portuguese vs. Finnish Bands (Anabela Dinis, Ed.). Doctoral thesis, Universidade da Beira Interior, Covilhã, Portugal.
Abstract: "The Music Industry is a very complex world that embraces different and broad segments needing of academic exploration. The big majority of studies and/or academic approaches to this unique business world have been focusing greatly on the record labels side but have failed to address the role of those who make the music – the musicians/artists. This is exactly what the present study aimed to understand: What is the role of the musicians in the music business? Aren’t they one of the key elements, essential players, within the whole industry, if not the most important elements ever?
The industry of music includes a large number of creative and wise musicians/bands behind one of the most discriminated music genres in the music history – Heavy Metal Music. However, diverse studies have demonstrated that Heavy Metal is recognized as a music genre that generates profit, with an increasing legion of fans all over the world hence, also considered popular music. Therefore, the purpose of this study is to understand how Heavy Metal Music bands and musicians succeed and how they manage to conciliate artistic creativity and commercial demands. By making a multiple case study analysis within two different settings – Portugal versus Finland – it will be shown that Heavy Metal bands / musicians possess business skills that allow them to manage and conduct both the artistic and business activities of their music business. In some of the cases, it will also be raised their entrepreneurial skills in innovating and finding new ways of reaching the audience and becoming more successful whilst doing what they love the most – making music and playing it live."
(Source: ProQuest Dissertations Publishing)
Ciências Sociais e Humanas (Social Sciences and Humanities).
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Norman, J. (2017). Weirdrone Tales. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 214–273). St. Louis: Void Front Press.
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Kinnunen, M., & Honkanen, A. (2021). Femininity in metal fanship: “I do not need to take anyone along”. Metal Music Studies, 7(2), 211–235.
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Michalewicz, A. (2007). Gods amongst us/gods within: the black metal aesthetic. In W. Haslem, A. Ndalianis, & C. Mackie (Eds.), Super/heroes: From Hercules to Superman (pp. 211–222, pp. 385–388). Washington: New Academia Publishing.
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Coggins, O. (2015). The Invocation at Tilburg: Mysticism, Implicit Religion and Gravetemple’s Drone Metal. Journal of Implicit Religion, 18(2), 209–231.
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Sylvester, S., & Cioppi, G. D. (2021). The Necromancer of Rock: The Origins of Death SS. Jacksonville, OR: Ajna Bound.
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Varas-Díaz, N. (2012). El sujeto criminal sónico: heavy metal y el reto a la normativa social dominante. In S. Serrano (Ed.), Registros criminológicos contemporáneos (pp. 207–240). San Juan: SITUM.
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Miller, D. (2016). Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes. Ph.D. thesis, University of Toronto (Canada), Ann Arbor.
Abstract: This dissertation uses a comparative case study of two grassroots music scenes—the folk music and heavy metal scenes in Toronto—to examine gender relations among cultural producers. I collect data using semi-structured interviews with 63 field actors, 70 instances of participant-observation, and discourse analysis of key public texts. Building on Bourdieu’s field theory, I argue that gender organizes fields of cultural production, including (1) the field’s economy of symbolic capital (2) the connection between field and habitus and (3) the spaces where musicians develop the embodied cultural capital required for music careers.
The first paper shows that field organization impacts the extent to which field members’ gendered dispositions produce symbolic capital, or reputation. Two features of cultural fields shape whether symbolic capital is gendered: the degree to which symbolic capital is institutionalized, and the level of symbolic boundary-drawing in the field. The metal field’s low institutionalization of symbolic capital and high boundaries foreground gender as a basis of symbolic capital, while the folk field’s high institutionalization of symbolic capital and low boundary-drawing reduce the extent to which gender matters.
The second paper situates gender as central to relationship between field and habitus. Participants in the metal field develop a metalhead habitus that privileges gendered practices centered on individual dominance and status competition, while the folkie habitus encourages gendered practices centered on caring, emotionality, and community-building. These gendered habitus support different working conventions: volunteer-based non-profit organizations in folk, and individual entrepreneurship in metal. The gendered habitus also supports different stylistic conventions: guitar virtuosity in the metal field, and participatory music-making in folk.
The third paper finds gendered access to the learning spaces where musicians develop performance capital, a form of embodied cultural capital denoting the instrumental and interpersonal skills required to perform music. Folk’s learning spaces are largely public and do not require social networks for access, while heavy metal’s learning spaces are private and centered on male-dominated friendship networks from which women are often excluded. These different learning spaces creates gendered patterns of access to the embodied cultural capital required to develop a music career.
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