|
Kinnunen, M., & Honkanen, A. (2021). Femininity in metal fanship: “I do not need to take anyone along”. Metal Music Studies, 7(2), 211–235.
|
|
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.
|
|
Sylvester, S., & Cioppi, G. D. (2021). The Necromancer of Rock: The Origins of Death SS. Jacksonville, OR: Ajna Bound.
|
|
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.
|
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.
|
|
Watier, N. (2022). Threat cues in metal's visual code. metal music studies, 8(2), 205–223.
|
|
McFerran, K. (2014). Metal Made Me Who I Am: Seven Adult Men Reflect on Their Engagement with Metal Music During Adolescence. International Journal of Community Music, 7(2), 205–222.
|
Roby, D. A. (2021). Crust Punk: An Anarchist Political Epistemology. Ph.D. thesis, University of California, Davis, Ann Arbor.
Abstract: The Sex Pistols’ 1976 anthem, “Anarchy in the UK,” memorialized an ongoing relationship between anarchism and punk rock music. Although scholars of punk music have long documented the relationship between leftist or progressive politics in punk music scenes, they have not interrogated the content and sources of anarchist politics, often taking for granted the relationship between anarchism and punk. This dissertation examines the anarchist politics of a particular genre of punk, called “crust punk,” which is a blend of punk and heavy metal. Like most music subcultures, the crust punk scene is much more than musical sounds; it is associated with a particular lifestyle as well. Crust punks’ choices to drop out of society and live in squats or on the streets, I argue, are political. This dissertation combines ethnomusicological methods with a field of study called “political epistemology” from political science that seeks to understand the origins and composition of political ideas. I combine these two approaches to examine crust punk political ideas: where they come from, how they are shared within the scene, and in what ways they can be considered “anarchist.” I conclude that crust punk represents a form of what I theorize as “vernacular anarchism” that arises from precarious forms of existence, is formulated in everyday life experiences, and is given substance through affective and emotional responses to the poetics of crust punk song texts.
|
|
Campoy, L. C. (2022). As revelações da escuridão: o show no underground do heavy metal extremo como um ritual. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 203–221). São Paulo: Pimenta Cultural.
|
|
Shakespeare, S. (2017). Drone construction. Philosophy of identity in Conan's “Horseback Battle Hammer”. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 202–213). St. Louis: Void Front Press.
|
