| Records |
| Author |
Evangelista Ávila, Iram Isaí |
| Title |
Mihcailhuitl e Infierno, visiones del otro mundo interpretadas por Cemican y Luzbel |
Type |
Book Chapter |
| Year |
2021 |
Publication |
Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano |
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Issue |
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Pages |
113-120 |
Keywords  |
Cemican (band); Luzbel (band); Topics; Hell |
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| Publisher |
Clara Beter Ediciones |
Place of Publication |
Buenos Aires |
Editor |
Scaricaciottoli, Emiliano; Minore, Gito |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2156 |
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| Author |
Pérez Pelayo, Marisol |
| Title |
The Legacy of the Sun: Cemican, Mesoamerican instruments, and their materiality in metal music |
Type |
Journal Article |
| Year |
2023 |
Publication |
Riffs: Experimental Writing on Popular Music |
Abbreviated Journal |
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| Volume |
7 |
Issue |
1 |
Pages |
7-21 |
| Keywords |
Cemican (band); Performance; Indigenous instruments; Relation to the past |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2592 |
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| Author |
Pérez Pelayo, Marisol |
| Title |
El mundo alegórico de Cemican: Un estudio en antropología simbólica sobre metal |
Type |
Journal Article |
| Year |
2021 |
Publication |
Lenguas Radicales |
Abbreviated Journal |
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| Volume |
1 |
Issue |
2 |
Pages |
7-18 |
| Keywords |
Cemican (band); Symbolism; Cultural anthropology |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2238 |
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| Author |
Farías Álvarez, Ilse; Calderón Orellana, Majo |
| Title |
MINORÍAS EN EL METAL CHILENO. LETRAS DE RESISTENCIA Y MUJERES AL EXTREMO |
Type |
Journal Article |
| Year |
2022 |
Publication |
Metal de Habla Hispana |
Abbreviated Journal |
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| Volume |
1 |
Issue |
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Pages |
85-92 |
| Keywords |
Chile; Minorities; Women; Resistence |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2506 |
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| Author |
Franco, Edgar |
| Title |
Projeto musical Ciberpajé: processos criativos de 3 EP’s pandêmicos |
Type |
Book Chapter |
| Year |
2022 |
Publication |
Música Extrema: ruídos, imagens e sentidos |
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Issue |
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Pages |
135-155 |
| Keywords |
Ciberpajé (project); Extreme Metal |
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| Publisher |
Pimenta Cultural |
Place of Publication |
São Paulo |
Editor |
Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2360 |
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| Author |
Neplokh, Vassili |
| Title |
Metal som filmmusik i actionkomedi [Metal as Film Music in Action Comedy] |
Type |
Book Whole |
| Year |
2022 |
Publication |
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Abbreviated Journal |
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Issue |
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Pages |
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| Keywords |
Cinema |
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Thesis |
Master's thesis |
| Publisher |
Högskolan Dalarna |
Place of Publication |
Falun |
Editor |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2306 |
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| Author |
Jameson, Benjamin Thomas |
| Title |
Negotiating the cross-cultural implications of the electric guitar in contemporary concert music |
Type |
Book Whole |
| Year |
2017 |
Publication |
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Pages |
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| 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. |
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Thesis |
Ph.D. thesis |
| Publisher |
University of Southampton (United Kingdom) |
Place of Publication |
Ann Arbor |
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no |
| Call Number |
INTech @ brianhickam2019 @ |
Serial |
2212 |
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| Author |
Temkin, Daniel |
| Title |
Intricate Machines for String Quartet |
Type |
Book Whole |
| Year |
2016 |
Publication |
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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.” |
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Thesis |
Doctoral thesis |
| Publisher |
University of Southern California |
Place of Publication |
Ann Arbor |
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ISBN |
9798460449484 |
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Approved |
no |
| Call Number |
INTech @ brianhickam2019 @ |
Serial |
2214 |
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| Author |
Hernando González, Paola |
| Title |
La tradición clásica en el heavy metal y el rock |
Type |
Book Whole |
| Year |
2021 |
Publication |
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Issue |
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Pages |
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| Keywords |
Classicism |
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Thesis |
Bachelor's thesis |
| Publisher |
Universitat autònoma de Barcelona |
Place of Publication |
Barcelona |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2324 |
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| Author |
Hudson, Stephen S. |
| Title |
Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter |
Type |
Book Whole |
| Year |
2019 |
Publication |
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Issue |
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Pages |
334 |
| Keywords |
Cognitive science; Embodiment; Meter; Motion; Music theory; Performance studies; Rhythm |
| Abstract |
Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of listening. We construe meter through embodied metering practices: dance gestures, patterns of counting, or epistemologies of rhythmic motion. Many metering practices have conventional metering constructions, specific associations between sounding features, patterns of felt beats, and paths of motion through these beats. Drawing on concepts from cognitive science and performance studies, I explore how this embodied knowledge is constituted and applied in both planning of musical phrases by a performer, and in-time perception and cognition of musical rhythms by any listener or participant.
Metering constructions and practices are often performed by and associated with certain communities and identities. I take a culturally-situated approach to meter and felt motion, studying traditions of embodied movement and bodily discipline including headbanging in heavy metal (Chapter 1), characteristic dance rhythm topics in non-dance concert music of the eighteenth century (Chapter 2), motivic manipulation and developing variation in late Romantic chamber music (Chapters 3 and 4), and prosody and speech gestures in operatic recitative (Chapter 5). Contrary to many existing theories of meter, I argue that our feelings of beat are not necessarily organized in cyclical grids, but are improvised on the spot by stitching together familiar motions. I also explore how movements often embody and perform aesthetic ideologies and cultural meanings, with these hermeneutic frameworks often shaping listeners’ choice of movements, their proprioception of their own movements, and their perception of the qualities of rhythm and motion in the music they are listening to. |
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Ph.D. thesis |
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Northwestern University |
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ISBN |
9781085600613 |
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no |
| Call Number |
INTech @ brianhickam2019 @ |
Serial |
2202 |
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