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Author Uribe Álvarez, José Jefferson
Title DEL ROCK AL METAL EXTREMO EN COLOMBIA. DISCURSOS COMO FORMA DE INTERVENCIÓN, VISIBILIZACIÓN Y DENUNCIA A PARTIR DE UNA GUERRA INTERMINABLE Type Journal Article
Year 2022 Publication Metal de Habla Hispana Abbreviated Journal
Volume 1 Issue Pages 93-99
Keywords (up) Colombia; Music History; War
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Publisher Place of Publication Editor
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Area Expedition Conference
Notes Approved no
Call Number UCM-CAM @ amaranta.saguar.garcia @ Serial 2507
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Author Herrera Díaz, Francisco Augusto
Title Metal colombiano: los sonidos de un país en guerra Type Book Whole
Year 2017 Publication Abbreviated Journal
Volume Issue Pages
Keywords (up) Colombia; Music History; War; Semiotics
Abstract
Address
Corporate Author Thesis Bachelor's thesis
Publisher Pontificia Universidad Javeriana Place of Publication Bogotá Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN Medium
Area Expedition Conference
Notes Approved no
Call Number UCM-CAM @ amaranta.saguar.garcia @ Serial 2472
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Author Iuama, Tadeu Rodrigues
Title O que acontece no palco é pretexto: Ecologia da Comunicação e capilaridades comunicacionais visitam o submundo musical Type Book Chapter
Year 2021 Publication Abbreviated Journal
Volume Issue Pages 247-263
Keywords (up) Communication
Abstract
Address
Corporate Author Thesis
Publisher editorafi.org Place of Publication Porto Alegre Editor Barchi, Rodrigo
Language Summary Language Original Title
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ISSN ISBN Medium
Area Expedition Conference
Notes Approved no
Call Number UCM-CAM @ amaranta.saguar.garcia @ Serial 2165
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Author Miller, Michael Brian
Title Nicodemus! The beds are burning again: The ascension of Gorgomath Type Book Whole
Year 2016 Publication Abbreviated Journal
Volume Issue Pages 163
Keywords (up) Communication and the arts; Chamber; Concerto; Heavy metal; Musical composition; Narrative; Orchestra; Piano
Abstract Nicodemus! The Beds are Burning Again: The Ascension of Gorgomath is a 22-minute concerto for piano and chamber orchestra that explores the use of narrative as a means of unifying disparate musical languages into a cohesive single-movement structure. The narrative, as implied by the fourteen programmatic indicators within the score, features a protagonist, Nicodemus, and an antagonist, Gorgomath. Additional contrasting elements essential to the plot are: the burning beds, outer space, the ultimate weapon, and the three rituals. The programmatic indicators, to be listed in the program, function as a framework from which the listener can fabricate their own version of the story.

The narrative begins with “The beds are burning,” a heavy-metal inspired musical theme characterized by a pervasive rhythmic structure interspersed with virtuosic piano displays. Full orchestral forces add to the intensity of a relentless motor rhythm heard first in the piano. Following “Ritual I,” a transitionary theme of soli strings and piano, Nicodemus’s theme develops, a musical antithesis to “The Burning Beds” theme. It employs a simple melodic loop over a basic four-chord harmonic structure, reminiscent of 8-bit video game themes, and is voiced as piano accompanied by tremolo in the woodwinds and strings.

Nicodemus’s journey into space begins with a rapid deceleration in tempo. The following slow ternary form includes a funerary dirge bookended by the piece’s most lyrical piano writing, expressed by the rise and fall of melodic octaves. The pounding neo-Shostakovian strings of “Ritual II” transition directly into the development section, “Nicodemus seeks the ultimate weapon.” Nicodemus’s theme undergoes significant transformation, assuming the guise of stride piano and North Indian tabla music. These styles are unique to this section, as is their orchestration of high, sustained winds alternating with orchestral hits between low strings and percussion.

The piece’s recapitulation, “Meanwhile…,” begins with a return of the burning beds. Here, “Gorgomath’s Theme,” identifiable by the instability of its 7/16 motor rhythm is briefly foreshadowed. It appears in its entirety in the coda, “Boss Battle.”

The resulting work uses original narrative to blend polystylistic elements into a cohesive single movement structure with a dramatic musical arc.
Address
Corporate Author Thesis Doctoral thesis
Publisher University of Missouri - Kansas City Place of Publication Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-339-70801-0 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2222
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Author Carew, Francis
Title The Guitar Voice of Randy Rhoads Type Book Whole
Year 2018 Publication Abbreviated Journal
Volume Issue Pages 186
Keywords (up) Communication and the arts; Classical guitar; Guitar voice; Heavy metal; Music history; Musonia music; Osbourne, Ozzy; Rhoads, Randy
Abstract Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman.

The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music.
Address
Corporate Author Thesis Master's thesis
Publisher Wayne State University Place of Publication Ann Arbor Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-0-438-01846-4 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2207
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Author Hereld, Diana Christine
Title Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music Type Book Whole
Year 2016 Publication Abbreviated Journal
Volume Issue Pages 141
Keywords (up) Communication and the arts; Clinical psychology; Emotion regulation; Heavy metal; Heavy music; Plasticity; Resilience; Self-destructive behavior
Abstract This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite intuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action.

Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music.

Through review and analysis of existing literature, qualitative research, and in-depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self.
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Corporate Author Thesis Master's thesis
Publisher University of California, San Diego Place of Publication Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-339-93488-4 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2221
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Author Callaway, Charles
Title I See The Horse Type Book Whole
Year 2016 Publication Abbreviated Journal
Volume Issue Pages 490
Keywords (up) Communication and the arts; Creative writing; Fantasy literature; Fiction; Heavy metal
Abstract I See the Horse is a fantasy novel that follows the adventures of Komar Voorhexees of Port Karpricius during a time of civil war within The Ten Kingdoms of the Enlibar Empire. The primary focus or super objective of the novel centers on the pursuit of a religious artifact, The Tear of Vashanka, and the delivery of documents important to the war cause.

The novel follows story telling lessons from Twain, Vonnegut, Robert Mckee, and Orson Scott Card. The novel also mixes elements from canonical masters such as Homer, Shakespeare, and Joyce with genre-champions such as J.R.R. Tolkien, R.E. Howard, and G.R.R. Martin, as well as components of heavy metal music. The result lies squarely between the subgenres of Sword and Sorcery and High (Epic) Fantasy. The first six chapters fit into the Sword and Sorcery category; whereas, the second dives into Epic Fantasy as the protagonist slowly becomes part of the bigger milieu.

The novel was created to have an original, gritty, realistic world with an American feel and flavor and a fantasy city drenched in the culture of the American South. To create a fantasy novel with an American feel was the projects initial purpose and drive. This is accomplished by drawing heavily upon the author’s life and experience.
Address
Corporate Author Thesis Master's thesis
Publisher University of Central Oklahoma Place of Publication Ann Arbor Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-369-45252-5 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2216
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Author Pack, Christian
Title Hellbound in El Salvador: Heavy Metal as a Philosophy of Life in Central America Type Book Whole
Year 2018 Publication Abbreviated Journal
Volume Issue Pages 233
Keywords (up) Communication and the arts; Culture; El Salvador; Heavy metal; Humor; International law; Language, Latin America; Literature and linguistics; Obscenities; Philosophy; Politics; Social sciences; Spanish
Abstract Heavy Metal in El Salvador has been a driving force of the underground culture since the Civil War in the 1980s. Over time, it has grown into a large movement that encompasses musicians, producers, promoters, media outlets and the international exchange of music, ideas and live shows. As a music based around discontent with society at large, Heavy Metal attempts to question the status quo through an intellectual exploration of taboo subjects and the presentation of controversial live shows. As an international discourse, Heavy Metal speaks to ideas of both socio-political and individual power based around a Philosophy of Life that exalts personal freedoms and personal responsibility to oneself and their society. As a community, it represents a ‘rage’ group, as defined by Peter Sloterdijk, that questions Western epistemologies and the doctrines of Christian Philosophy. This is done in different ways, by different genres, but at the heart is the changing of macro- (international) discourses into micro- (local) discourses that focus on those issues important to the geographic specificity of the region.

In the case of Black Metal, born in Norway, it is interpreted in El Salvador through the similarities between the doctrines of Hitler and those of the most famous dictator in the country’s history – General Maximiliano Hernandez – and then applied, ironically, to the local phenomena of the Salvadoran Street Gangs (MS-13 and 18s) and their desired extermination. It is also done through the re-interpreting of folk metal in the local phenomenon of tribal metal that reinterprets the indigenous through the lens of modern society and heavy metal’s ideas of power. Finally, the Salvadoran metalhead adapts the genre’s vulgarity and dark humor to fuel their own systems of dealing with harsh repression and existing within a society that seems to have no place for them. At the bottom though, much more than a community, Heavy Metal in El Salvador is a source of fraternalismo that utilizes the Philosophy of Life to bind its members together and to provide them a means by which to express their personal freedoms within a society that would happily see them limited.
Address
Corporate Author Thesis Ph.D. thesis
Publisher Johns Hopkins University Place of Publication Ann Arbor Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-392-06770-3 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2204
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Author Watts, Chelsea Anne
Title Nothin' But a Good Time: Hair Metal, Conservatism and the End of the Cold War in the 1980s Type Book Whole
Year 2016 Publication Abbreviated Journal
Volume Issue Pages 232
Keywords (up) Communication and the arts; Free market capitalism; Gender studies; Glam metal; Masculinity; Popular culture; Reagan era; Rock and roll; United States history
Abstract This dissertation offers a cultural history of the 1980s through an examination of one of the decade’s most memorable cultural forms—hair metal. The notion that hair metal musicians, and subsequently their fans, wanted “nothin’ but a good time,” shaped popular perceptions of the genre as shallow, hedonistic, and apolitical. Set against the backdrop of Reagan’s election and the rise of conservatism throughout the decade, hair metal’s transgressive nature embodied in the performers’ apparent obsession with partying and their absolute refusal to adopt the traditional values and trappings of “yuppies” or middle-class Americans, certainly appeared to be a strong reaction against conservatism; however, a closer examination of hair metal as a cultural form reveals a conservative subtext looming beneath the genre’s transgressive façade. In its embrace of traditional gender roles, free market capitalism, and American exceptionalism, hair metal upheld and worked to re-inscribe the key tenants of conservative ideology.

Historians have only recently turned an analytical eye toward the 1980s and by and large their analyses have focused on the political and economic changes wrought by the Reagan Revolution that competed America’s conservative turn over the course of the decade. This study adds to historical understandings of the decade’s political history by telling us how non-political actors—musicians, producers, critics, and fans—shaped and were shaped by the currents of formal politics. Though heavy metal music and the rise of conservatism seem to share little common ground, by putting these two seemingly disparate historiographies into conversation with one another, we gain a clearer picture of the breadth and depth of conservatism’s reach in the 1980s.
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Corporate Author Thesis Ph.D. thesis
Publisher University of South Florida Place of Publication Ann Arbor Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-369-42831-5 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2218
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Author McLaughlin, Adria Ryan
Title Navigating Gender Inequality in Musical Subgenres Type Book Whole
Year 2015 Publication Abbreviated Journal
Volume Issue Pages 52
Keywords (up) Communication and the arts; Gender inequality; Heavy metal; Individual & family studies; Motherhood; Punk rock; Riot Grrrl; Sociology; Women's studies; Women musicians
Abstract This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.
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Corporate Author Thesis
Publisher East Tennessee State University Place of Publication Ann Arbor Editor
Language Summary Language Original Title
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-1-339-31926-1 Medium
Area Expedition Conference
Notes Approved no
Call Number INTech @ brianhickam2019 @ Serial 2225
Permanent link to this record