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Miller, Diana |
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Title |
Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes |
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2016 |
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205 |
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Cultural and symbolic capital; Cultural valuation; Gender and creative careers; Gender and habitus; Gender and organizations; Gender studies; Fields of cultural production; Heavy metal; Sociology |
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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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Ph.D. thesis |
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University of Toronto (Canada) |
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Ann Arbor |
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978-1-369-67340-1 |
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INTech @ brianhickam2019 @ |
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2215 |
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Author |
Polzer, Evan |
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Title |
Mosh Pits and Mental Health: Metal Communities and Emerging Adults' Well-Being |
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2017 |
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122 |
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Cultural anthropology; Emerging adult; Health and environmental sciences; Heavy metal; Mental health; Psychological anthropology; Well being; Youth studies |
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In this thesis I will examine relationships between metal music and community participation and the mental well-being of so-called “emerging adults” within these communities. Building upon previous research on these relationships, I examine how emerging adult mental well-being is affected – both positively and negatively – by engagement and involvement in metal music communities. Utilizing a mixed-methods approach, I employ ethnographic fieldwork, person-centered interviews, and survey methods to describe how not just metal music but other “ritual” activities of metal music culture enact euphoric and also sometimes potentially detrimental effects on the mental health of emerging adults within these communities. Through these methods, I aim to detail how in a paradoxical sense the chaos and aggression inherent in metal music can confer therapeutic calm to individuals through identification with the music, the group, and the performances conducted within these metal music communities.
The introductory Chapter One will first serve to provide an overview of what is exactly meant when describing heavy metal music communities, as ambiguities exist not only in the common understanding of the subculture, but also in the academic literature. In addition to this, a brief history of metal music communities will be discussed, detailing public perceptions, stigmas, and moral panics associated with the music and its fans. The chapter will be closed with a discussion of the research site, scope, and overall aims of the study, namely to provide greater insights into the mental health and well-being of emerging adults within these music scenes. Chapter Two consists of a review of existing literature on this subject, accounting for research within psychological anthropology, sociology, public health, popular music studies, and adolescent and emerging adult psychology. This Chapter will describe not just previous studies on heavy metal music communities, but should also provide a foundation on which this current study rests. Drawing upon literature and theory from these fields, the question of emerging adult mental health within these music scenes can be better understood, not just in terms of accuracy from a scholarly perspective, but also driven by emic perspective from the field.
In seeking answers to these questions, Chapter Three will discuss the methodology and research design of this study. Attention will be given to the study population, site, locales, and scope and the rationale for using particular methods employed in this study. Chapter Four follows, detailing the analyses of data generated from the field and the results gathered throughout each step of research. Results will be described in both quantitative and qualitative terms, hoping to thus better clarify this study’s central question. Limitations of the research will be described in the concluding segments of this chapter. Finally, Chapter Five will discuss the results of this study in relation to theory and previous research, future impacts and considerations in this field, and concluding remarks regarding the relationship between metal music and the mental health of emerging adults. |
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Master's thesis |
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Colorado State University |
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Ann Arbor |
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978-0-355-29631-0 |
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INTech @ brianhickam2019 @ |
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2209 |
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Author |
Torraga, Guillermo Sergio |
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Title |
Rescate de la cultura andina en bandas de metal |
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Year |
2021 |
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Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano |
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106-112 |
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Cultural Identity; Los Andes; Non-western scenes; Latin America |
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Clara Beter Ediciones |
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Buenos Aires |
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Scaricaciottoli, Emiliano; Minore, Gito |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2155 |
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Author |
Vrzal, Miroslav |
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Title |
Czech Metal Studies: 5 Years of the Study of Metal (and Religion) |
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Journal Article |
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2022 |
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Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura |
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30 |
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6-22 |
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Czech Metal Studies; Academia; Scholarship |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2594 |
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Vrzal, Miroslav |
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Title |
Against the devil’s metal: Christian public discursive strategies against metal concerts and festivals in Czechia and Slovakia |
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Journal Article |
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2022 |
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Metal Music Studies |
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8 |
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2 |
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245-268 |
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Czechia; Slovakia; Religion; Christian religion |
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2052-3998 |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2319 |
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Author |
Zulfiningrum, Rahmawati; Almayda, Sabian Ray Dhista |
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Title |
Metal Music as a Medium of Da'wah Communication (Album “7:172” Band Purgatory) |
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2023 |
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Riwayat: Educational Journal of History and Humanities, |
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6 |
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2 |
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468-477 |
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Da'wah; Purgatory (band); Indonesian metal |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2581 |
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Author |
Fejes, János |
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Title |
The Variety of Similarity: Hungarian High Literature, History, and Folklore in the Lyrics of Dalriada |
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Journal Article |
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2022 |
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Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura |
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30 |
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23-38 |
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Dalriada (band); Folk metal; Hungary; Lyrics; History; Tradition; Literature; Reception |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2595 |
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Author |
Burns, Lori |
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Title |
Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus |
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2019 |
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The Bloomsbury Handbook to Popular Music Video Analysis |
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183-200 |
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Dark Tranquility (band); Videoclips; Extreme metal |
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Bloomsbury Academic |
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Burns, Lori; Hawkins, Stan |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2399 |
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Author |
Odell, Grace Kate |
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A Night at the Opera: Performance, Theatricality, and Identity in the Music of Queen |
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2019 |
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174 |
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David Bowie; Communication and the arts; Ethnicity; Gender; Heavy metal; Nationality; Queen (band); Rock music; Sexuality; Theatricality |
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Many discussions of the rock band Queen (vocalist Freddie Mercury, guitarist Brian May, drummer Roger Taylor, and bassist John Deacon) reference their theatricality, yet few analyze what makes Queen’s music and performances theatrical. Through examining Queen’s theatricality from different angles, this thesis shows the different layers of Queen’s performativity and its relationship to identity.
After an introductory chapter that surveys the literature about Queen, the second chapter of the thesis analyzes the theatricality of Queen’s music from a stylistic basis. The chapter begins by addressing Queen’s camp theatricality through their use of music hall, operetta, and musical theatre styles. It then addresses their drama-based theatricality through their use of opera and film music styles. The third chapter analyzes Queen’s performance of gender and sexuality through their use of different genres. It first discusses Queen’s participation in the genre of glam rock, in which they performed a more feminine persona, but were still understood as heterosexual. Then it explores Queen’s disco and funk influenced music and Mercury’s “castro clone” image as simultaneously a more masculine and more homosexual performance. Finally the chapter analyzes the various rock genres Queen used throughout their career in order to perform heterosexual masculinity, including hard rock, stadium rock, and heavy metal.
The fourth chapter focuses primarily on Mercury’s performance of ethnicity and nationality through his music. Taking into account his history as a first-generation Parsi Zanzibarian who immigrated to London, it first looks at his and Queen’s expressions of “Britishness” through the figure of the British pop dandy and their use of the British national anthem. Then it turns to discussing the influence of Mercury’s Persian and African heritage on select songs. Finally, it examines religion as it relates to cultural identity, specifically Mercury’s Zoroastrian heritage and the ways he used the aesthetics of heavy metal to articulate his place within that religion. The fifth chapter concludes the thesis by taking a holistic view of how all of these layers of performativity operated simultaneously, endowing Queen’s music with a deep and complex sense of theatricality. |
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Master's thesis |
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University of Missouri |
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Ann Arbor |
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978-1-392-27237-4 |
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INTech @ brianhickam2019 @ |
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2203 |
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Author |
Fellezs, Kevin |
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Title |
The Ultra-Violence: Death Angel and Asian American Presence/Absence in Heavy Metal |
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2023 |
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Defiant Sounds. Heavy Metal Music in the Global South |
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235-158 |
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Death Angel (band); Asian-Americans |
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Lexington Books |
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London |
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Nevárez Araújo, Daniel; Varas-Díaz, Nelson; Wallach, Jeremy; Clinton, Esther |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2434 |
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