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Author |
Cardwell, Thomas |
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Title |
Heavy Metal Armour: A Visual Study of Battle Jackets |
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2022 |
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Intellect |
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Bristol |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2302 |
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Author |
Watier, Nicholas |
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Title |
Threat cues in metal's visual code |
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2022 |
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Metal Music Studies |
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metal music studies |
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8 |
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2 |
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205-223 |
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Aesthetics; Album covers; Threat |
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2052-3998 |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2317 |
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Author |
Hughes, Mairead |
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Title |
Is affiliation with alternative subcultures associated with self-harm? |
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2017 |
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145 |
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Aesthetics; Behavioral psychology; Cultural anthropology; Emos; Goths; Heavy metal; Metaphysics; Population; Subcultures; Self destructive behavior; Self harm; Sociology; Suicides & suicide attempts; Systematic review; Young adults |
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Abstract |
This thesis focuses on the relationship between young people who affiliate with alternative subcultures and self-harm and/or suicide. Alternative subcultures can be described as groups that are distinct from 'mainstream' cultures. Affiliation with such groups can be broadly defined as having a strong collective identity to a group with specific values and tastes, typically centred around music preference, clothing, hairstyles, make-up, tattoos and piercings (Greater Manchester Police; GMP, 2013; Moore, 2005). Some alternative subcultures have also been associated with 'dark, sinister and morbid' themes, such as Goths, Emos, and Metallers (Young, Sproeber, Groschwitz, Preiss, & Plener, 2014). Self-harm can be defined as the deliberate act of harming oneself, with or without suicidal intent. This commonly involves cutting and self-poisoning (NICE, 2013). Other behaviours that can be described using this term include non-suicidal self-injury (NSSI; the intentional destruction of body tissue without suicidal intent) and suicidal behaviours such as suicidal ideation and attempts (self-harm with some intent to die; Klonsky & Muehlenkamp, 2007; Nock, Borges, Bromet, Cha, Kessler, & Lee, 2008).
Some would argue that NSSI is distinct from self-harm, and as such it features as a disorder in the DSM-V as Non-Suicidal Self-Injury Disorder (NSSID; APA, 2013), however there remains some controversy over the latter (Kapur, Cooper, O'Connor, & Hawton, 2013). The associations between alternative subgroup affiliation and self-harm and/or suicide were explored through a systematic review and empirical research study using quantitative methodology. It is well documented in the literature that the prevalence of self-harm and suicide is particularly high in adolescents and young adults, with suicide being one of the leading causes of death in this population (Hawton, Saunders, & O'Connor, 2012; WHO, 2014). Self-harm has become a clinical and public health concern with up to 30,000 adolescents receiving hospital treatment each year (Hawton, Rodham, & Evans, 2006) and prevalence rates rising to between 7-14% for young people in the UK (Hawton & James, 2005; Skegg, 2005; Swannell, Martin, Page, Hasking, & St John, 2014).
Minority groups are another population who appear to have elevated rates of self-harm, including Lesbian Gay Bisexual and Transgender (LGBT; Jackman, Honig, & Bockting, 2016), ethnic minorities (Bhui, McKnezie, & Rasul, 2007) and alternative subcultures (Young et al., 2014). However, there is a paucity of research into the latter population. This presented a gap to conduct a systematic review of the available literature in an attempt to understand the association between alternative subculture affiliation and self-harm and suicide. Chapter 1 describes the systematic process taken in an attempt to understand the links between alternative subculture affiliation and both self-harm and suicide. Ten studies were included which focused on self-harm and/or suicide and alternative identity through subculture affiliation (e.g. Goth) or music preference (e.g. Heavy Metal). The results indicated that there is an association between alternative subculture affiliation and self-harm and suicide, though the lack of research in the area and methodological limitations impact on the extent to which the underlying mechanisms can be understood.
Leading on from the systematic review, Chapter 2 presents the empirical study which investigated the factors that might contribute to the increased risk of NSSI in alternative subcultures, specifically focusing on variables that have been found to be linked to NSSI in young people; emotion dysregulation, depression, identity confusion and exposure to self-harm. The aim of this study was to increase our understanding of the mechanisms involved that might explain this increased risk of NSSI. Alternative subcultures were found to be at a greater risk of NSSI in comparison to affiliations with other subcultures, though this association lessened when the other variables were accounted for. A key predictor of NSSI in this population was emotion dysregulation. The findings highlight the importance of raising awareness of the potential risk of self-harm/suicide in alternative subcultures in order to create a greater understanding and direct resources appropriately. |
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Doctoral thesis |
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University of Liverpool (United Kingdom) |
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Ann Arbor |
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INTech @ brianhickam2019 @ |
Serial |
2211 |
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Author |
Smialek, Eric T. |
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Title |
Genre and Expression in Extreme Metal Music, Ca. 1990-2015 |
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Year |
2016 |
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Pages |
346 |
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Keywords |
Aesthetics; Black metal; Death metal; Extreme Metal; History (metal music); Musicians & conductors; Subgenres |
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Abstract |
Extreme metal music , a conglomeration of metal subgenres unified by a common interest in transgressive sounds and imagery, is now a global phenomenon with thriving scenes in every inhabited continent. Its individual subgenres represent a range of diverse aesthetics, some with histories spanning over thirty years. Scholarship on extreme metal now boasts a similar diversity as well as its own history spanning nearly two decades. With the rise of metal studies as an emerging field of scholarship, the scholarly literature on extreme metal has increased exponentially within the past seven years supported by annual conferences, the establishment of the International Society for Metal Music Studies (ISMMS), and a specialized journal ( Metal Music Studies). Despite this growth, the field is still characterized by what sociologist Keith Kahn-Harris has called “undoubtedly the most critical weakness in metal studies as it stands: the relative paucity of detailed musicological analyzes on metal” (Kahn-Harris 2011, 252). This blind spot in the literature is so pervasive that Sheila Whiteley began her preface to Andrew Cope's Black Sabbath and the Rise of Heavy Metal Music with the exclamation, “At last! A book about heavy metal as music ” (Cope 2010, xi).
As the first book-length musicological study of extreme metal, this dissertation responds to this critical gap by outlining, in previously unattempted detail, a wide range of genre conventions and semiotic codes that form the basis of aesthetic expression in extreme metal. Using an interdisciplinary mixture of literary genre theory, semiotics, music theory and analysis, acoustics, and linguistics, this dissertation presents a broad overview of extreme metal's musical, verbal, and visual-symbolic systems of meaning.
Part I: Interconnected Contexts and Paratexts begins with a critical survey of genre taxonomies, showing how their implicit logic masks value judgments and overlooks aspects of genre that are counterintuitive. This leads to an investigation of boundary discourses that reveals how fans define extreme metal negatively according to those subgenres and categories of identity that they treat as abject Others: nu metal, screamo, and deathcore as well as their associations with blackness, femininity, and adolescence . Part I concludes with a thick description of death metal and black metal that shows how its lyrics, album reviews, album artwork, band logos, and font styles collectively provide messages about the semantics of genre, most notably by drawing upon archetypes of the sublime and , in the case of raw black metal,
Part II: Analyzing Musical Texts synthesizes large corpus studies of musical recordings with close readings of individual songs. This section begins with a demonstration of how technical death metal bands Cannibal Corpse, Demilich, and Spawn of Possession play with listener expectations towards meter, syntax, and musical complexity to create pleasurable forms of disorientation that reward active and repeated listenings. It proceeds to investigate musical accessibility and formal salience in melodic death metal, showing through examples by In Flames and Soilwork how the notion of melody pervades this musicand contributes to its sense of rhetoric. Part II concludes with a study of musical expression in extreme metal vocals. Using discussions and recordings from a vocalist participant, a corpus study of eighty-five songs that begin with wordless screams, and close readings of excerpts by Morbid Angel, Zimmers Hole, and At the Gates, I demonstrate that the acoustical features of vowel formants are central to vocal expression in extreme metal, enabling vocalists to mimic large beasts in a way that fans find convincing and powerful. |
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Ph.D. thesis |
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McGill University |
Place of Publication |
Montreal |
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en |
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9798597046549 |
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UCM - CAM @ amaranta.saguar.garcia @ smialek_genre_2016 |
Serial |
689 |
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Author |
Coggins, Owen |
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Title |
Ecology, Estrangement and Enchantment in Black Metal's Dark Haven |
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Journal Article |
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Year |
2021 |
Publication |
Green Letters. Studies in Ecocriticism |
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t.b.c. |
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Aesthetics; Black Metal; Nature; Modern World |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2117 |
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Author |
Miller, Jason |
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Title |
What Makes Heavy Metal “Heavy”? |
Type |
Journal Article |
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Year |
2021 |
Publication |
The Journal of Aesthetics and Art Criticism |
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Volume |
80 |
Issue |
1 |
Pages |
70-82 |
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Keywords |
Aesthetics; Heaviness |
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0021-8529 |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2258 |
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Author |
Scheller, Jörg |
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Title |
Between the Laws: Researching the Aesthetics of Heavy Metal |
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2024 |
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The Law of the Metal Scene: An Interdisciplinary Discussion |
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119-134 |
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Aesthetics; Legal |
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Kohlhammer |
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Stuttgart |
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Pichler, Peter |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2570 |
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Author |
Špoljarić, Bernard |
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Title |
The Goat-God Motif in Heavy Metal Music: The Relevance and Meaning of the God Pan in the Black Metal Project – Arckanum |
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2021 |
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Studia Polensia |
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10 |
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1 |
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87-114 |
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Aesthetics; Motifs; Pan (god); Pan (mythos); Arckanum (band) |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2254 |
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Author |
Tontsch, Katharina |
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Title |
Reign in Blood Beauty: Eine empirische Studie zum Schönheitsideal im Heavy Metal |
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Year |
2021 |
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Aesthetics; Poetics; Beauty |
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Master's thesis |
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Universität Salzburg |
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Salzburg |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2337 |
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Author |
Roby, David Allen |
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Title |
Crust Punk: An Anarchist Political Epistemology |
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Year |
2021 |
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204 |
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Affect; Anarchism; Clothing; Cultural anthropology; Crust punk; Heavy Metal Music; Political science; Punk rock music; Reggae; Tattoos; Transiency |
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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. |
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Ph.D. thesis |
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University of California, Davis |
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Ann Arbor |
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INTech @ brianhickam2019 @ |
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2199 |
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