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| Author |
Pichler, Peter |
| Title |
Living Sonic Knowledge in South-Eastern Austria: The Sound History of the Metal Scene in Graz and Styria, c. 1980 to the Present |
Type |
Journal Article |
| Year |
2021 |
Publication |
Living Metal: Metal Scenes around the World |
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Issue |
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Pages |
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Keywords  |
Austria; History (metal music) |
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| Publisher |
Intellect Books |
Place of Publication |
Bristol |
Editor |
Bardine, Bryan A.; Stueart, Jerome |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2190 |
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| Author |
Fessenden, Jon W. |
| Title |
Resonant Forms: Autistic Hearing and Heavy Metal Aesthetics |
Type |
Book Chapter |
| Year |
2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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Issue |
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Pages |
23-37 |
| Keywords |
Autism; Aesthetics |
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| Publisher |
Intellect |
Place of Publication |
Bristol |
Editor |
Kahn-Harris, Keith; Shadrack, Jasmine Hazel |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2556 |
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| Author |
Squires, Vik J. |
| Title |
Stimming in the Pit: How Autistic Heavy Metal Fans Have Remained Unseen |
Type |
Book Chapter |
| Year |
2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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Issue |
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Pages |
113-125 |
| Keywords |
Autism; Disability |
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| Publisher |
Intellect |
Place of Publication |
Bristol |
Editor |
Shadrack, Jasmine Hazel; Kahn-Harris, Keith |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2562 |
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| Author |
Guzman, Carmen |
| Title |
Babymetal's “Music in Action”: Redefining Authenticity, Decolonizing Metal, Destabilizing Economy |
Type |
Book Whole |
| Year |
2021 |
Publication |
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Pages |
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| Keywords |
Babymetal (band); Authenticity; Decolonisation; Music industry |
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Thesis |
Master's thesis |
| Publisher |
University of Anchorage |
Place of Publication |
Anchorage |
Editor |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2138 |
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| Author |
States, Dawn |
| Title |
The Bone Ballet: An Examination in the Intersectionality of Metal, Ballet, and Disability |
Type |
Book Chapter |
| Year |
2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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Issue |
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Pages |
126-139 |
| Keywords |
Ballet; Disability |
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| Publisher |
Intellect |
Place of Publication |
Bristol |
Editor |
Shadrack, Jasmine Hazel; Kahn-Harris, Keith |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2563 |
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| Author |
Cano Barrón, José Luis; Dulude, Daniel |
| Title |
Banzai Records: The Power Of The Canadian Steel Blade |
Type |
Book Whole |
| Year |
2002 |
Publication |
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Issue |
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Pages |
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| Keywords |
Banzai Records (record label); History; Canada |
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UnderFire Ediciones |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2345 |
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| Author |
Faingold, Noam. |
| Title |
Portfolio of compositions and technical commentary |
Type |
Book Whole |
| Year |
2015 |
Publication |
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| Keywords |
Bass instruments; Cultural heritage; Heavy metal; Middle Eastern music; Musical composition; Musical narratives |
| Abstract |
The six pieces in this portfolio explore contemporary musical narratives as if approached from a traditional outlook. In these pieces many harmonic and rhythmic processes (modal, serial,‘post-serial’ and minimalist) that emerged in Post-War music, as well as their resulting forms or modes of continuity interact with a traditionally grounded, intuitive approach to 'thematicism'. Another important topic in this music is an engagement with certain formal elements and mannerisms of contemporary popular, rock and dance music, and the ethnic musical traditions of my cultural heritage. Writing for string instruments informed by the composer’s personal experience as a double bass performer is a central concern of the thesis. Knife in the Water (for violin and cello) explores elements of heavy metal rhythms, Middle Eastern incantations, and free and strict meter. Bonaparte Born to Party (for mixed quintet) builds on the jagged heavy metal and dance elements found in Knife in the Water, subjecting some of the harmonic structures of the latter to a fairly strict process of transformation while relying to a much greater extent!on repetition.
A Poem is a Burning City (for ten players) explores the possibility of creating a sort of'modality' by means of timbre as well as the 'transformation of sonority' itself as a means for delineating a binary form. While its harmonic language shares many aspects with the earlier pieces, here they are no longer the main concern of the music, which relies primarily on ‘colour', 'sonority' and extensive 'repetition' for the unfolding of a slowly evolving texture. In the string quintet Everything is Amazing and Nobody is Happy, the Suite for solo violin and the Lullaby for double bass and orchestra, the type of explorations of colour and! sonority incipient in A Poem is a Burning City are extended and combined with the developmental processes and clear thematic and! melodic/harmonic!materials that characterise the earlier pieces. |
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Thesis |
Ph.D. thesis |
| Publisher |
University of London, King's College (United Kingdom) |
Place of Publication |
Ann Arbor |
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no |
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INTech @ brianhickam2019 @ |
Serial |
2227 |
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| Author |
Simms, Bekah |
| Title |
Foreverdark: For Amplified Cello Soloist and Chamber Orchestra |
Type |
Book Whole |
| Year |
2019 |
Publication |
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64 |
| Keywords |
Bathory; Cello; Concerto; Heavy metal; Musical composition; Music history; Music theory |
| Abstract |
Foreverdark is a single movement, ten-minute concertino (short concerto) for amplified cello soloist with live electronic processing and chamber orchestra. The exact instrumentation consists of violoncello solo, flute, clarinet, oboe, bassoon, trumpet in Bb, horn in F, tenor trombone, percussion, piano, harp, violin 1, violin 2, viola, violoncello, and double bass; each part is played by a single player. The compositional style is a continuation and deeper exploration of the composer’s current compositional interests, namely the integration of quotation and popular music style signals within more broadly art music formats. By amplifying and separating the cello soloist from the ensemble, the player’s position alludes to that of a “lead guitarist;” subsequently, much of their melodic material (and that of the orchestra around them) is sourced from a variety of heavy metal riffs, most of them from bands the composer listened to as a teenager. The piece’s title, “Foreverdark,” both references the song with a similar name (Foreverdark Woods) by Viking metal artist Bathory as well as the composer’s long and somewhat nostalgic relationship to the metal genre itself. In addition to heavy metal-sourced melodic and rhythmic motifs, “Foreverdark” also contains some material bordering on a folk music aesthetic. Surprisingly, metal-turned-folk is a common stylistic shift in for some of the bands quoted within the work. |
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Thesis |
Doctoral thesis |
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University of Toronto (Canada) |
Place of Publication |
Ann Arbor |
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ISBN |
9781085778831 |
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no |
| Call Number |
INTech @ brianhickam2019 @ |
Serial |
2201 |
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| Author |
Hannan, Calder |
| Title |
Ghostly longing: Tonality as grieving in Bell Witch’s “Mirror Reaper” |
Type |
Journal Article |
| Year |
2021 |
Publication |
Metal Music Studies |
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| Volume |
7 |
Issue |
2 |
Pages |
277-297 |
| Keywords |
Bell Witch (band); Doom metal; Mirror Reaper (album); Aesthetics |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2129 |
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| Author |
Boughali, Khalil |
| Title |
Réflexions sur le black metal |
Type |
Book Whole |
| Year |
2021 |
Publication |
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Black Metal |
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Independently published |
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979-8583481453 |
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no |
| Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2297 |
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