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Evangelista Ávila, Iram Isaí |
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Title |
La recepción borgiana de At the Gates: refiguraciones, intertextualidades y heavy metal |
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2021 |
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Impossibilia. Revista Internacional de Estudios Literarios |
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21 |
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237-261 |
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At the Gates (band); Intertextuality; Reception |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2115 |
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Author |
de Alcântara, Moacir Oliveira |
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Title |
Anarchopunk e tecnologias sociais de resistência: antirracismo e subversão da branquitude na música do grupo Aus Rotten |
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Year |
2021 |
Publication |
Diálogos com a música extrema |
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121-152 |
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Aus Rotten (band); Antiracism; Subversion; Resistance; Ideology |
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editorafi.org |
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Porto Alegre |
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Barchi, Rodrigo |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2162 |
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Author |
Carter, Molly |
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Title |
Perchten and krampusse: living mask traditions in austria and bavaria |
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Year |
2016 |
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Austria; Authenticity; Bavaria; Cultural heritage; Folklore; Heavy metal; Krampus; Masks; Perchten; Traditions |
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Two centuries-old mask traditions native to Austria and Bavaria enjoy ongoing popularity due to a creative mingling of old and new elements (heavy metal music and fireworks alongside hand-carved wooden masks and birch rod switches). The Krampus is the menacing companion of St. Nikolaus, who visits children on December 5 and 6, although nowadays groups of Krampusse may appear alone. The Perchten, who are associated with the magical female folk-figure Perchta, appear on January 5 and the week before. While the Perchten and Krampusse represent distinct traditions, their history has intersected at various points, and their contemporary manifestations share many elements, including a movement towards a “modern” aesthetic and the employment of such resources as tourist publicity and the internet to promote their appearances, educate the public, and network with each other. While the house visit was formerly the primary setting for these masked figures (or mummers), today it is the public parade.
These parades, while rooted in and resembling conventional display-custom performances marked by a static division between performer and spectator, actually consist of a kind of fluid, interactive ritual theater in which the partially improvised, partially scripted performances of masked figures and the responses of spectators shape one another. Contemporary manifestations of Perchten and Krampus traditions will be explored in light of the ongoing cultural dialogue between performers and non-performers who seek to define and interpret the tradition, and the interplay of academic and popular discourses surrounding invented tradition, Folklorismus (folklorism) and Rücklauf (feedback), and the nature of authenticity. Questions of cultural heritage “ownership” surface in the debates over form and meaning, while in the hands of the Perchten and Krampusse themselves, tradition emerges as an active process and collaborative artwork rather than a fixed commodity with boundaries which can be defined and navigated by outside observers. |
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Ph.D. thesis |
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University of Sheffield (United Kingdom) |
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INTech @ brianhickam2019 @ |
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2223 |
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Author |
Pichler, Peter |
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Title |
Living Sonic Knowledge in South-Eastern Austria: The Sound History of the Metal Scene in Graz and Styria, c. 1980 to the Present |
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Journal Article |
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Year |
2021 |
Publication |
Living Metal: Metal Scenes around the World |
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Austria; History (metal music) |
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Intellect Books |
Place of Publication |
Bristol |
Editor |
Bardine, Bryan A.; Stueart, Jerome |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2190 |
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Author |
Fessenden, Jon W. |
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Title |
Resonant Forms: Autistic Hearing and Heavy Metal Aesthetics |
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Year |
2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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23-37 |
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Autism; Aesthetics |
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Intellect |
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Bristol |
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Kahn-Harris, Keith; Shadrack, Jasmine Hazel |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2556 |
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Author |
Squires, Vik J. |
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Title |
Stimming in the Pit: How Autistic Heavy Metal Fans Have Remained Unseen |
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Book Chapter |
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Year |
2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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113-125 |
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Autism; Disability |
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Intellect |
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Bristol |
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Shadrack, Jasmine Hazel; Kahn-Harris, Keith |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2562 |
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Author |
Guzman, Carmen |
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Title |
Babymetal's “Music in Action”: Redefining Authenticity, Decolonizing Metal, Destabilizing Economy |
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2021 |
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Babymetal (band); Authenticity; Decolonisation; Music industry |
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Master's thesis |
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University of Anchorage |
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Anchorage |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2138 |
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Author |
States, Dawn |
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Title |
The Bone Ballet: An Examination in the Intersectionality of Metal, Ballet, and Disability |
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2024 |
Publication |
Heavy Metal and Disability. Crips, Crowds, and Cacophonies |
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126-139 |
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Ballet; Disability |
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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 @ |
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2563 |
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Author |
Cano Barrón, José Luis; Dulude, Daniel |
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Title |
Banzai Records: The Power Of The Canadian Steel Blade |
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2002 |
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Banzai Records (record label); History; Canada |
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UnderFire Ediciones |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2345 |
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Author |
Faingold, Noam. |
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Title |
Portfolio of compositions and technical commentary |
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2015 |
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Bass instruments; Cultural heritage; Heavy metal; Middle Eastern music; Musical composition; Musical narratives |
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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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Ph.D. thesis |
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University of London, King's College (United Kingdom) |
Place of Publication |
Ann Arbor |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2227 |
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