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Lind, T. ' T. (2021). Heart of Sadness: Fieldwork in the Copenhagen Black Metal Undergrounds. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Zaddach, W. - G. (2021). “Dit is Berlin”: Local metal scene building and transformation in Berlin, Germany. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Bardine, B. A., & Hale, J. (2021). Old and New: Cross-Generational Community in the Dayton Metal Scene. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Guibert, G., & Turbé, S. (2021). La Belle Endormie Awakened by Hellfest Open Air?: A Study of the Nantes Heavy Metal Music Scene. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Karjalainen, T. - M. (2021). Heavy Metal in Estonia: Cohesions and Divisions, Past and Present. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Granado, R. L. F., & Valente, H. de A. D. (2021). From the Sound of the Lathes to the Noise of the Amplifiers: The Heavy Metal and the Music Scene in the ABC Region of Brazil (1980-1990). In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Kennedy, L. (2021). “This Is the City of Hate”: Surveying the Hull Metal/Hardcore Scene. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Roby, D. A. (2021). Crust Punk: An Anarchist Political Epistemology. Ph.D. thesis, University of California, Davis, Ann Arbor.
Abstract: 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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Yang, Z. (2019). Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society. Master's thesis, University of Cincinnati, Ann Arbor.
Abstract: Since the first album that Black Sabbath released in 1970, the 50-year-long history of heavy metal music makes it has developed into a diversified but controversial subculture all over the world. Even though several big names, such as Metallica, Iron Maiden or Judas Priest, have gained commercial success and mainstream exposure, most of the heavy metal bands, fans and communities are still far from a stable status. The market scale is threatened by poor social acceptance and incorrect stereotypes and is too limited to develop an operational model for heavy metal music communities as mature as mainstream music production in this current state. The goal of this thesis is to: 1) explore the core value of heavy metal subculture and design an organizational strategy to strengthen the connection between various roles within the community. The research was divided into three parts. The first part is the quantitative research on the development of heavy metal music in different regions, shows the regional trends of heavy metal subculture. The second part is the qualitative evaluation of heavy metal albums’ covers and lyrics, and documentary films about heavy metal music. The third part is the interviews with record shop owners. The first part Borrowing the CIS (Corporation Identity System) from the business field, the data collected during the second stage could be categorized into visual identities, communication identities, and behavior identities. The data collected from interviews are organized into a system map to show the current organizational strategy. The conclusion, this thesis proposes a new type of organizational strategy that supports the local heavy metal subculture community, in order to help stabilize the market and strengthen connections of community members through participation in it. Furthermore, inspired by the proposed strategy, more universal strategies and guidelines for other types of subculture are discussed.
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Simms, B. (2019). Foreverdark: For Amplified Cello Soloist and Chamber Orchestra. Doctoral thesis, University of Toronto (Canada), Ann Arbor.
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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