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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) |
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Ann Arbor |
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INTech @ brianhickam2019 @ |
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2227 |
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Author |
Hosman, Sarah Siltanen |
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Title |
Gender inequality in metal music production (book review) |
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2019 |
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Gender & Society |
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33 |
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4 |
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652-654 |
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Book review |
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SAGE Publications, Inc. |
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0891-2432 |
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INTech @ brianhickam2019 @ |
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2228 |
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Author |
Johnson, Henry |
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Title |
Music-making in the faroes: The experience of music-making in the faroes and making metal faroese (book review) |
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2014 |
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Island Studies Journal |
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9 |
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1 |
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176-178 |
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Institute of Island Studies, University of Prince Edward Island |
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Canada |
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Open Access |
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no |
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INTech @ brianhickam2019 @ |
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2229 |
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Author |
Banchs, Edward |
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Title |
Scream for Me Africa! Heavy Metal Identities in Post-Colonial Africa |
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2022 |
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Non-Western scenes (Africa); Sociology; Postcolonialism |
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Intellect |
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Bristol |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2230 |
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Author |
Pichler, Peter |
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Title |
„Breaking the Law…!?“ Zur Rolle von Recht und Rechtsbezug in der Kulturgeschichte der steirischen Heavy Metal-Szene seit 1980 |
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Year |
2021 |
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Graz Law Working Paper |
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Law; Austria; Sociology |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2231 |
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Author |
Swiniartzki, Marco |
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Title |
Szene-Eliten. Selbststilisierung, soziale Praxis und postmoderne Ästhetisierung am Beispiel des norwegischen Black Metals |
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Journal Article |
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2021 |
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Archiv für Sozialgeschichte |
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61 |
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445-472 |
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Sociology; Black Metal; Aesthetics; Self-Fashioning |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2232 |
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Author |
Jordan, James Boddington |
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Title |
Harmonic Structures of 21st Century Heavy Metal |
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2021 |
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Musicology; Harmony |
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Master's thesis |
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University of Huddersfield |
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Huddersfield |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2233 |
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Author |
Pascuchelli, María Natalia; Vidal Vargas, Pablo |
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Title |
Los estudios metálicos (metal studies) en Latinoamérica y Argentina: un posible estado del arte |
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Journal Article |
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Year |
2021 |
Publication |
El oído pensante |
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9 |
Issue |
2 |
Pages |
252-278 |
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Keywords |
Latin America; Argentina; Metal Studies |
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no |
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Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2234 |
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Author |
Marstal, Henrik |
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Title |
Mercyful Fate's “Don't Break the Oath” |
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Book Whole |
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Year |
2021 |
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Mercyful Fate (band); Periphery; Vocals |
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Bloomsbury |
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New York |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2235 |
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Author |
Radovanović, Bojana |
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Title |
Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies |
Type |
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2021 |
Publication |
Shaping the Present through the Future. Musicology, Ethnomusicology and Contemporaneity |
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97-110 |
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Metal Studies; Musicology |
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Institute of Musicology SASA |
Place of Publication |
Belgrade |
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Radovanović, Bojana; Bralović, Miloš; Radivojević, Maja; Mihajlović, Danka Lajić; Medić, Ivana |
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Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2236 |
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