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Friconnet, G. (2022). Establishing a taxonomy of metal subgenres based on quantitative musical and thematic features. metal music studies, 8(2), 183–203.
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Watier, N. (2022). Threat cues in metal's visual code. metal music studies, 8(2), 205–223.
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Lajić Mihajlović, D., & Radovanović, B. (2022). Black (metal) epics: Remediation of tradition in the case of Gavranovi from Serbia. metal music studies, 8(2), 225–243.
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Vrzal, M. (2022). Against the devil’s metal: Christian public discursive strategies against metal concerts and festivals in Czechia and Slovakia. Metal Music Studies, 8(2), 245–268.
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Heesch, F. (2018). Voice of anarchy: Gender aspects of aggressive metal vocals. The examples of Angela Gossow (Arch Enemy). Criminocorpus: Revue hypermedian d'Histoire de la justice, des crimes et des peines, 11. Retrieved August 5, 2024, from http://dx.doi.org/https://doi.org/10.4000/criminocorpus.5726
Abstract: Issue theme: Actes du colloque: Rock et violences en Europe: Metal et violence.
- Résumé:
Growling can be regarded as a key aesthetic practice of death metal. This practice, throughout the history of the genre, has been heavily gendered; while practiced both by men and women since the early 1990s it has nevertheless been associated with masculinity, due to its perceived aggressive sound, as well as corresponding notions of perceived low pitch and noise. In 2001 Angela Gossow became the singer of the band Arch Enemy and has since established herself as one of the most outstanding female growlers within the global metal scene. An analytical look at Gossow’s individual vocal style will be applied to argue that growling could potentially contribute to a more complex understanding of how voice, gender and aggression are related. This article examines the musical phenomenon of death metal growling, as well as the marginalization of women in what has been conceived as a primarily masculine style.
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Córdoba, J. (2021). Metaleras feministas (Feminist Metalheads). Bogotá, Distrito Capital, Republic of Colombia. Retrieved August 5, 2024, from https://metaltotheboneccmr.wordpress.com/2021/03/08/metaleras-feministas/
Abstract: - 'Metal to the Bone' es un espacio donde podrás encontrar entrevistas con las distintas mujeres que hacen parte del Hardock/Metal y otros escritos sobre la escena y el acontecer musical.
- Publicado por 'Metal to the Bone':
'Metal to the Bone' es un blog colombiano (Bogotá) dedicado a visibilizar la participación de las mujeres en el metal, teniendo siempre presente una dimensión en Derechos Humanos, enfoque de género. También podrán encontrar artículos y notas sobre la actualidad del metal. Ver todas las entradas de Metal to the Bone
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Zapata, A. (2022). Primer ataque sonoro-visual: Apropiación del metal en Santiago de Chile (1982-1993). Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras, 1(1). Retrieved August 5, 2024, from https://reehm.org/static/publicaciones/Disonancias_del_Metal_01.pdf
Abstract: REEHM motto: Espacio interdisciplinario integrado por diverses actores sociales, les cuales nos proponemos la reflexión y el intercambio acerca del Heavy Metal y su cultura, partiendo del diálogo realizado desde la base de la horizontalidad y la heterogeneidad.
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Peláez Sánchez, M. A. (2006). El concepto de muerte en el rock gótico. Logos, 10, 66–74.
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Hernando González, P. (2021). La tradición clásica en el heavy metal y el rock. Bachelor's thesis, Universitat autònoma de Barcelona, Barcelona.
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Mora Rioja, A. (2021). “Into the Valley of Death”: A Textual and Musical Analysis of Metal Music’s Adaptation, Appropriation, and Quotation of Poetry in English. Ph.D. thesis, UNED, Madrid.
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