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| Author | Simms, Bekah | ||||
| Title | Foreverdark: For Amplified Cello Soloist and Chamber Orchestra | Type | Book Whole | ||
| Year | 2019 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 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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| Corporate Author | Thesis  |
Doctoral thesis | |||
| Publisher | University of Toronto (Canada) | Place of Publication | Ann Arbor | Editor | |
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 9781085778831 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2201 | ||
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| Author | Hughes, Mairead | ||||
| Title | Is affiliation with alternative subcultures associated with self-harm? | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 145 | ||
| Keywords | Aesthetics; Behavioral psychology; Cultural anthropology; Emos; Goths; Heavy metal; Metaphysics; Population; Subcultures; Self destructive behavior; Self harm; Sociology; Suicides & suicide attempts; Systematic review; Young adults | ||||
| Abstract | This thesis focuses on the relationship between young people who affiliate with alternative subcultures and self-harm and/or suicide. Alternative subcultures can be described as groups that are distinct from 'mainstream' cultures. Affiliation with such groups can be broadly defined as having a strong collective identity to a group with specific values and tastes, typically centred around music preference, clothing, hairstyles, make-up, tattoos and piercings (Greater Manchester Police; GMP, 2013; Moore, 2005). Some alternative subcultures have also been associated with 'dark, sinister and morbid' themes, such as Goths, Emos, and Metallers (Young, Sproeber, Groschwitz, Preiss, & Plener, 2014). Self-harm can be defined as the deliberate act of harming oneself, with or without suicidal intent. This commonly involves cutting and self-poisoning (NICE, 2013). Other behaviours that can be described using this term include non-suicidal self-injury (NSSI; the intentional destruction of body tissue without suicidal intent) and suicidal behaviours such as suicidal ideation and attempts (self-harm with some intent to die; Klonsky & Muehlenkamp, 2007; Nock, Borges, Bromet, Cha, Kessler, & Lee, 2008). Some would argue that NSSI is distinct from self-harm, and as such it features as a disorder in the DSM-V as Non-Suicidal Self-Injury Disorder (NSSID; APA, 2013), however there remains some controversy over the latter (Kapur, Cooper, O'Connor, & Hawton, 2013). The associations between alternative subgroup affiliation and self-harm and/or suicide were explored through a systematic review and empirical research study using quantitative methodology. It is well documented in the literature that the prevalence of self-harm and suicide is particularly high in adolescents and young adults, with suicide being one of the leading causes of death in this population (Hawton, Saunders, & O'Connor, 2012; WHO, 2014). Self-harm has become a clinical and public health concern with up to 30,000 adolescents receiving hospital treatment each year (Hawton, Rodham, & Evans, 2006) and prevalence rates rising to between 7-14% for young people in the UK (Hawton & James, 2005; Skegg, 2005; Swannell, Martin, Page, Hasking, & St John, 2014). Minority groups are another population who appear to have elevated rates of self-harm, including Lesbian Gay Bisexual and Transgender (LGBT; Jackman, Honig, & Bockting, 2016), ethnic minorities (Bhui, McKnezie, & Rasul, 2007) and alternative subcultures (Young et al., 2014). However, there is a paucity of research into the latter population. This presented a gap to conduct a systematic review of the available literature in an attempt to understand the association between alternative subculture affiliation and self-harm and suicide. Chapter 1 describes the systematic process taken in an attempt to understand the links between alternative subculture affiliation and both self-harm and suicide. Ten studies were included which focused on self-harm and/or suicide and alternative identity through subculture affiliation (e.g. Goth) or music preference (e.g. Heavy Metal). The results indicated that there is an association between alternative subculture affiliation and self-harm and suicide, though the lack of research in the area and methodological limitations impact on the extent to which the underlying mechanisms can be understood. Leading on from the systematic review, Chapter 2 presents the empirical study which investigated the factors that might contribute to the increased risk of NSSI in alternative subcultures, specifically focusing on variables that have been found to be linked to NSSI in young people; emotion dysregulation, depression, identity confusion and exposure to self-harm. The aim of this study was to increase our understanding of the mechanisms involved that might explain this increased risk of NSSI. Alternative subcultures were found to be at a greater risk of NSSI in comparison to affiliations with other subcultures, though this association lessened when the other variables were accounted for. A key predictor of NSSI in this population was emotion dysregulation. The findings highlight the importance of raising awareness of the potential risk of self-harm/suicide in alternative subcultures in order to create a greater understanding and direct resources appropriately. |
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| Corporate Author | Thesis |
Doctoral thesis | |||
| Publisher | University of Liverpool (United Kingdom) | Place of Publication | Ann Arbor | Editor | |
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2211 | ||
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| Author | Temkin, Daniel | ||||
| Title | Intricate Machines for String Quartet | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Classical music; Heavy Metal; Musical composition; String quartets | ||||
| Abstract | Program Notes: Intricate Machines was composed for the 2016 Saarbrücken Somermusik festival in Germany. The festival theme was “travel to foreign lands” and this piece, in some sense, represents a larger journey from the chaos of the outside world into a more peaceful sphere of inner reflection. Each of the five movements is connected together and played without pause. Beginning with dense and rhythmic outbursts, the first movement (“Heavy-Metal Viola”) imagines a musical offspring of Bartok and Metallica somehow fused together by string quartet. The second movement (“Bump in the Night”) focuses on juxtaposition: a lone, delicate, solo violin hums quietly, only to face jarring interruptions from the ensemble underneath. Ending with an introspective chorale, the second movement gives way to movement three (“Churning Gears”) in which fast and repetitive ostinatos create a dense interlocking musical machine. The fourth movement (“Constellations”) begins with an eruption of heavy, sustaining, chords that are played freely, out of time. These vibrating orbs of sound gradually recede into distant and ethereal harmonics. Suggesting a celestial atmosphere, the solo cello gently sings a muted melody, leaving us in a place of transformation relative to the earlier movements. Movement five, a playful folk-dance, completes the total journey as an overt contrast to the tense opening movements. Amidst its quirky and bizarre groove, elements of rock, funk, folk-fiddling, and pedal-tone drone music, are assimilated into what composer Steven Mackey describes as “a vernacular music from a culture that doesn’t really exist”—or as I phrase it here, a “Martian Jukebox Hoe-down.” | ||||
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| Corporate Author | Thesis |
Doctoral thesis | |||
| Publisher | University of Southern California | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 9798460449484 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2214 | ||
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| Author | Miller, Michael Brian | ||||
| Title | Nicodemus! The beds are burning again: The ascension of Gorgomath | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 163 | ||
| Keywords | Communication and the arts; Chamber; Concerto; Heavy metal; Musical composition; Narrative; Orchestra; Piano | ||||
| Abstract | Nicodemus! The Beds are Burning Again: The Ascension of Gorgomath is a 22-minute concerto for piano and chamber orchestra that explores the use of narrative as a means of unifying disparate musical languages into a cohesive single-movement structure. The narrative, as implied by the fourteen programmatic indicators within the score, features a protagonist, Nicodemus, and an antagonist, Gorgomath. Additional contrasting elements essential to the plot are: the burning beds, outer space, the ultimate weapon, and the three rituals. The programmatic indicators, to be listed in the program, function as a framework from which the listener can fabricate their own version of the story. The narrative begins with “The beds are burning,” a heavy-metal inspired musical theme characterized by a pervasive rhythmic structure interspersed with virtuosic piano displays. Full orchestral forces add to the intensity of a relentless motor rhythm heard first in the piano. Following “Ritual I,” a transitionary theme of soli strings and piano, Nicodemus’s theme develops, a musical antithesis to “The Burning Beds” theme. It employs a simple melodic loop over a basic four-chord harmonic structure, reminiscent of 8-bit video game themes, and is voiced as piano accompanied by tremolo in the woodwinds and strings. Nicodemus’s journey into space begins with a rapid deceleration in tempo. The following slow ternary form includes a funerary dirge bookended by the piece’s most lyrical piano writing, expressed by the rise and fall of melodic octaves. The pounding neo-Shostakovian strings of “Ritual II” transition directly into the development section, “Nicodemus seeks the ultimate weapon.” Nicodemus’s theme undergoes significant transformation, assuming the guise of stride piano and North Indian tabla music. These styles are unique to this section, as is their orchestration of high, sustained winds alternating with orchestral hits between low strings and percussion. The piece’s recapitulation, “Meanwhile…,” begins with a return of the burning beds. Here, “Gorgomath’s Theme,” identifiable by the instability of its 7/16 motor rhythm is briefly foreshadowed. It appears in its entirety in the coda, “Boss Battle.” The resulting work uses original narrative to blend polystylistic elements into a cohesive single movement structure with a dramatic musical arc. |
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Doctoral thesis | |||
| Publisher | University of Missouri - Kansas City | Place of Publication | Editor | ||
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| ISSN | ISBN | 978-1-339-70801-0 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2222 | ||
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| Author | Skeech, Michael | ||||
| Title | The Biology of Heavy Metal. Evolutionary Links Between Science and Culture | Type | Book Whole | ||
| Year | 2022 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Music history | ||||
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Doctoral thesis | |||
| Publisher | University of Salford | Place of Publication | Salford | Editor | |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2307 | ||
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| Author | Faria, Fabio Coura de | ||||
| Title | Roots and Routes: The Cultural Politics and Translocality of Hip Hop and Heavy Metal | Type | Book Whole | ||
| Year | 2022 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Hip Hop; Politics; Locality; Identity; Latin America; Colonisation; Hybridity | ||||
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Doctoral thesis | |||
| Publisher | Universidade Federal de Santa Catarina | Place of Publication | Florianópolis | Editor | |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2347 | ||
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| Author | Baltazar, Lídia Maria Ferrão | ||||
| Title | Are Heavy Metal Music Bands-Musicians, Managers of Their Own Music Business?: A Multiple Case Study: Portuguese vs. Finnish Bands | Type | Book Whole | ||
| Year | 2013 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 216 | ||
| Keywords | Heavy Metal Music, Music Industry, Band Management, Entrepreneurship, Artistic Integrity | ||||
| Abstract | “The Music Industry is a very complex world that embraces different and broad segments needing of academic exploration. The big majority of studies and/or academic approaches to this unique business world have been focusing greatly on the record labels side but have failed to address the role of those who make the music – the musicians/artists. This is exactly what the present study aimed to understand: What is the role of the musicians in the music business? Aren’t they one of the key elements, essential players, within the whole industry, if not the most important elements ever? The industry of music includes a large number of creative and wise musicians/bands behind one of the most discriminated music genres in the music history – Heavy Metal Music. However, diverse studies have demonstrated that Heavy Metal is recognized as a music genre that generates profit, with an increasing legion of fans all over the world hence, also considered popular music. Therefore, the purpose of this study is to understand how Heavy Metal Music bands and musicians succeed and how they manage to conciliate artistic creativity and commercial demands. By making a multiple case study analysis within two different settings – Portugal versus Finland – it will be shown that Heavy Metal bands / musicians possess business skills that allow them to manage and conduct both the artistic and business activities of their music business. In some of the cases, it will also be raised their entrepreneurial skills in innovating and finding new ways of reaching the audience and becoming more successful whilst doing what they love the most – making music and playing it live.” (Source: ProQuest Dissertations Publishing) Ciências Sociais e Humanas (Social Sciences and Humanities). |
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| Corporate Author | Thesis |
Doctoral thesis | |||
| Publisher | Universidade da Beira Interior | Place of Publication | Covilhã, Portugal | Editor | Anabela Dinis |
| Language | English | Summary Language | Portuguese | Original Title | |
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| Area | Expedition | Conference | |||
| Notes | ProQuest order number 28761469 | Approved | yes | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2517 | ||
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| Author | Martínez, Susana González | ||||
| Title | Enseñar a transgredir: Metal feminista, a través de la investigación-acción participativa, como herramienta artística de liberación y pedagógica en el aula | Type | Book Whole | ||
| Year | 2023 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 528 | ||
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| Abstract | Esta tesis presenta, en primer lugar, una indagación profunda sobre las manifestaciones feministas en la música y cultura metal, desde un abordaje transdisciplinar y multidimensional. En tal sentido, el texto ofrece un análisis crítico exhaustivo de los diversos discursos, procesos relacionales y prácticas corporales del metal feminista en diferentes contextos del Norte y el Sur Global, desde un enfoque interseccional, psicosociológico y pedagógico feminista. Tal análisis está basado en entrevistas en profundidad realizadas con 21 bandas feministas de metal de diferentes países, 32 letras de canciones y 19 portadas de álbumes. Así como otras fuentes complementarias, tales como imágenes promocionales, declaraciones de las bandas en medios, webs/perfiles promocionales, y perfiles personales de las/los artistas en redes sociales. De otro lado, esta tesis, entra en conversación con el campo más amplio de las artes —de forma comparativa— ofreciendo una identificación de los vínculos y distancias del metal feminista con el arte feminista de los 70. Delinea, por otro lado, un patrón didáctico observable en la práctica metal extrema feminista, que permite su conceptualización como praxis liberatoria y, finalmente, como un ejercicio bastardo de a/r/t/ografía ritual social. En segundo término, el texto muestra el desarrollo de un proyecto de investigación-acción participativa (IAP) internacional, con la comunidad feminista del metal. La IAP —desarrollada en entornos virtuales por un grupo de 36 personas (artistas, activistas y académicas) integrantes de las escenas de metal— ofrece un diagnóstico social sobre las barreras de género que afectan la participación en las diferentes escenas de metal, en contextos del Norte y el Sur Global. Dicho diagnóstico social está desarrollado a partir de una revisión bibliográfica panorámica y una encuesta virtual global, en la que han participado 32 países. Al tiempo, la IAP ha generado varios productos destinados a la intervención/devolución comunitaria de la información obtenida. Por ende, se ofrecen en este texto: un artículo colectivo, una web, un vídeo-hechizo en consonancia con las estrategias simbólicas del metal feminista, y la serie de vídeos explicativos No Me Toques el Ampli. Con todo, el diseño del proyecto IAP ha conseguido informar de forma rigurosa sobre la clave contextual del fenómeno de estudio objeto de esta disertación —el metal feminista—, al tiempo que ha contribuido a realizar un aporte en pro de los intereses de los sujetos/comunidades de estudio. Por último, esta tesis muestra el desarrollo de una experiencia piloto en el ámbito educativo, que ha tenido como fin explorar la potencialidad que tienen las estrategias y técnicas artísticas del metal feminista identificadas, como herramientas en el marco de las pedagogías feministas restaurativas. En conclusión, este estudio contribuye a la comprensión de las expresiones artístico-políticas feministas dentro del campo especializado de los estudios del metal y, del arte feminista, en un sentido más amplio. Asimismo, ha servido al impulso de las reivindicaciones feministas en las escenas artísticas del metal, haciendo permeables los límites de la investigación académica —en particular dentro del campo del metal— mediante un enfoque metodológico socialmente comprometido. De otro lado, realiza un aporte a las pedagogías feministas restaurativas, a través de la exploración de una fórmula didáctica innovadora, centrada en el uso de nuevas herramientas y técnicas. En un sentido más amplio y último término, este estudio pone un granito de arena a la empresa utópica de la llamada ecología de saberes —a partir de la interacción de prácticas científicas, prácticas artísticas subalternizadas y saberes encarnados— como una fuente de conocimiento valioso, para activar un pensamiento científico interconectado, siguiendo a Boaventura de Sousa Santos (2010, pp. 52-53). [This dissertation presents, first, an in-depth perusal of feminist artistic manifestations in metal music and culture from a transdisciplinary and multidimensional approach. In this sense, the text offers an exhaustive critic analysis of the diverse discourses, relational processes, and bodily practices of feminist metal in different contexts of the Global North and South from an intersectional, psycho-sociological, and pedagogical feminist approach. The analysis is based on in-depth interviews conducted with 21 feminist metal bands from different countries, 32 song lyrics and 19 album covers. As well as other complementary sources, such as promotional images, statements of the bands in the media, promotional websites/profiles, and personal profiles of the artists in social networks. Likewise, this dissertation, enters conversation with the broader field of the arts —in a comparative way— offering an identification of the links and distances of feminist metal with feminist art of the 1970s. On the other hand, it delineates a didactic pattern observable in extreme feminist metal music, which allows its conceptualization as a liberatory praxis and, finally, as a bastard exercise in socioritual a/r/t/ography. Secondly, the text explains the development of an international participatory action-research (AR) project with the feminist metal community. The AR — developed in virtual environments by a group of 36 people (artists, activists, and academics) from the metal scenes— offers a social diagnosis of the gender barriers that affect participation in the different metal scenes in contexts of the Global North and South. This social diagnosis is based on a panoramic literature review and a global survey in which 32 countries participated. At the same time, the AR project has generated several products aimed at community intervention/dissemination of the information obtained. Thus, this thesis offers the following: a collective article, a web page, a video-spell in line with the symbolic strategies of feminist metal, and the series of explanatory videos Don't Touch My Amp. All in all, the design of the AR project has succeeded in rigorously informing the contextual key to the study phenomenon object of this dissertation —feminist metal— while contributing to the interests of the subjects and community of study. Finally, this dissertation shows the development of a pilot experience in the educational field, which aimed to explore the potential of the identified feminist metal art strategies and techniques as tools within the framework of restorative feminist pedagogies. Therefore, this study contributes to the understanding of feminist artisticpolitical expressions within the specialized field of metal studies, and feminist art in a broader sense. It has also served to advance feminist claims in the metal scenes, permeating the boundaries of academic research —particularly within the field of metal— through a methodological approach socially committed. It also contributes to feminist restorative pedagogies by exploring an innovative didactic formula focused on using new tools and techniques. In a broader sense and lastly, this study contributes to the utopian enterprise of the so-called ecology of knowledge —based on the interaction of scientific practices, subalternized artistic practices and embodied knowledge— as a source of valuable knowledge, which activates an interconnected scientific thought, following Boaventura de Sousa Santos (2010, pp. 52-53).] * Source for both was: https://digibug.ugr.es/handle/10481/89687 |
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| Address | https://digibug.ugr.es/contact | ||||
| Corporate Author | Thesis |
Doctoral thesis | |||
| Publisher | Universidad de Granada, Escuela de Doctorado de Humanidades, Ciencias Sociales y Jurídicas, Programas de Escuela de Doctorado de Humanidades. | Place of Publication | Granada, Andalusia, Spain | Editor | UniveVallecillos, Rafael Liñán; Varas-Díaz, Nelson |
| Language | Spanish | Summary Language | English | Original Title | |
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| ISSN | ISBN | 9788411951623 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2537 | ||
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| Author | Volák, Vojtěch | ||||
| Title | Stávání se tíhou: Filozofie diference a metalová hudba [Becoming Heaviness: Philosophy of Difference and Metal Music] | Type | Book Whole | ||
| Year | 2021 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Philosophy | ||||
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| Corporate Author | Thesis |
Diploma thesis | |||
| Publisher | Univerzita Karlova, Fakulta humanitních studií | Place of Publication | Praha | Editor | |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2137 | ||
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| Author | Roby, David Allen | ||||
| Title | Crust Punk: An Anarchist Political Epistemology | Type | Book Whole | ||
| Year | 2021 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 204 | ||
| Keywords | Affect; Anarchism; Clothing; Cultural anthropology; Crust punk; Heavy Metal Music; Political science; Punk rock music; Reggae; Tattoos; Transiency | ||||
| 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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Ph.D. thesis | |||
| Publisher | University of California, Davis | Place of Publication | Ann Arbor | Editor | |
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2199 | ||
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