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| Author | Odell, Grace Kate | ||||
| Title | A Night at the Opera: Performance, Theatricality, and Identity in the Music of Queen | Type | Book Whole | ||
| Year | 2019 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 174 | ||
| Keywords | David Bowie; Communication and the arts; Ethnicity; Gender; Heavy metal; Nationality; Queen (band); Rock music; Sexuality; Theatricality | ||||
| Abstract | Many discussions of the rock band Queen (vocalist Freddie Mercury, guitarist Brian May, drummer Roger Taylor, and bassist John Deacon) reference their theatricality, yet few analyze what makes Queen’s music and performances theatrical. Through examining Queen’s theatricality from different angles, this thesis shows the different layers of Queen’s performativity and its relationship to identity. After an introductory chapter that surveys the literature about Queen, the second chapter of the thesis analyzes the theatricality of Queen’s music from a stylistic basis. The chapter begins by addressing Queen’s camp theatricality through their use of music hall, operetta, and musical theatre styles. It then addresses their drama-based theatricality through their use of opera and film music styles. The third chapter analyzes Queen’s performance of gender and sexuality through their use of different genres. It first discusses Queen’s participation in the genre of glam rock, in which they performed a more feminine persona, but were still understood as heterosexual. Then it explores Queen’s disco and funk influenced music and Mercury’s “castro clone” image as simultaneously a more masculine and more homosexual performance. Finally the chapter analyzes the various rock genres Queen used throughout their career in order to perform heterosexual masculinity, including hard rock, stadium rock, and heavy metal. The fourth chapter focuses primarily on Mercury’s performance of ethnicity and nationality through his music. Taking into account his history as a first-generation Parsi Zanzibarian who immigrated to London, it first looks at his and Queen’s expressions of “Britishness” through the figure of the British pop dandy and their use of the British national anthem. Then it turns to discussing the influence of Mercury’s Persian and African heritage on select songs. Finally, it examines religion as it relates to cultural identity, specifically Mercury’s Zoroastrian heritage and the ways he used the aesthetics of heavy metal to articulate his place within that religion. The fifth chapter concludes the thesis by taking a holistic view of how all of these layers of performativity operated simultaneously, endowing Queen’s music with a deep and complex sense of theatricality. |
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| Corporate Author | Thesis  |
Master's thesis | |||
| Publisher | University of Missouri | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-392-27237-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2203 | ||
| Permanent link to this record | |||||
| Author | Coulombe, Alexander Paul | ||||
| Title | Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 110 | ||
| Keywords | Asian Studies; Black metal; Community; Cultural anthropology; Globalization; Heavy metal; Japan; Localization; Social transgression | ||||
| Abstract | This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians. | ||||
| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | University of Arizona | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-438-33093-1 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2205 | ||
| Permanent link to this record | |||||
| Author | Carew, Francis | ||||
| Title | The Guitar Voice of Randy Rhoads | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 186 | ||
| Keywords | Communication and the arts; Classical guitar; Guitar voice; Heavy metal; Music history; Musonia music; Osbourne, Ozzy; Rhoads, Randy | ||||
| Abstract | Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman. The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | Wayne State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-438-01846-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2207 | ||
| Permanent link to this record | |||||
| Author | Polzer, Evan | ||||
| Title | Mosh Pits and Mental Health: Metal Communities and Emerging Adults' Well-Being | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 122 | ||
| Keywords | Cultural anthropology; Emerging adult; Health and environmental sciences; Heavy metal; Mental health; Psychological anthropology; Well being; Youth studies | ||||
| Abstract | In this thesis I will examine relationships between metal music and community participation and the mental well-being of so-called “emerging adults” within these communities. Building upon previous research on these relationships, I examine how emerging adult mental well-being is affected – both positively and negatively – by engagement and involvement in metal music communities. Utilizing a mixed-methods approach, I employ ethnographic fieldwork, person-centered interviews, and survey methods to describe how not just metal music but other “ritual” activities of metal music culture enact euphoric and also sometimes potentially detrimental effects on the mental health of emerging adults within these communities. Through these methods, I aim to detail how in a paradoxical sense the chaos and aggression inherent in metal music can confer therapeutic calm to individuals through identification with the music, the group, and the performances conducted within these metal music communities. The introductory Chapter One will first serve to provide an overview of what is exactly meant when describing heavy metal music communities, as ambiguities exist not only in the common understanding of the subculture, but also in the academic literature. In addition to this, a brief history of metal music communities will be discussed, detailing public perceptions, stigmas, and moral panics associated with the music and its fans. The chapter will be closed with a discussion of the research site, scope, and overall aims of the study, namely to provide greater insights into the mental health and well-being of emerging adults within these music scenes. Chapter Two consists of a review of existing literature on this subject, accounting for research within psychological anthropology, sociology, public health, popular music studies, and adolescent and emerging adult psychology. This Chapter will describe not just previous studies on heavy metal music communities, but should also provide a foundation on which this current study rests. Drawing upon literature and theory from these fields, the question of emerging adult mental health within these music scenes can be better understood, not just in terms of accuracy from a scholarly perspective, but also driven by emic perspective from the field. In seeking answers to these questions, Chapter Three will discuss the methodology and research design of this study. Attention will be given to the study population, site, locales, and scope and the rationale for using particular methods employed in this study. Chapter Four follows, detailing the analyses of data generated from the field and the results gathered throughout each step of research. Results will be described in both quantitative and qualitative terms, hoping to thus better clarify this study’s central question. Limitations of the research will be described in the concluding segments of this chapter. Finally, Chapter Five will discuss the results of this study in relation to theory and previous research, future impacts and considerations in this field, and concluding remarks regarding the relationship between metal music and the mental health of emerging adults. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | Colorado State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-355-29631-0 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2209 | ||
| Permanent link to this record | |||||
| Author | Callaway, Charles | ||||
| Title | I See The Horse | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 490 | ||
| Keywords | Communication and the arts; Creative writing; Fantasy literature; Fiction; Heavy metal | ||||
| Abstract | I See the Horse is a fantasy novel that follows the adventures of Komar Voorhexees of Port Karpricius during a time of civil war within The Ten Kingdoms of the Enlibar Empire. The primary focus or super objective of the novel centers on the pursuit of a religious artifact, The Tear of Vashanka, and the delivery of documents important to the war cause. The novel follows story telling lessons from Twain, Vonnegut, Robert Mckee, and Orson Scott Card. The novel also mixes elements from canonical masters such as Homer, Shakespeare, and Joyce with genre-champions such as J.R.R. Tolkien, R.E. Howard, and G.R.R. Martin, as well as components of heavy metal music. The result lies squarely between the subgenres of Sword and Sorcery and High (Epic) Fantasy. The first six chapters fit into the Sword and Sorcery category; whereas, the second dives into Epic Fantasy as the protagonist slowly becomes part of the bigger milieu. The novel was created to have an original, gritty, realistic world with an American feel and flavor and a fantasy city drenched in the culture of the American South. To create a fantasy novel with an American feel was the projects initial purpose and drive. This is accomplished by drawing heavily upon the author’s life and experience. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | University of Central Oklahoma | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-45252-5 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2216 | ||
| Permanent link to this record | |||||
| Author | Triplett, Andrew G. | ||||
| Title | Music and aggression: Effects of lyrics and background music on aggressive behavior | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 57 | ||
| Keywords | Aggression; Aggressive behavior; Heavy metal; Lyrics; Music; Psychology | ||||
| Abstract | Given the ever-growing popularity of music in daily life, it is of the utmost importance to understand how it influences affect, cognition, and behavior, especially given the violence of certain genres of music. The present study was designed to investigate the relationship between music and behavior, specifically to examine how the lyrics and background music interact to influence affective hostility and aggressive behavior. Data were collected from a sample of 168 students (61% Female; MAge = 19.24, SD = 2.470) at a large, private, Midwestern university to investigate this relationship. The music was manipulated by randomly assigning the participant to listen to one of four versions of a song. These versions included the match of either antisocial or prosocial lyrics with heavy metal or calm background music. Although there was no significant main effect of the lyrical content on participant’s aggressive behavior as hypothesized, there was a significant main effect of the lyrical content on an individual’s level of affective hostility F(4,159) = 8.818, p < .001, η 2</super> = .186. Specifically, pairwise comparisons showed antisocial lyrics resulted in a higher level of hostility as compared to the prosocial lyrics. This pattern suggests that music influences an individual’s affective hostility, but counter to previous research, music does not necessarily alter aggressive behavior. The relationship between music and aggression requires further investigation in order to determine whether music does in fact influence behavior, including potential moderators of this relationship. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | Loyola University Chicago | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-27199-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2217 | ||
| Permanent link to this record | |||||
| Author | Calandra, Nicole | ||||
| Title | Metal health: Measuring depression and anxiety within the heavy metal community | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 41 | ||
| Keywords | Anxiety; Depression; Heavy Metal; Mental Health; Mental illness; Music; Psychology; Rock Music | ||||
| Abstract | Heavy metal has a long and controversial history. One of the many things it has been blamed for is causing mental illness among its listeners. However, is the music to be blamed or are there other factors coming into play? Numerous studies have been done on various aspects of heavy metal such as its link to violence, but few have been done on mental health within the community. This paper replicated a French study examining levels of depression and anxiety within the community. Forty three participants, all active metal listeners, completed a survey examining various factors such as employment status and education levels, and completed the Hospital Anxiety and Depression Scale (HADS). Like the French study, it found that participants had generally low levels of depression and anxiety, but high levels were linked to outside factors. Hopefully, this will help open the floor for more valuable research on the community. | ||||
| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | Long Island University, The Brooklyn Center. | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-35554-3 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2219 | ||
| Permanent link to this record | |||||
| Author | McDowell, Michael A., II | ||||
| Title | Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 80 | ||
| Keywords | American south; American studies; Communication and the arts; Film studies; Heavy metal; Musicology; Popular music; Subculture | ||||
| Abstract | The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied. | ||||
| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | University of South Florida | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-00899-9 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2220 | ||
| Permanent link to this record | |||||
| Author | Hereld, Diana Christine | ||||
| Title | Musical Intensity in Affect Regulation: Uncovering Hope and Resilience Through Heavy Music | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 141 | ||
| Keywords | Communication and the arts; Clinical psychology; Emotion regulation; Heavy metal; Heavy music; Plasticity; Resilience; Self-destructive behavior | ||||
| Abstract | This thesis discusses the nature of music’s impact on identity, subjectivity, and the self. To better understand music’s role in promoting hope and resilience, I pinpoint how heavy, intense, and highly emotive music applied over distinct listening practices impacts the regulation of affect and self-destructive impulses in individuals who suffer from trauma, mental illness, or self-destructive behavior. This research also investigates the characteristic of intensity often found in heavy music that seems (despite intuition) to ease negative or painful emotions, circumvent impulses to self-harm, and propel one to positive action. Of particular interest to this project are the ways both heavy and non-genre specific music listeners use various listening strategies in the regulation and modulation of negative affect and emotion. Specifically highlighted are the three strategies defined by Saarikallio (2008) in the Music in Mood Regulation (MMR) scale of using music to cope with negative mood states: Diversion, where music is used to distract from negative thoughts and feelings, Solace, where music is used for comfort, acceptance, and understanding when feeling sad or troubled, and Discharge, where anger or sadness are released through music. Through review and analysis of existing literature, qualitative research, and in-depth case studies, this thesis illuminates the ways musically-afforded emotion-regulation strategies allow subjects to meet, shape, and transform their difficult experiences by establishing hope and resilience that strengthens one’s ontological security and sense of self. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | University of California, San Diego | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-93488-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2221 | ||
| Permanent link to this record | |||||
| Author | Vaughn, Erin M. | ||||
| Title | Harmonic resources in 1980s hard rock and heavy metal music | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 94 | ||
| Keywords | Communication and the arts; Guns N' Roses; Hard rock; Harmony; Heavy metal; Malmsteen, Yngwie; Metallica; Music theory | ||||
| Abstract | The first objective of this work was to review the existing literature relating to popular music analysis to determine if standards of harmonic practice within hard rock and heavy metal music have been considered and established. This led to the review of the analytical methods of Guy Capuzzo, Christopher Doll, Walter Everett, Allen Moore, and Ken Stephenson. For the needs of this study, Everett's work (and to a lesser degree, Stephenson's work) is primary as it best summarizes the harmonic schemes used in the pieces analyzed. Three songs were selected within different subgenres of hard rock and heavy metal: thrash metal (Metallica, “Master of Puppets”), neo-classical metal (Yngwie Malmsteen, “Far Beyond the Sun”), and commercial hard rock (Guns-N-Roses, “Welcome to the Jungle”). These pieces were analyzed extensively to understand the primary harmonic resources that are at work in each. Additionally, the three pieces were compared with regard to their formal elements, melodic materials, texture, and dynamics to draw conclusions about what similarities they share and also how they differ. Depending on the piece and the section under consideration, these three examples exhibited a reliance on modal structures, blues-based materials, and common-practice influences. |
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| Address | |||||
| Corporate Author | Thesis |
Master's thesis | |||
| Publisher | Kent State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-339-41655-7 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2224 | ||
| Permanent link to this record | |||||