Svetlova, A. (2018). The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego [The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm]. Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura, 10(3).
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Almer, J., & Ondřej, D. (2018). “666 XXX”: Sexploitation in Czech and Slovak Black Metal and Porno-Gore Grind. Časopis za kritiko znanosti, domišljijo in novo antropologijo (Journal for the Critique of Science, Imagination, and New Anthropology), XLVI(274), 199–214.
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St-Laurent, M. - R., & Smialek, E. (2018). Unending Eruptions: White-Collar Metal Appropriations of Classical Complexity, Experimentation, Elitism, and Cultural Legitimization. In C. Scotto, K. Smith, & J. Brackett (Eds.), The Routledge Companion to Popular Music Analysis: Expanding Approaches (pp. 378–399). Abingdon & New York: Routledge.
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Busey, S. D. (2018). Parental Advisory-Explicit Content: The Parents Music Resource Center, Conservative Music Censorship, and the Protection of Children. Ann Arbor: University of Nevada.
Abstract: Historians have long overlooked and misunderstood the Parents Music Resource Center, an activist group formed in 1985 to correct perceived excesses in heavy metal music. Scholars have focused their analyses almost exclusively on the First Amendment implications of the group’s actions, largely dismissing the PMRC in the process. This thesis argues that by expanding the historical analysis of the group to include the social and political climate of previous generations and of the 1980s, the self-stated goals of the PMRC, and a musicological discussion of heavy metal and why the group specifically targeted this genre, we can see that the PMRC was in fact an incredibly influential sociopolitical activist group that is representative of the political shift in the United States in the 1980s.
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Andrew Klein. (2018). Blood, Frets and Tears.
Abstract: “Blood, Frets and Tears” is the exploration of history's gifted guitar players: our Guitar Heroes. From the swing of Charlie Christian's bebop guitar and the psychedelic rock of Jimi Hendrix, to the majestic fire of Eddie Van Halen, join us for a momentous and joyous musical trip in the most definitive celluloid document ever filmed on the sound and soul of the electric guitar. (Amazon.com) /
Director: Andrew Klein; Writers: Andrew KleinBarry Kolsky(story);
Stars: Michael Angelo Batio, Jennifer Batten, Jack Blades, Carlos, Davazo, Lita Ford, Paul Gilbert, Brad Gillis, Bruce Kulick, George Lynch, Tony MacAlpine, Billy Sheehan, and others. / Production Companies: Cut My Flix; Lucky 13 Cinematic; Velocity Films; Distributors: Cut My Flix (2019) (USA) (video); Velocity Films (2019) (USA) (video).
Keywords: Documentary film, Dokken, Eddie Van Halen, George Lynch, Jimi Hendrix, Lita Ford, Lynch Mob, Mr. Big, Paul Gilbert, Quiet Riot, Racer X
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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 July 8, 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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Guibert, G. (2018). Marche ou crève: The band Trust and the singular case of the birth of French heavy metal. In C. R. Gérôme Guibert (Ed.), Made in France: Studies in Popular Music (296). New York, NY: Routledge.
Abstract: Book summary: Made in France: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary French popular music. The volume consists of essays by scholars of French popular music, and covers the major figures, styles, and social contexts of pop music in France.
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Guberman, D. (2018). Massive Scar Era, Heavy Metal, and Two Tyrannies. In Joseph E. Morgan, & Gregory N. Reish (Eds.), Tyrannny and Music (pp. 183–198). New York: Lexington Books.
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Kahrimanović, Š. (2018). Fenomen nasilja i heavy metal muzika [Phenomen Violence and Heavy metal Music]. Društvene devijacije [Social Deviations], 3, 310–319.
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Juszczyk, A. (2018). The Global and Local Dimension of Metal Music. Annales Universitatis Paedagogicae Cracoviensis | Studia De Cultura, 14(3), 63–71.
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