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Tapia, Reynaldo; Mendoza, Boris (eds) |
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El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
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2022 |
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Bolivia; Music History; Sociology |
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Ediciones Jichha |
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La Paz |
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Tapia, Reynaldo; Mendoza, Boris |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2480 |
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Author |
Mendoza, Boris |
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Title |
El underground Boliviano de los Andes y su resonancia identitaria en la política pública de del siglo XXI |
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2022 |
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El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
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33-56 |
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Bolivia; Identity; Politics |
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Ediciones Jichha |
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La Paz |
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Tapia, Reynaldo; Mendoza, Boris |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2483 |
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Moores, JR |
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Title |
Electric Wizards: A Tapestry of Heavy Music, 1968 to the Present |
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2021 |
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480 |
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“It began with the Beatles’ “Helter Skelter.” It was distilled to its dark essence by Black Sabbath. And it has flourished into a vibrant modern underground, epitomized by Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs. This is the evolution of heavy music. The voyage is as varied as it is illuminating: from the lysergic blunt trauma of Blue Cheer to the locked grooves of Funkadelic, the aural frightmares of Faust to the tectonic crush of Sleep, alighting on post-punk, industrial, grunge, stoner rock, and numerous other genres along the way.
Ranging from household names to obscure cult heroes and heroines, Electric Wizards demonstrates how each successive phase of heavy music was forged by what came before, outlining a rich and eclectic lineage that extends far beyond the usual boundaries of heavy rock or heavy metal. It extols those who did things differently, who introduced something fresh and exciting into this elemental tradition, whether by design, accident, or sheer chance. In doing so, Electric Wizards weaves an entirely new tapestry of heavy music.” (source: Reaktion Books) |
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Reaktion Books |
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London, U.K. |
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English |
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1789144485; 978-1789144482 |
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Hardback |
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INTech @ brianhickam2019 @ |
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2524 |
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Author |
Rodríguez, Pablo |
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Title |
Encuentro de Ritmos Tradicionales con Distorsiones del Mundo: Propuestas musicales ecuatorianas donde conviven el rock y la música tradicional. |
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Magazine Article |
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2020 |
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R-ZINE |
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1 |
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14-25 |
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Sociedad Anómica; Universidad San Francisco de Quito |
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San Francisco de Quito, Republic of Ecuador |
Editor |
Viteri, Juan Pablo |
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Spanish |
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Google Doc |
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Este primer número de R-ZINE fue financia do por la Universidad San Francisco de Qui to USFQ (Ecuador) a través de su programa de Grants de Producción Creativa (grant 2019-2020) del Decanato de Investigación. R-Zine es un proyecto de investigación creativa del Colegio de Comunicación y Artes Contemporáneas (COCOA). Diez Años De Música Independiente. |
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INTech @ brianhickam2019 @ |
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2294 |
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Martínez, Susana González |
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Enseñar a transgredir: Metal feminista, a través de la investigación-acción participativa, como herramienta artística de liberación y pedagógica en el aula |
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2023 |
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528 |
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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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https://digibug.ugr.es/contact |
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Thesis |
Doctoral thesis |
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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 |
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Spanish |
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English |
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9788411951623 |
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no |
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INTech @ brianhickam2019 @ |
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2537 |
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Author |
Olavarría Ginocchio, Ricardo |
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Title |
Entre la profesionalización y el underground. Inicios de la escena metalera en Lima (1983-1989) |
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Book Whole |
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Year |
2019 |
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Pages |
153 |
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Música--Perú--Lima--Historia--1983-1989; Música rock--Perú--Lima--Historia--1983-1989; Música popular--Perú--Lima--Historia--1983-1989 |
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La presente tesis tiene como objetivo analizar las razones que llevaron a un grupo de jóvenes limeños varones, en la década de los ochenta, a tocar metal, tanto en la variante de heavy metal tradicional como en la extrema, a la vez que busca explicar de qué manera las circunstancias de la realidad nacional, tanto económicas como sociales y políticas, influyeron en la constitución de dicho género musical como escena. Para ello, parto de dos hipótesis. Por un lado, en un contexto de globalización y desestructuración, estos jóvenes encuentran, en la oscuridad, pesadez y potencia del metal, un espacio en el que construir lazos sociales entre pares y afianzar estructuras paralelas de autonomía y poder. Por otro lado, la formación de la escena metalera se da primero en una etapa (1983-1985) de convivencia entre las bandas de metal y las de otros subgéneros del rock; y luego, en una segunda etapa (1986-1989), esta adquiere carácter independiente y se perfila en dos vertientes: una que busca la profesionalización, que eventualmente pierde terreno ante la crisis económica, y otra underground, que lograr sortear la crisis a partir de sus propios códigos, los cuales marcan el futuro de la escena.
Con el fin de poner a prueba dichas hipótesis, realicé entrevistas a participantes de la escena de la época, consulté diversos periódicos, revistas y fanzines, además de fuentes secundarias. Además de confirmar las hipótesis de investigación, esta tesis muestra, primero, que los códigos musicales (en este caso del metal) influyeron en la realidad de los jóvenes que adoptaron dicho género como seña identitaria; y, segundo, que las particularidades de la escena metalera limeña respondieron a eventos y tendencias sociales, políticas y económicas propias de la realidad peruana. |
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Address |
Pontificia Universidad Católica del Perú, https://www.pucp.edu.pe/ |
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Corporate Author |
Pontificia Universidad Católica del Perú |
Thesis |
Master's thesis |
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Publisher |
Pontificia Universidad Católica del Perú |
Place of Publication |
Lima, República del Perú |
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Spanish |
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Magíster en Historia. Creative common license: Atribución-NoComercial-CompartirIgual 2.5 Perú |
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no |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2280 |
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Author |
Nevárez Araújo, Daniel; Varas-Díaz, Nelson; Wallach, Jeremy; Clinton, Esther |
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Title |
Epilogue: Metal Unbound |
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Book Chapter |
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Year |
2023 |
Publication |
Defiant Sounds. Heavy Metal Music in the Global South |
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Pages |
387-390 |
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Conclusions |
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Lexington |
Place of Publication |
London |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2441 |
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Author |
Burke, David |
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Title |
Esoteric Symbolism in Doom Metal |
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Year |
2016 |
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Keywords |
Rhetoric; Motifs; Doom metal; Esoterism |
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“By contrast, this study will focus on the way in which (some, but not all) doom metal artistsincorporate three cultural ideas into their works; horror, the occult, and the psychedelic. Whilstmuch of metal focuses on horror and monsters, particularly death metal, doom metal's use of moreesoteric material separates it from much of the larger metal genre, and connects it to an eclecticrange of cultural and musical influences. Doom metal's use of such paradigms has not beenexamined thus far, but there is much to be learned from such study; these cultural trends areintegral to understanding the history of esotericism and countercultural practice. In this study I willdefine each of those three cultural ideas, as well as further considering the cultural discourses thatcompose doom metal, and defining which styles within the genre are of the most interest. I will thenanalyse a range of music, album art and interviews with musicians, aiming to pinpoint how, and forwhat purpose, each band incorporates those elements into their style. Further, I will investigate howthese musicians and their works form part of larger zeitgeists (particularly that of esotericism), andwill consider how these artists, in different times and places, have come to utilise similar symbolsand ideas. These commonalities between musicians, I will argue, shows doom metal to be a 'glocal'musical phenomenon that has the ability to utilise a wide variety of cultural ideas and artifacts invariegated situations.” (from 4th page of introduction) |
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Bachelor's thesis |
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Publisher |
University of Southampton |
Place of Publication |
Southampton |
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Language |
en |
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BA (History) Degree |
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no |
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UCM - CAM @ amaranta.saguar.garcia @ burke_esoteric_2016 |
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442 |
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Author |
Pascuchelli, Natalia |
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Title |
Espiritualidades metaleras: Diálogos entre la cultura metal y discursos religiosos/espirituales en el Área Metropolitana de Buenos Aires, Argentina. |
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Magazine Article |
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Year |
2022 |
Publication |
Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras |
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1 |
Issue |
1 |
Pages |
44-45 |
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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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REEHM (Red De Estudios y Experiencias en y desde el Heavy Metal) |
Place of Publication |
Autonomous City of Buenos Aires, Argentine Republic |
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español |
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2953-3805 |
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Notes |
https://www.facebook.com/reddeestudiosyexperienciasenydesdeelheavymetal/ |
Approved |
yes |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2409 |
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Author |
Castillo Bernal, Stephen |
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Title |
Exotismo mediático. Notas sobre el Heavy Metal de inspiración prehispánica en México |
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Journal Article |
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Year |
2022 |
Publication |
Cuicuilco. Revista de ciencias antropológicas |
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29 |
Issue |
85 |
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41-72 |
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Folk Metal; Pre-Hispanic Metal; México; Ethnography |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2544 |
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