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Author |
Pichler, Peter |
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Title  |
Contours of an Interdisciplinary Debate – a Conclusion |
Type |
Book Chapter |
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Year |
2024 |
Publication |
The Law of the Metal Scene: An Interdisciplinary Discussion |
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Pages |
135-142 |
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Law |
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Kohlhammer |
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Stuttgart |
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Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2578 |
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Author |
Karbownik, Karolina |
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Title |
Counter…what? Metal Music and Its Culture in the 21st Century |
Type |
Journal Article |
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Year |
2022 |
Publication |
Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura |
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Volume |
30 |
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Pages |
91-100 |
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Keywords |
Counterculture; Sociology |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2598 |
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Author |
Mailén Padilla, Ludmila |
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Title |
Crear es resistir resistir es crear. |
Type |
Magazine Article |
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Year |
2022 |
Publication |
Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras |
Abbreviated Journal |
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Volume |
1 |
Issue |
1 |
Pages |
34-35 |
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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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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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ISSN |
2953-3805 |
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PDF |
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Notes |
https://www.facebook.com/reddeestudiosyexperienciasenydesdeelheavymetal/ |
Approved |
yes |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2414 |
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Author |
Aloe, Federico; Mailén, Ludmila |
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Title |
Crear es resistir, resistir es crear. Un documental de Raza Truncka. |
Type |
Miscellaneous |
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Year |
2021 |
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Pages |
15'14" |
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Un documental [a documentary] |
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Abstract |
Producido por Raza Truncka
Dirigido por Federico Raposo Aloe y Ludmila Mailén Padilla
Dirección de Fotografía: Federico Raposo Aloe
Dirección de Sonido: Adrián Charras
Dirección de Montaje: Federico Raposo Aloe y Ludmila Mailén Padilla
Raza Truncka somos José Luis Terzaghi, Fausto Nascimbene, Diego Palavecino, Ezequiel Evangelista, Germán Barloqui, Facundo Evangelista e Ignacio Ponce
Entrevistades por orden de aparición: Sabrina Franciosi, Federico Calabia, Betiana Juárez, Gerardo Gramasco, Tito Müller, Julián Curinao, Horacio Andariego, Patricio Testa, Beto San Tuka, Gito Minore, Rocío Schlieper Yanca, Libertad Vázquez y Emanuel Corihuala
Investigación: Raza Truncka y Ludmila Mailén Padilla
Danza: Gerardo Gramasco, Betiana Juárez, Florencia Orrego, Lucas Valdéz y Sabrina Franciosi
Pintura: Federico Calabia
Máscaras: Gabriela Ayala, Gerardo Gramasco y Julius Gonup
Voz en off: Fausto Nascimbene
Cámaras: Federico Raposo Aloe, Pablo Ramiro y Beatriz Sánchez Picaso
Edición de audio: Adrián Charras, José Luis Terzaghi, Fausto Nascimbene y Facundo Evangelista
Logística: Sabrina Franciosi, Alejandro Zlatar, Natalia Usero y Marité Rotundo
Traducción al inglés: Ferna Dermit
Canciones:
El pensamiento, la ida
Baguala de la Raza Truncka
Pala pala
Poeta del Mishky Mayu
Napalpí
Vidalárbol trunckado
Un agradecimiento especial a les organizadores del Festival Pacha Huasi y a todas las personas que participaron de este proyecto. |
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https://www.youtube.com/user/RazaTruncka/about |
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Producido por Raza Truncka |
Place of Publication |
Tavakuairetã Paraguái [República del Paraguay] |
Editor |
Dirigido por Federico Raposo Aloe y Ludmila Mailén Padilla |
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Language |
Paraguayan Guarani |
Summary Language |
Subtitles in English |
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YouTube |
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no |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2289 |
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Author |
Miller, Diana |
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Title |
Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes |
Type |
Book Whole |
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Year |
2016 |
Publication |
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Volume |
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Issue |
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Pages |
205 |
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Keywords |
Cultural and symbolic capital; Cultural valuation; Gender and creative careers; Gender and habitus; Gender and organizations; Gender studies; Fields of cultural production; Heavy metal; Sociology |
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Abstract |
This dissertation uses a comparative case study of two grassroots music scenes—the folk music and heavy metal scenes in Toronto—to examine gender relations among cultural producers. I collect data using semi-structured interviews with 63 field actors, 70 instances of participant-observation, and discourse analysis of key public texts. Building on Bourdieu’s field theory, I argue that gender organizes fields of cultural production, including (1) the field’s economy of symbolic capital (2) the connection between field and habitus and (3) the spaces where musicians develop the embodied cultural capital required for music careers.
The first paper shows that field organization impacts the extent to which field members’ gendered dispositions produce symbolic capital, or reputation. Two features of cultural fields shape whether symbolic capital is gendered: the degree to which symbolic capital is institutionalized, and the level of symbolic boundary-drawing in the field. The metal field’s low institutionalization of symbolic capital and high boundaries foreground gender as a basis of symbolic capital, while the folk field’s high institutionalization of symbolic capital and low boundary-drawing reduce the extent to which gender matters.
The second paper situates gender as central to relationship between field and habitus. Participants in the metal field develop a metalhead habitus that privileges gendered practices centered on individual dominance and status competition, while the folkie habitus encourages gendered practices centered on caring, emotionality, and community-building. These gendered habitus support different working conventions: volunteer-based non-profit organizations in folk, and individual entrepreneurship in metal. The gendered habitus also supports different stylistic conventions: guitar virtuosity in the metal field, and participatory music-making in folk.
The third paper finds gendered access to the learning spaces where musicians develop performance capital, a form of embodied cultural capital denoting the instrumental and interpersonal skills required to perform music. Folk’s learning spaces are largely public and do not require social networks for access, while heavy metal’s learning spaces are private and centered on male-dominated friendship networks from which women are often excluded. These different learning spaces creates gendered patterns of access to the embodied cultural capital required to develop a music career. |
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Thesis |
Ph.D. thesis |
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Publisher |
University of Toronto (Canada) |
Place of Publication |
Ann Arbor |
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978-1-369-67340-1 |
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no |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2215 |
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Author |
Núñez, María de la Luz |
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Title |
Crítica feminista a través de la técnica de voz gutural: el caso Vofemex. |
Type |
Magazine Article |
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Year |
2022 |
Publication |
Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras |
Abbreviated Journal |
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Volume |
1 |
Issue |
1 |
Pages |
26-27 |
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Keywords |
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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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Publisher |
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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ISSN |
2953-3805 |
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PDF |
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Notes |
https://www.facebook.com/reddeestudiosyexperienciasenydesdeelheavymetal/ |
Approved |
yes |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2418 |
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Author |
Roby, David Allen |
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Title |
Crust Punk: An Anarchist Political Epistemology |
Type |
Book Whole |
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Year |
2021 |
Publication |
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Abbreviated Journal |
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Volume |
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Issue |
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Pages |
204 |
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Keywords |
Affect; Anarchism; Clothing; Cultural anthropology; Crust punk; Heavy Metal Music; Political science; Punk rock music; Reggae; Tattoos; Transiency |
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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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Thesis |
Ph.D. thesis |
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Publisher |
University of California, Davis |
Place of Publication |
Ann Arbor |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2199 |
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Author |
Montesinos, Omar |
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Title |
Cuero y metal: Memorias del underground paceño |
Type |
Book Chapter |
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Year |
2022 |
Publication |
El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
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Pages |
57-74 |
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Keywords |
Music History; Bolivia; La Paz; Underground |
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Ediciones Jichha |
Place of Publication |
La Paz |
Editor |
Tapia, Reynaldo; Mendoza, Boris |
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no |
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Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2484 |
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Author |
Alarcón Ruiz, Juan Carlos |
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Title |
CULTURA JUVENIL E IDENTIDAD: ORIGEN Y DESARROLLO DE LA CULTURA DEL METAL EN LA CIUDAD DE LIMA ENTRE LOS AÑOS 1980 Y 2017 |
Type |
Book Whole |
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Year |
2017 |
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Pages |
316 |
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Keywords |
Youth culture; identity; subculture; cultural construction; metal music |
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Abstract |
This research deals with the origin and development of the culture of Metal music in the city of Lima, and how adolescents of that time began the construction of a musical scene and the construction of an identity as individuals and as a community. The initial development of this urban culture took place during the 1980s, a period that was disastrous for Peru, where there was a chaotic context at the political, social level; economic; terror, suffering and above all uncertainty about the future. Between the bombs, death and destruction – facts generated by armed movements – the culture of Metal began to take shape, having as protagonists this group of adolescents; largely as rebellion and rejection about what they had to live. It was a society they did not want to be in. Based on different cultural manifestations (bands, fanzines, concerts, organizations) they began to build their own world, culture and identity. This identity is revaluated and becomes more powerful today when compared with the new generations of metalheads; who, based on the use of technology and a generally more favorable context, also try to participate in this urban culture. |
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Address |
https://web2.unfv.edu.pe/sitio/ |
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Thesis |
Bachelor's thesis |
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Publisher |
Federico Villarreal National University |
Place of Publication |
Lima, República del Perú |
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Language |
Spanish |
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English |
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Notes |
Licenciado en Antropología. |
Approved |
no |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2281 |
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Author |
Feria del Libro Heavy |
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Title |
Cultura metálica 6: ponencias, debates y exposiciones de la 6a Feria del Libro Heavy de Buenos Aires |
Type |
Book Whole |
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Year |
2020 |
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Bibliography; Non-Western scenes; Argentina |
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Clara Beter Ediciones |
Place of Publication |
Buenos Aires |
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Spanish |
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no |
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Call Number |
UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2108 |
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