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| Author | Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo (eds) | ||||
| Title | Música Extrema. Ruídos, imagens e sentidos | Type  |
Book Whole | ||
| Year | 2021 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Extreme Metal; Feminism; Ecology; Fanzines; Identity; Distribution; Theory | ||||
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| Publisher | Pimenta Cultural | Place of Publication | São Paulo | Editor | Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo |
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| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2355 | ||
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| Author | Lucas, Olivia R. | ||||
| Title | Loudness, Rhythm and Environment: Analytical Issues in Extreme Metal Music | Type |
Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Extreme metal; Loudness; Complexity; Musicology; Theory | ||||
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | Harvard University | Place of Publication | Cambridge | Editor | |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2385 | ||
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| Author | Dawes, Laina | ||||
| Title | “Freedom Ain’t Free:” Race and Representation(s) in Extreme Heavy Metal | Type |
Book Whole | ||
| Year | 2022 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Race; Representation; Extreme Metal | ||||
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | Columbia University | Place of Publication | New York | Editor | |
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2465 | ||
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| Author | Kloeppel, Mark | ||||
| Title | Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities | Type |
Book Whole | ||
| Year | Publication | Abbreviated Journal | |||
| Volume | Issue | Pages | 136 | ||
| Keywords | Communication and the arts; Social sciences; Extreme metal; Festivals; Narrative identity; Narrative inquiry; Tourism; Cultural resources management; Sociology; Labor relations | ||||
| Abstract | “Extreme Metal is a form of dark tourism and leisure activity whose artistic radicalism and underground scenes invoke intense debates from musicians as well as audiences. Traditional cultural studies have assumed that its disenfranchised and transgressive music expressions are an ideological resistance to increasing homogeneities of industrialized society. As such, considering the nature of festivals as a mechanism where culture is created and transmitted, the operations and promotions of Extreme Metal festivals are inevitably engaged in the wider cultural politics of Extreme Metal. The roles of festival producers thus must be emphasized, who act as powerful agents in engaging artists, developing audiences, arranging programs, and so forth. Indeed, no festivals can be simply described as improvised events – they are carefully programmed, planned, and constructed for audiences to hear and see. With this in mind, this study serves to explore the experiential predicament of these culturally embedded event producers. In particular, the identities of the festival producers compose the focus of investigation for this research. That is, considering the contested contexts that are at play in shaping the very existence of Extreme Metal, the producers are constantly acting as intermediaries between these contexts. The discursive practice by which they give meaning to their festival production practices, contain profound dissonance between 'what they imagine their selves to be' and 'what they actually are’ as related to their turbulent ‘referential world’ of Extreme Metal festival production. With this in mind, this study employs the theoretical framework of narrative identity in the examination of the ‘referential world’ by which identities are related. Narrative identity is considered as an approach to understand how people resolve themselves, life events, actions, and other forces in their life. Considering that a self, in narrative, is given meaning through the narrator’s relation of the self to their referential world, analyzing the narrative moments where conflicting contexts are at play provides a sensitization to the struggle of Extreme Metal cultural transgression within festival production. Specifically, it is learned how this tourism is considered ‘dark’. In doing so, three main research questions are asked: 1). How can we understand the festival producers’ identities as negotiated and emerged from the interview narratives? 2). In regards to the festival producers’ identities, what socio-cultural forces in relation to the apparatus of Extreme Metal are involved? 3). How do such findings illuminate the makings of tourism festivals at large?” (Source: ProQuest Dissertations Publishing) |
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of Missouri-Columbia, Parks, Recreation, and Tourism Department | Place of Publication | Columbia, Missouri | Editor | Grace Yan |
| Language | English | Summary Language | Original Title | ||
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| Notes | ProQuest publication number 11015334 | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2518 | ||
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| Author | Walch, Florian | ||||
| Title | Extreme Metal Across the Digital Divide: Music, Technology, Genre | Type |
Book Whole | ||
| Year | 2023 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 301 | ||
| Keywords | analog; analysis; digital; extreme metal; genre; media; music history; music theory | ||||
| Abstract | This dissertation examines how the analog-digital transition influenced the development of extreme metal, interpreting its present obsession with fine sub-generic distinctions and “old-school” revivals of analog aesthetics as a means of coping with an uneasy dependence on digital media. While extreme metal’s values developed in analog networks, its transcendence of aural and bodily limits required digital prostheses. The digital divide in accessing these contested technologies structured extreme metal’s system of subgenres, which—like the remembered inconveniences of the past—memorialize now-lost resistances. This dissertation’s arc is conceptual and chronological. Its introduction and conclusion frame its inquiry with present concerns, while the inner chapters are case studies that progress from undifferentiated analog beginnings in the 1980s to sub-generic crystallization up to the arrival of the digital audio workstation in the mid-1990s. Using archival materials, newly conducted interviews, and close readings of musical records, these case studies put vernacular theories into dialog with discourses drawn from the musicology of record production, music theory, and critical theory. Ultimately, these constellations aim to articulate a constitutive relationship between what it means to analyze, make, and enjoy popular music. This dissertation’s contributions are twofold. First, it provides models for the analysis of popular music grounded in the historically conditioned values of an aesthetic community—and how these values are adapted to disruptions. Second, this dissertation argues that (sub-)genre, as the promise of being able to repeat (increasingly narrow) aesthetic experiences, requires technologies that make this repetition possible—at least in fantasy. The Introduction uses ethnographic vignettes to establish the contemporary importance of sub-genre and nostalgia. Chapter 1 asks why pioneering musicians can claim to have heard extreme metal before it existed, by manipulating the time-axis of existing records on tape or vinyl players. This fetish-like objectification of creativity reflects a disavowal of subjective creativity. Chapter 2 analyzes death metal drumming’s labor theory of value, demonstrating why digital drum sample replacement was both essential and intolerable for the development of the prized blast beat, which was valued as concrete time, but measured as abstract time. An Interlude examines how moral panics around backmasking let horror-inspired album introductions transmit different messages to insiders and outsiders. Chapter 3 reconstructs the digital-analog assemblage Morrisound Studios used to create the signature hyper-real performance associated with death metal and explores how its aural trace made the digital divide audible. Chapter 4 argues that the death metal production aesthetic undermined the groove-based forms of grindcore, examining how former grindcore bands re-record their own songs in a death metal idiom. Chapter 5 contests the notion that black metal was only a return to an imagined analog past, analyzing it as a post-digital style that used the devaluation of human performance it critiqued in death metal to incorporate influences from electronic dance music. The Postlude returns to the present and considers what is at stake when resistances are lost to remediation. (source: Uchicago.edu) |
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| Address | |||||
| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | The University of Texas at San Antoniohicago | Place of Publication | Chicago, Illinois | Editor | |
| Language | English | Summary Language | Original Title | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2604 | ||
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| Author | Spracklen, Karl; Lucas, Caroline; Deeks, Mark | ||||
| Title | The Construction of Heavy Metal Identity through Heritage Narratives: A Case Study of Extreme Metal Bands in the North of England | Type |
Journal Article | ||
| Year | 2014 | Publication | Popular Music and Society | Abbreviated Journal | |
| Volume | 37 | Issue | 1 | Pages | 48-64 |
| Keywords | Extreme Metal; Cultural Identity; United Kingdom | ||||
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| Language | en | Summary Language | Original Title | ||
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| Series Volume | Series Issue | Edition | |||
| ISSN | 0300-7766, 1740-1712 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ spracklen_construction_2014 | Serial | 52 | ||
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| Author | Swist, Jeremy J. | ||||
| Title | Satan’s Empire: Ancient Rome’s anti-Christian appeal in extreme metal | Type |
Journal Article | ||
| Year | 2019 | Publication | Metal Music Studies | Abbreviated Journal | |
| Volume | 5 | Issue | 1 | Pages | 35-51 |
| Keywords | Extreme Metal; Antiquity; Satan | ||||
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| Language | en | Summary Language | Original Title | ||
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| Series Volume | Series Issue | Edition | |||
| ISSN | 2052-3998, 2052-4005 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ swist_satans_2019 | Serial | 483 | ||
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| Author | St-Laurent, Méi-Ra | ||||
| Title | Finally getting out of the maze: Understanding the narrative structure of extreme metal through a study of ‘Mad Architect’ by Septicflesh | Type |
Journal Article | ||
| Year | 2016 | Publication | Metal Music Studies | Abbreviated Journal | |
| Volume | 2 | Issue | 1 | Pages | 87-108 |
| Keywords | Rhetoric; Extreme Metal; Textuality; Septicflesh; Narrative | ||||
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| Language | en | Summary Language | Original Title | ||
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| ISSN | 2052-3998 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ st-laurent_finally_2016 | Serial | 544 | ||
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| Author | Grant, Sam | ||||
| Title | Resistants, stimulants and weaponization: Extreme metal music and empowerment in the Iraqi and Syrian civil conflicts | Type |
Journal Article | ||
| Year | 2017 | Publication | Metal Music Studies | Abbreviated Journal | |
| Volume | 3 | Issue | 2 | Pages | 175-200 |
| Keywords | Reception; Extreme Metal; Non-Western scenes; Syria; Iraq | ||||
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| Language | en | Summary Language | Original Title | ||
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| Series Volume | Series Issue | Edition | |||
| ISSN | 2052-3998 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ grant_resistants_2017 | Serial | 573 | ||
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| Author | Netherton, Jason | ||||
| Title | The entrepreneurial imperative: Recording artists in extreme metal music proto-markets | Type |
Journal Article | ||
| Year | 2017 | Publication | Metal Music Studies | Abbreviated Journal | |
| Volume | 3 | Issue | 3 | Pages | 369-386 |
| Keywords | Extreme Metal; Music industry | ||||
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| Language | en | Summary Language | Original Title | ||
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| ISSN | 2052-3998 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ netherton_entrepreneurial_2017 | Serial | 582 | ||
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