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Heaton, Brian J.; Naron, Brian L. |
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Roads to Madness: The Touring History of Queensrÿche (1981-1997) |
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2024 |
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“DESCRIPTION: Roads to Madness: The Touring History of Queensrÿche (1981-1997) by Queensrÿche biographer and historian Brian J. Heaton, and Pacific Northwest metal music archivist Brian L. Naron.”
(Source: https://nwmetalworxmusic.com/) |
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NW Metalworx Music |
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Puyallup, WA |
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INTech @ brianhickam2019 @ |
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2526 |
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Author |
Beach, James R.; Naron, Brian L.; Heaton, Brian J. |
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Building An Empire: The Story of Queensrÿche |
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“Building An Empire: The Story of Queensrÿche examines how the five original members of the band came together in the eastern suburbs of Seattle to create some of the most influential heavy metal albums of the 1980s, including the conceptual masterpiece Operation: Mindcrime.
Discover how the band weathered the loss of key members, a changing industry at the turn of the century, a bitter lawsuit and numerous obstacles to continue a career that has spanned four decades and counting...
Written by James R. Beach, with Brian L. Naron and Brian J. Heaton, Building An Empire: The Story of Queensrÿche examines how the band evolved from album to album, weaving interviews with the band members, managers, producers, peers, family and friends to help tell this honest, riveting tale of how five guys from Seattle's Eastside overcame the odds to become one of the most respected bands in hard rock and heavy metal.
Paul Suter, the acclaimed writer from Kerrang! who broke the story on Queensrÿche in early 1983, penned the book's Foreword. Includes hundreds of rare photos and images throughout the band's career.”
(source: https://nwmetalworxmusic.com/) |
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NW Metalworx Music |
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Puyallup, WA |
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INTech @ brianhickam2019 @ |
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2527 |
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Beach, James R.; Naron, Brian L.; Sutton, James D.; Tolin, James |
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Title |
Rusted Metal: A Guide To Heavy Metal and Hard Rock Music in the Pacific Northwest (1970 – 1995) |
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2019 |
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“DESCRIPTION: RUSTED METAL is a definitive guide to Heavy Metal and Hard Rock music in the Pacific Northwest (Oregon, Washington, Idaho and Vancouver BC) from 1970 to 1995 by local authors and music fans James R. Beach, Brian L. Naron, James D. Sutton and James Tolin. Featuring a comprehensive guide to the bands, clubs, music and more (including interviews with members of:
Metal Church, Heart, Rail, TKO, Culprit, Sanctuary, Black N' Blue, Wild Dogs, Pearl Jam, Q5, Heir Apparent, Shadow, Overlord, Panic, Malice, Glacier, Coven, Cruella, Forced Entry, Whizkey Stik, High Voltage, Widow, Wehrmacht, Gargoyle, Lipstick and many others – around 100 brand new interviews in all!). Features over 500 band bios, discography, concert listings, tons of photos, flyers, covers, merchandise, etc. as well. Large, oversized Trade Paperback book.”
(source: https://nwmetalworxmusic.com/) |
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NW Metalworx Music |
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Puyallup, WA |
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INTech @ brianhickam2019 @ |
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2528 |
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Author |
Zapata, Alex |
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Title |
La voz en los ochenta. Nuevos estilos al baile. |
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2003 |
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Pensamiento Crítico: Revista Electrónica de Historia |
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3 |
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1-63 |
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Rock in Chile (1983 – 1992). Authors, styles, its industry, social function of its lyrics among others. Period studied is one in which this musical movement was revised and recast after a long period of marginalization in Chile. |
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eJournal that is No longer available online. |
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Pensamiento Crítico |
Place of Publication |
Santiago de Chile |
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Spanish |
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English |
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0717-7224 |
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Article/issue is available online. |
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INTech @ brianhickam2019 @ |
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2291 |
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Author |
Kloeppel, Mark |
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Title |
Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities |
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136 |
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Communication and the arts; Social sciences; Extreme metal; Festivals; Narrative identity; Narrative inquiry; Tourism; Cultural resources management; Sociology; Labor relations |
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“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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Master's thesis |
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University of Missouri-Columbia, Parks, Recreation, and Tourism Department |
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Columbia, Missouri |
Editor |
Grace Yan |
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English |
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ProQuest publication number 11015334 |
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INTech @ brianhickam2019 @ |
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2518 |
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Author |
Castro, Álvaro Leonel de Oliveira; Rezende, Daniel Carvalho de |
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Title |
Music consumption and taste internalisation practices among educated Brazilian metal listeners and members of musical scenes |
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Year |
2023 |
Publication |
Poetics |
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99 |
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101803 |
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Sociology; Social relations |
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0304422X |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2460 |
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Author |
Walch, Florian |
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Title |
Extreme Metal Across the Digital Divide: Music, Technology, Genre |
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2023 |
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301 |
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analog; analysis; digital; extreme metal; genre; media; music history; music theory |
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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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Ph.D. thesis |
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The University of Texas at San Antoniohicago |
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Chicago, Illinois |
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English |
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INTech @ brianhickam2019 @ |
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2604 |
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Author |
Tsatsishvili, Valeri |
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Title |
Automatic Subgenre Classification of Heavy Metal Music |
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2011 |
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65 |
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Automatic genre classification; classifications; genre; heavy metal; heavy rock; music; subgenre |
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Automatic genre classification of music has been of interest for researchers over a decade. Many success-ful methods and machine learning algorithms have been developed achieving reasonably good results. This thesis explores automatic sub-genre classification problem of one of the most popular meta-genres, heavy metal. To the best of my knowledge this is the first attempt to study the issue. Besides attempting automatic classification, the thesis investigates sub-genre taxonomy of heavy metal music, highlighting the historical origins and the most prominent musical features of its sub-genres.
For classification, an algorithm proposed in (Barbedo & Lopes, 2007) was modified and implemented in MATLAB. The obtained results were compared to other commonly used classifiers such as AdaBoost and K-nearest neighbours. For each classifier two sets of features were employed selected using two strategies: Correlation based feature selection and Wrapper selection. A dataset consisting of 210 tracks representing seven genres was used for testing the classification algorithms. Implemented algorithm classified 37.1% of test samples correctly, which is significantly better performance than random classification (14.3%). However, it was not the best achieved result among the classifiers tested. The best result with correct classification rate of 45.7% was achieved by AdaBoost algorithm.
(Source: https://jyx.jyu.fi/handle/123456789/37227#) |
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Master's thesis |
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University of Jyväskylä |
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Jyväskylä, Finland |
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English |
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English |
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Programme in Music, Mind and Technology |
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INTech @ brianhickam2019 @ |
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2606 |
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Author |
Núñez, María de la Luz |
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Title |
Las portadas de Yana Raymi como una expresión de neobarroco peruano: la resistencia gráfica de los guerreros wankas |
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Journal Article |
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2023 |
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UCOARTE. Revista De Teoría E Historia Del Arte |
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12 |
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236–260 |
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Yana Raymi (band); Perú; Neobaroque; Aesthetics; Cover Art |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2491 |
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Author |
Pichler, Peter |
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Title |
To the sources! On historical source criticism in metal studies |
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Journal Article |
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Year |
2023 |
Publication |
Popular Music History |
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15 |
Issue |
1 |
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54–77 |
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Metal Studies, History, Source Criticism, sonic knowledge, Styria, historical sources, metal scenes |
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Metal studies is usually considered to be a fundamentally interdisciplinary field of research. However, the disciplines that were included at its beginning (mostly sociology, cultural anthropology, musicology, and philosophy) are still theoretically dominant. As a consequence, several important research questions that do not reflect these disciplines’ epistemologies have remained unanswered to this day. To a great extent, this applies to historical research questions on metal scenes. In this respect, the author argues that metal studies could benefit from the expertise of history in general and source criticism in particular. In order to develop this argument, necessary basic traits of contemporary historical source criticism are introduced. Then, the author proceeds by individually discussing three fundamental types of sources that are structurally tied to the historical long-term processes in metal scenes: concert flyers, album covers and band T-shirts. Research into the Styrian metal scene in south-eastern Austria provides examples. To conclude, it is posited that starting from a semiotic concept of source criticism and then adapting such a concept for the specific purposes of metal studies is necessary to nurture historical awareness and the accuracy of relevant research. |
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15 The Workstation 15 Paternoster Row, Sheffield, S1 2BX United Kingdom |
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Equinox Publishing Ltd |
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United Kingdom |
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Catherine Strong; Shane Homan |
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English |
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1740-7133 (Print); 1743-1646 (Online) |
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INTech @ brianhickam2019 @ |
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2469 |
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