| Author |
Title |
Year |
Publication |
Volume  |
Pages |
| Jordan, James Boddington |
Harmonic Structures of 21st Century Heavy Metal |
2021 |
|
|
|
| Marstal, Henrik |
Mercyful Fate's “Don't Break the Oath” |
2021 |
|
|
|
| Radovanović, Bojana |
Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies |
2021 |
Shaping the Present through the Future. Musicology, Ethnomusicology and Contemporaneity |
|
97-110 |
| Swist, Jeremy J. |
Headbanging to Byzantium: The Reception of the Byzantine Empire in Heavy Metal Music |
2021 |
İstanbul’da Bu Ne Bizantinizm! / What Byzantinism is this in Istanbul! |
|
200-229 |
| Verne, Markus |
Musikerfahrung und Kulturrelativismus: Heavy Metal in Madagaskar |
2021 |
Die Handlungsmacht ästhetischer Objekte |
|
167-196 |
| Medina, Javier S. |
Leather, spikes, and chains. The influenec of gay culture in punk, hard rock, and heavy metal music |
2017 |
|
|
|
| Marjenin, Peter A. |
The Metal Folk: The Impact of Music and Culture on Folk Metal and the Music of Korpiklaani |
2014 |
|
|
|
| Reis Alecrim, Thales |
The Day of Doom Has Come: A representação do mal, a indústria cultural e a cultura da participação na produção do Sepultura (1984-1987) |
2021 |
|
|
|
| LeVine, Mark |
We'll Play Till We Die: Journeys Across a Decade of Revolutionary Music in the Muslim World |
2022 |
|
|
|
| Thomas, Samuel |
The Devil's Party. Metal and Literature |
2022 |
The Routledge Companion to Music and Modern Literature |
|
406-415 |
