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Hudcová, Lucie |
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Title |
Metal – hudba, kultura, identita [Metal – music, culture, identity] |
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2015 |
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Identity |
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Bachelor's thesis |
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Univerzita Karlova, Fakulta humanitních studií |
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Prague |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2342 |
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Author |
Silva, Melina Aparecida dos Santos; Polivanoz, Beatriz |
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Title |
“Mar de camisas pretas”: camisas de bandas como mediadoras de sentidos e experiências na cena do heavy metal |
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2015 |
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Logos |
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22 |
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2 |
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s. p. |
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T-shirts; Sociology; Appearance |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2474 |
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Author |
Holzbach, Ariane Diniz; Santos, Melina; Evangelista, Simone; Oliveira, Thaiane |
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Title |
Heavy Metal X Funk: disputas de gênero na cultura pop a partir do canal Mamilos Molengas |
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Book Chapter |
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2015 |
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Cultura pop |
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131-150 |
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Video; Stereotypes; Parody; Quality |
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EDUFBA |
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Salvador |
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Sá, Simone Pereira de; Carreiro, Rodrigo; Ferraz, Rogerio |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2477 |
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Author |
Temkin, Daniel |
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Title |
Intricate Machines for String Quartet |
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2016 |
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Classical music; Heavy Metal; Musical composition; String quartets |
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Program Notes: Intricate Machines was composed for the 2016 Saarbrücken Somermusik festival in Germany. The festival theme was “travel to foreign lands” and this piece, in some sense, represents a larger journey from the chaos of the outside world into a more peaceful sphere of inner reflection. Each of the five movements is connected together and played without pause. Beginning with dense and rhythmic outbursts, the first movement (“Heavy-Metal Viola”) imagines a musical offspring of Bartok and Metallica somehow fused together by string quartet. The second movement (“Bump in the Night”) focuses on juxtaposition: a lone, delicate, solo violin hums quietly, only to face jarring interruptions from the ensemble underneath. Ending with an introspective chorale, the second movement gives way to movement three (“Churning Gears”) in which fast and repetitive ostinatos create a dense interlocking musical machine. The fourth movement (“Constellations”) begins with an eruption of heavy, sustaining, chords that are played freely, out of time. These vibrating orbs of sound gradually recede into distant and ethereal harmonics. Suggesting a celestial atmosphere, the solo cello gently sings a muted melody, leaving us in a place of transformation relative to the earlier movements. Movement five, a playful folk-dance, completes the total journey as an overt contrast to the tense opening movements. Amidst its quirky and bizarre groove, elements of rock, funk, folk-fiddling, and pedal-tone drone music, are assimilated into what composer Steven Mackey describes as “a vernacular music from a culture that doesn’t really exist”—or as I phrase it here, a “Martian Jukebox Hoe-down.” |
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Doctoral thesis |
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University of Southern California |
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Ann Arbor |
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9798460449484 |
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INTech @ brianhickam2019 @ |
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2214 |
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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 |
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Year |
2016 |
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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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Ph.D. thesis |
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University of Toronto (Canada) |
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Ann Arbor |
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978-1-369-67340-1 |
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no |
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INTech @ brianhickam2019 @ |
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2215 |
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Author |
Callaway, Charles |
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Title |
I See The Horse |
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Book Whole |
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2016 |
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490 |
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Communication and the arts; Creative writing; Fantasy literature; Fiction; Heavy metal |
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I See the Horse is a fantasy novel that follows the adventures of Komar Voorhexees of Port Karpricius during a time of civil war within The Ten Kingdoms of the Enlibar Empire. The primary focus or super objective of the novel centers on the pursuit of a religious artifact, The Tear of Vashanka, and the delivery of documents important to the war cause.
The novel follows story telling lessons from Twain, Vonnegut, Robert Mckee, and Orson Scott Card. The novel also mixes elements from canonical masters such as Homer, Shakespeare, and Joyce with genre-champions such as J.R.R. Tolkien, R.E. Howard, and G.R.R. Martin, as well as components of heavy metal music. The result lies squarely between the subgenres of Sword and Sorcery and High (Epic) Fantasy. The first six chapters fit into the Sword and Sorcery category; whereas, the second dives into Epic Fantasy as the protagonist slowly becomes part of the bigger milieu.
The novel was created to have an original, gritty, realistic world with an American feel and flavor and a fantasy city drenched in the culture of the American South. To create a fantasy novel with an American feel was the projects initial purpose and drive. This is accomplished by drawing heavily upon the author’s life and experience. |
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Master's thesis |
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University of Central Oklahoma |
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Ann Arbor |
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978-1-369-45252-5 |
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no |
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INTech @ brianhickam2019 @ |
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2216 |
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Author |
Triplett, Andrew G. |
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Title |
Music and aggression: Effects of lyrics and background music on aggressive behavior |
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Book Whole |
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2016 |
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57 |
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Aggression; Aggressive behavior; Heavy metal; Lyrics; Music; Psychology |
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Given the ever-growing popularity of music in daily life, it is of the utmost importance to understand how it influences affect, cognition, and behavior, especially given the violence of certain genres of music. The present study was designed to investigate the relationship between music and behavior, specifically to examine how the lyrics and background music interact to influence affective hostility and aggressive behavior. Data were collected from a sample of 168 students (61% Female; MAge = 19.24, SD = 2.470) at a large, private, Midwestern university to investigate this relationship. The music was manipulated by randomly assigning the participant to listen to one of four versions of a song. These versions included the match of either antisocial or prosocial lyrics with heavy metal or calm background music.
Although there was no significant main effect of the lyrical content on participant’s aggressive behavior as hypothesized, there was a significant main effect of the lyrical content on an individual’s level of affective hostility F(4,159) = 8.818, p < .001, η 2</super> = .186. Specifically, pairwise comparisons showed antisocial lyrics resulted in a higher level of hostility as compared to the prosocial lyrics. This pattern suggests that music influences an individual’s affective hostility, but counter to previous research, music does not necessarily alter aggressive behavior. The relationship between music and aggression requires further investigation in order to determine whether music does in fact influence behavior, including potential moderators of this relationship. |
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Master's thesis |
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Loyola University Chicago |
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Ann Arbor |
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978-1-369-27199-7 |
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INTech @ brianhickam2019 @ |
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2217 |
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Author |
Watts, Chelsea Anne |
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Title |
Nothin' But a Good Time: Hair Metal, Conservatism and the End of the Cold War in the 1980s |
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2016 |
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232 |
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Communication and the arts; Free market capitalism; Gender studies; Glam metal; Masculinity; Popular culture; Reagan era; Rock and roll; United States history |
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This dissertation offers a cultural history of the 1980s through an examination of one of the decade’s most memorable cultural forms—hair metal. The notion that hair metal musicians, and subsequently their fans, wanted “nothin’ but a good time,” shaped popular perceptions of the genre as shallow, hedonistic, and apolitical. Set against the backdrop of Reagan’s election and the rise of conservatism throughout the decade, hair metal’s transgressive nature embodied in the performers’ apparent obsession with partying and their absolute refusal to adopt the traditional values and trappings of “yuppies” or middle-class Americans, certainly appeared to be a strong reaction against conservatism; however, a closer examination of hair metal as a cultural form reveals a conservative subtext looming beneath the genre’s transgressive façade. In its embrace of traditional gender roles, free market capitalism, and American exceptionalism, hair metal upheld and worked to re-inscribe the key tenants of conservative ideology.
Historians have only recently turned an analytical eye toward the 1980s and by and large their analyses have focused on the political and economic changes wrought by the Reagan Revolution that competed America’s conservative turn over the course of the decade. This study adds to historical understandings of the decade’s political history by telling us how non-political actors—musicians, producers, critics, and fans—shaped and were shaped by the currents of formal politics. Though heavy metal music and the rise of conservatism seem to share little common ground, by putting these two seemingly disparate historiographies into conversation with one another, we gain a clearer picture of the breadth and depth of conservatism’s reach in the 1980s. |
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Ph.D. thesis |
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University of South Florida |
Place of Publication |
Ann Arbor |
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978-1-369-42831-5 |
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no |
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INTech @ brianhickam2019 @ |
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2218 |
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Author |
Calandra, Nicole |
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Title |
Metal health: Measuring depression and anxiety within the heavy metal community |
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Book Whole |
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2016 |
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41 |
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Anxiety; Depression; Heavy Metal; Mental Health; Mental illness; Music; Psychology; Rock Music |
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Heavy metal has a long and controversial history. One of the many things it has been blamed for is causing mental illness among its listeners. However, is the music to be blamed or are there other factors coming into play? Numerous studies have been done on various aspects of heavy metal such as its link to violence, but few have been done on mental health within the community. This paper replicated a French study examining levels of depression and anxiety within the community. Forty three participants, all active metal listeners, completed a survey examining various factors such as employment status and education levels, and completed the Hospital Anxiety and Depression Scale (HADS). Like the French study, it found that participants had generally low levels of depression and anxiety, but high levels were linked to outside factors. Hopefully, this will help open the floor for more valuable research on the community. |
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Master's thesis |
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Long Island University, The Brooklyn Center. |
Place of Publication |
Ann Arbor |
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978-1-369-35554-3 |
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INTech @ brianhickam2019 @ |
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2219 |
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Author |
McDowell, Michael A., II |
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Title |
Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene |
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Book Whole |
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2016 |
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80 |
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American south; American studies; Communication and the arts; Film studies; Heavy metal; Musicology; Popular music; Subculture |
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Abstract |
The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied. |
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Master's thesis |
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University of South Florida |
Place of Publication |
Ann Arbor |
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978-1-369-00899-9 |
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INTech @ brianhickam2019 @ |
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2220 |
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