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Author |
Newstead, Marcus |
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Title |
Drone headstone: tone exhumation |
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2017 |
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Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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139 |
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Drone metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2179 |
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Author |
Strickland, Garett |
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Title |
Get Patient |
Type |
Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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140-147 |
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Drone metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2180 |
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Author |
Absentology |
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Title |
Summoning the black flame. Trepaneringsritualen's music and absolute emptiness |
Type |
Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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148-159 |
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Drone metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2181 |
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Author |
Mouth |
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Title |
In the black depth of the droneswarm |
Type |
Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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160-187 |
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Drone metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2182 |
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Author |
Shipley, Gary J. |
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Title |
Non-Terminator: Rise of the drone gods |
Type |
Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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Pages |
188-201 |
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Keywords |
Drone Metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2183 |
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Author |
Shakespeare, Steven |
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Title |
Drone construction. Philosophy of identity in Conan's “Horseback Battle Hammer” |
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Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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202-213 |
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Keywords |
Drone Metal; Conan (band); Horseback battle hammer (album); Identity |
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Void Front Press |
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St. Louis |
Editor |
Coggins, Owen; Harris, James |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2184 |
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Author |
Norman, Joseph |
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Title |
Weirdrone Tales |
Type |
Book Chapter |
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Year |
2017 |
Publication |
Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism |
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Pages |
214-273 |
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Drone metal |
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Void Front Press |
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St. Louis |
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Coggins, Owen; Harris, James |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2185 |
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Author |
Sikes, Laura |
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Title |
In the Groove: American Rock Criticism, 1966-1978 |
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Book Whole |
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2017 |
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390 |
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Keywords |
American literature; Communication and the arts; Counterculture; Group identity; Journalism; Literature and linguistics; Music criticism; Music history; Nineteen sixties; Political discourse; Rock journalism; Rock music; Rolling Stone (magazine); United States history |
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Abstract |
Rock and roll music was a national youth obsession for more than ten years before the first rock critics began writing seriously about the form. Rock was dismissed by adult cultural authorities as empty, degraded, and even dangerous. However, to its fans, rock was an important form of personal expression, a source of group identity, and a mode of political discourse. Rock critics understood its cultural and political power. In their work, they explained its importance to the American public.
In 1966, the first rock critic, Richard Goldstein, began writing about rock and roll in a weekly column in the Village Voice called “Pop Eye.” In it, he asserted that rock and roll was an art that deserved the same recognition and protections afforded to other art forms. By 1967, The New Yorker hired Ellen Willis to write about rock in a regular column called “Rock, Etc.” She brought an intellectual sophistication to the genre that would resound long after her career as a rock critic ended. Later in 1967, Rolling Stone debuted; it would become the most visible and influential source of rock criticism for the next fifty years. Editor Jann Wenner’s tastes and approach would affect the way rock was perceived in his own time and for decades after. Finally, in 1968, Lester Bangs debuted onto the scene, writing artful reviews for publications like Creem and Rolling Stone, explaining the changes that were taking place as rock music splintered into subgenres like punk and heavy metal.
The quality of these rock critics’ thought and the influence of their writing makes rock criticism an important and under-studied branch of Sixties literature. Each of the rock critics addressed in this dissertation explained to the public what rock music meant and why it mattered. By placing rock in its social, political, and cultural context, they demonstrated that it was far from the empty form cultural authorities thought it was. Their work permanently changed perceptions of popular music, proving that it was substantial enough to stand up to the same kind of critical treatment as other art forms. |
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Ph.D. thesis |
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University of Rochester |
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Ann Arbor |
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978-0-355-39567-9 |
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INTech @ brianhickam2019 @ |
Serial |
2208 |
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Author |
Polzer, Evan |
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Title |
Mosh Pits and Mental Health: Metal Communities and Emerging Adults' Well-Being |
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2017 |
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122 |
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Cultural anthropology; Emerging adult; Health and environmental sciences; Heavy metal; Mental health; Psychological anthropology; Well being; Youth studies |
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Abstract |
In this thesis I will examine relationships between metal music and community participation and the mental well-being of so-called “emerging adults” within these communities. Building upon previous research on these relationships, I examine how emerging adult mental well-being is affected – both positively and negatively – by engagement and involvement in metal music communities. Utilizing a mixed-methods approach, I employ ethnographic fieldwork, person-centered interviews, and survey methods to describe how not just metal music but other “ritual” activities of metal music culture enact euphoric and also sometimes potentially detrimental effects on the mental health of emerging adults within these communities. Through these methods, I aim to detail how in a paradoxical sense the chaos and aggression inherent in metal music can confer therapeutic calm to individuals through identification with the music, the group, and the performances conducted within these metal music communities.
The introductory Chapter One will first serve to provide an overview of what is exactly meant when describing heavy metal music communities, as ambiguities exist not only in the common understanding of the subculture, but also in the academic literature. In addition to this, a brief history of metal music communities will be discussed, detailing public perceptions, stigmas, and moral panics associated with the music and its fans. The chapter will be closed with a discussion of the research site, scope, and overall aims of the study, namely to provide greater insights into the mental health and well-being of emerging adults within these music scenes. Chapter Two consists of a review of existing literature on this subject, accounting for research within psychological anthropology, sociology, public health, popular music studies, and adolescent and emerging adult psychology. This Chapter will describe not just previous studies on heavy metal music communities, but should also provide a foundation on which this current study rests. Drawing upon literature and theory from these fields, the question of emerging adult mental health within these music scenes can be better understood, not just in terms of accuracy from a scholarly perspective, but also driven by emic perspective from the field.
In seeking answers to these questions, Chapter Three will discuss the methodology and research design of this study. Attention will be given to the study population, site, locales, and scope and the rationale for using particular methods employed in this study. Chapter Four follows, detailing the analyses of data generated from the field and the results gathered throughout each step of research. Results will be described in both quantitative and qualitative terms, hoping to thus better clarify this study’s central question. Limitations of the research will be described in the concluding segments of this chapter. Finally, Chapter Five will discuss the results of this study in relation to theory and previous research, future impacts and considerations in this field, and concluding remarks regarding the relationship between metal music and the mental health of emerging adults. |
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Master's thesis |
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Colorado State University |
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Ann Arbor |
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978-0-355-29631-0 |
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INTech @ brianhickam2019 @ |
Serial |
2209 |
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Author |
Wang, Chi-Chung. |
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Title |
Subcultural Distinction in East Asian Education : the Case of High School Rock in Taiwan |
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2017 |
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Cover songs; Education; Heavy metal; Music; Secondary schools; Subcultures; Taiwan |
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What kind of rock culture would grow out of an exam-oriented educational system? In the western rock world, self-learning has been characterized as most popular musicians’ principal learning pattern, closely intertwined with the “DIY” ethos and the counter school culture. This research aims to present a different case, that of the “schooled” rock music in Taiwan. Over the last three decades, rock music in Taiwan has grown in popularity, while Taipei has gradually earned the reputation of being the “Mandarin pop/indie capital.” In its developmental process, a few characteristics are worthy of the attention of both the Sociology of Education and youth cultural studies.
Firstly, learning rock instruments in regular high school is the main route for teenagers to gain access to rock culture. Secondly, where elite students tend to devote more time to rock music activities than other students, their musical repertoire is characterized by producing covers of heavy metal tunes instead of song-writing. This thesis will probe the rationale behind this phenomenon by answering the following questions: What can best explain the appeal of heavy rock to Taiwanese elite high school students? Why do they not write their own songs?
Drawing upon data collected through a school ethnography, it is revealed that the ways Taiwanese elite high school students participate in musical activities can be best understood to be part of a subcultural milieu marked by the collective pursuit of “dual excellence in both study and play”. In this symbolic space, the demanding technical requirements for acquiring several playing techniques allow rock to become a rankable sphere of activity in which elite students struggle for subcultural superiority according to measurable musical standards. The emphasis on instrumental virtuosity conforms to students’ competitive disposition manufactured through academic exams. With these features, rock music becomes a particular form of subcultural activity which allows elite students to not only resist educational control, but also exert symbolic violence over peers of lower-ranked high schools by showing technical superiority.
This thesis extends the CCCS’s subcultural solution to the analysis of “subcultural distinction”. In distinction to the “internal perspective” of Sarah Thornton’s conception of subcultural capital (1995), a more holistic framework is developed to explore the relationship between the wider patterns of social division, young people’s subcultural participation, and the shaping of the value hierarchy both within and outside the subcultural sphere. Further, the thesis explores the educational system’s active role in shaping youth subcultures. I demonstrate how education in Taiwan is institutionally mediated by the exam regime to be a powerful logic of social differentiation, and the ways young people’s subcultural choices are constrained by their educational career advance from high school to university. The study also has important implications for the educational policy making in Taiwan. By looking at how students “play,” I propose a new exploratory route to illuminate the widespread impact of the exam-oriented educational system on students’ creativity and identity formation. |
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Ph.D. thesis |
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University of Edinburgh (United Kingdom) |
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Ann Arbor |
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INTech @ brianhickam2019 @ |
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2210 |
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