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Author  |
Coulombe, Alexander Paul | ||||
| Title | Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 110 | ||
| Keywords | Asian Studies; Black metal; Community; Cultural anthropology; Globalization; Heavy metal; Japan; Localization; Social transgression | ||||
| Abstract | This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians. | ||||
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of Arizona | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-438-33093-1 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2205 | ||
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| Author |
Coggins, Owen | ||||
| Title | “A Maze with Very Minimal Guiding Light, Thematically Slithering Between Worlds”: Black Metal, Progressive Rock, and Ambivalent Constellations of Imagination in Remmirath’s Shambhala Vril Saucers | Type | Book Chapter | ||
| Year | 2025 | Publication | The Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination | Abbreviated Journal | |
| Volume | Issue | Pages | 244-256 | ||
| Keywords | Popular Culture; Cultural study of popular music; Songwriting & recording; Music arts; Literary studies; Music & society; Musicology; Heavy metal; Progressive rock | ||||
| Abstract | << This an outstanding collection of chapters that explore the intersections between progressive rock, metal and the literary imagination. Each contribution here is a must-read and the editors have done an incredible job framing the Handbook. Karl Spracklen, PhD, AcSS Leeds Beckett University, Portland >> “This Handbook illustrates the many ways that progressive rock and metal music forge striking engagements with literary texts and themes. The authors and their objects of analytic inquiry offer global and diverse perspectives on these genres and their literary connections: from ancient times to the modern world, from children’s literature to epic poetry, from mythology to science fiction, and from esoteric fantasy to harsh political criticism. The musical treatments of these literary materials span the continents from South and North America through Europe and Asia. The collection presents critical perspectives on the enduring and complex relationships between words and music as these are expressed in progressive rock and metal. The book is aimed primarily at an academic market, valuable for second through final year students on undergraduate courses devoted to both popular music and to literary studies, and to postgraduate programs and researchers in a range of fields, including: popular music studies, musicology, creative music performance and composition, songwriting, literary studies, narrative studies, folklore studies, science fiction studies, cultural studies, liberal studies, and sociology, and for media and history courses that have an interest in the intersection of narratives, music and society.” Source for both: https://www.routledge.com |
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| Publisher | Routledge | Place of Publication | Oxfordshire, England | Editor | Anderton, Chris; Burns, Lori |
| Language | English | Summary Language | Original Title | ||
| Series Editor | Series Title | Routledge Music Handbooks | Abbreviated Series Title | ||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 1032340738; 978-1032340739 | Medium | Hardback | |
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2631 | ||
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| Author |
Castillo Bernal, Stephen | ||||
| Title | Música del Diablo: imaginario, dramas sociales y ritualidades de la escena metalera de la ciudad de México | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 343 | ||
| Keywords | Ritual Theory; Imaginarios sociales; Mexico City; Antropología; Heavy Metal Music; Satanism; Mexico; Sociology; Non-Western scenes; Imaginary; Aspectos sociales – México (Ciudad); Heavy metal (Música)–México–Historia; Tribus urbanas – Aspectos simbólicos – México (Ciudad); Conciertos (Heavy metal); Aspectos socioculturales–México (Ciudad). | ||||
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| Publisher | Instituto Nacional de Antropología e Historia | Place of Publication | Mexico | Editor | |
| Language | Spanish | Summary Language | Original Title | ||
| Series Editor | Series Title | Colección Etnología y Antropología Social | Abbreviated Series Title | ||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-607-484-709-3 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | https://worldcat.org/title/953587169?oclcNum=953587169 | Approved | no | ||
| Call Number | UCM - CAM @ amaranta.saguar.garcia @ castillo_bernal_musica_2015 | Serial | 1578 | ||
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| Author |
Castillo Bernal, Stephen | ||||
| Title | EL CUERPO HUMANO COMO INSTRUMENTO SUBCULTURAL DE LOS INICIOS DEL HEAVY METAL AL SIMBOLISMO RITUAL DEL BLACK METAL. | Type | Journal Article | ||
| Year | 2007 | Publication | Fuentes Humanísticas | Abbreviated Journal | |
| Volume | 19 | Issue | 34 | Pages | 43-57 |
| Keywords | sociocultural, instrumento, heavy metal, simbolismo, black metal, Alice Cooper; instrument, symbolism | ||||
| Abstract | En el caso que aquí nos atañe, las manifestaciones corpóreas cargan un lenguajesimbólico que puede ser leído por los integrantes de una subcultura y, en consecuencia, puede ser diseccionado a partir de un ejercicio interpretativo. Decimos lo anterior en función de que la misma cultura, siguiendo a Millán (2001: 23), puede considerarse como un sistema de lenguaje articulado. Sobra decir que las significaciones corporales son una construcción social, por lo que su edificación varía de acuerdo con los ritmos históricos de aparición del saber y las tradiciones singulares de la cultura (Fournier y Jiménez, en prensa; Foucault, 1999). | ||||
| Address | Prolongación Canal de Miramontes 3855, colonia Ex-Hacienda de San Juan de Dios, delegación Tlalpan, c.p. 14387, Ciudad de México, y Av. San Pablo 180, colonia Reynosa Tamaulipas, delegación Azcapotzalco, c.p. 02200, Ciudad de México • Tel. 5318-9125 y 5318-9441 | ||||
| Corporate Author | Thesis | ||||
| Publisher | la Universidad Autónoma Metropolitana a través de la Unidad Azcapotzalco, División de Ciencias Sociales y Humanidades, Departamento de Humanidades. | Place of Publication | Ciudad de México | Editor | |
| Language | español | Summary Language | Original Title | ||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | eISSN 2007-5618, ISSN 0188-8900 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Open access: Licencia Creative Commons Atribución 4.0 Internacional. IMÁGENES CORPORALES Y CULTURA DE MASAS (Enero-Junio) | Approved | no | ||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2403 | ||
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| Author |
Carter, Molly | ||||
| Title | Perchten and krampusse: living mask traditions in austria and bavaria | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Austria; Authenticity; Bavaria; Cultural heritage; Folklore; Heavy metal; Krampus; Masks; Perchten; Traditions | ||||
| Abstract | Two centuries-old mask traditions native to Austria and Bavaria enjoy ongoing popularity due to a creative mingling of old and new elements (heavy metal music and fireworks alongside hand-carved wooden masks and birch rod switches). The Krampus is the menacing companion of St. Nikolaus, who visits children on December 5 and 6, although nowadays groups of Krampusse may appear alone. The Perchten, who are associated with the magical female folk-figure Perchta, appear on January 5 and the week before. While the Perchten and Krampusse represent distinct traditions, their history has intersected at various points, and their contemporary manifestations share many elements, including a movement towards a “modern” aesthetic and the employment of such resources as tourist publicity and the internet to promote their appearances, educate the public, and network with each other. While the house visit was formerly the primary setting for these masked figures (or mummers), today it is the public parade. These parades, while rooted in and resembling conventional display-custom performances marked by a static division between performer and spectator, actually consist of a kind of fluid, interactive ritual theater in which the partially improvised, partially scripted performances of masked figures and the responses of spectators shape one another. Contemporary manifestations of Perchten and Krampus traditions will be explored in light of the ongoing cultural dialogue between performers and non-performers who seek to define and interpret the tradition, and the interplay of academic and popular discourses surrounding invented tradition, Folklorismus (folklorism) and Rücklauf (feedback), and the nature of authenticity. Questions of cultural heritage “ownership” surface in the debates over form and meaning, while in the hands of the Perchten and Krampusse themselves, tradition emerges as an active process and collaborative artwork rather than a fixed commodity with boundaries which can be defined and navigated by outside observers. |
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| Corporate Author | Thesis | Ph.D. thesis | |||
| Publisher | University of Sheffield (United Kingdom) | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2223 | ||
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| Author |
Carew, Francis | ||||
| Title | The Guitar Voice of Randy Rhoads | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 186 | ||
| Keywords | Communication and the arts; Classical guitar; Guitar voice; Heavy metal; Music history; Musonia music; Osbourne, Ozzy; Rhoads, Randy | ||||
| Abstract | Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman. The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music. |
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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Wayne State University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-438-01846-4 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2207 | ||
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| Author |
Calvo, Manuela Belén; García Castiblanco, Norma; Núñez, María de la Luz; Padilla, Ludmila Mailén; Pascuchelli, María Natalia; Ruiz, Verónica; Saavedra Rodríguez, Milen Graciela; Vainscheinker, Erica | ||||
| Title | Consonancias del cuidado. Hacia un protocolo contra las violencias por motivos de género en las experiencias del metal | Type | Journal Article | ||
| Year | 2022 | Publication | Trans: Revista Transcultural de Música | Abbreviated Journal | |
| Volume | 26 | Issue | Pages | 1-16 | |
| Keywords | Metal, violencia, género, protocolo, Nuestra Abya Yala, Nuestra Afroamérica; Gender; Violence; Metal music, GBV, protocol, Red de Estudios y Experiencias en y desde el Heavy Metal (REEHM) | ||||
| Abstract | El objetivo de este artículo es narrar la experiencia de construcción de un protocolo contra violencias por motivos de género en las prácticas del metal dentro de la región de Nuestra Abya Yala y Nuestra Afroamérica, por parte de la Comisión de Género de la Red de Estudios y Experiencias en y desde el Heavy Metal (REEHM). Para ello se dará cuenta de las diferentes etapas que componen este proceso, las cuales van desde las necesidades iniciales surgidas a partir de diversos ataques de violencia epistémica hacia integrantes de la REEHM, hasta la elaboración colectiva mediante métodos colaborativos. Esto implica la lectura, la reflexión y la escucha cuidada y grupal en la Primera Ronda de Brujxs. Hacia el final se comentan algunas conclusiones y proyecciones futuras vinculadas al metal y las problemáticas de género. [The aim of this article is to recount the experience of building a protocol against gender-based violence (GBV) within metal music practices in the region of Nuestra Afroamerica, by the Gender Commission of the Heavy Metal Studies and Experiences Network (REEHM). The different stages that make up this process will be described, ranging from the initial needs arising from various attacks of epistemic violence against REEHM members, to the collective elaboration through collaborative methods. This involves group reading, reflection, and careful listening in the Primera Ronda de Brujxs (First Circle of Witches). Towards the end some conclusions and future projections related to metal and gender issues are discussed.] |
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| Publisher | SIBE: Sociedad de Etnomusicología | Place of Publication | Barcelona, España | Editor | |
| Language | español | Summary Language | English | Original Title | |
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | 1697-0101 | ISBN | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Open access: Creative Commons Attribution-NonCommercial-NoDerivs 2.5 Spain license. | Approved | no | ||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2387 | ||
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| Author |
Callaway, Charles | ||||
| Title | I See The Horse | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 490 | ||
| Keywords | Communication and the arts; Creative writing; Fantasy literature; Fiction; Heavy metal | ||||
| Abstract | 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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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | University of Central Oklahoma | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-45252-5 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2216 | ||
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| Author |
Calandra, Nicole | ||||
| Title | Metal health: Measuring depression and anxiety within the heavy metal community | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 41 | ||
| Keywords | Anxiety; Depression; Heavy Metal; Mental Health; Mental illness; Music; Psychology; Rock Music | ||||
| Abstract | 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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| Corporate Author | Thesis | Master's thesis | |||
| Publisher | Long Island University, The Brooklyn Center. | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-35554-3 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2219 | ||
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| Author |
Busey, Sean D. | ||||
| Title | Parental Advisory-Explicit Content: The Parents Music Resource Center, Conservative Music Censorship, and the Protection of Children | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 67 | ||
| Keywords | Activism; American history; Censorship; Children; Communication and the arts; Conservativism; Heavy metal; PMRC; Political science; Social sciences | ||||
| Abstract | Historians have long overlooked and misunderstood the Parents Music Resource Center, an activist group formed in 1985 to correct perceived excesses in heavy metal music. Scholars have focused their analyses almost exclusively on the First Amendment implications of the group’s actions, largely dismissing the PMRC in the process. This thesis argues that by expanding the historical analysis of the group to include the social and political climate of previous generations and of the 1980s, the self-stated goals of the PMRC, and a musicological discussion of heavy metal and why the group specifically targeted this genre, we can see that the PMRC was in fact an incredibly influential sociopolitical activist group that is representative of the political shift in the United States in the 1980s. | ||||
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| Publisher | University of Nevada | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
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| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-438-17184-8 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2206 | ||
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