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Author  |
Spanu, Michael |
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Title |
De Trust ? Gojira, une brève histoire du metal français au prisme des langues hurlées |
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Journal Article |
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2019 |
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Volume! La revue des musiques populaires |
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15:2 |
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1 |
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37-55 |
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France; History (metal music); Trust (band); Gojira (band) |
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fr |
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2117-4148 |
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UCM - CAM @ amaranta.saguar.garcia @ spanu_trust_2019 |
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1795 |
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Author |
Souza, Renan Marchesini de Quadros |
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Title |
A performance dialógica da música extrema |
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2022 |
Publication |
Música Extrema: ruídos, imagens e sentidos |
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298-313 |
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Extreme Metal; Performance |
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Pimenta Cultural |
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São Paulo |
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Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2367 |
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Author |
Somoza, Jimena Mabel |
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Title |
Hospitalarias realidades: Desarme de corporalidades metaleras a través de la Medicina y las Ciencias Naturales |
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2022 |
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Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras |
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1 |
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1 |
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22-23 |
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Jimena Mabel Somoza es egresada del Profesorado de Cs. Naturales perteneciente al Instituto Superior de Profesorado “Dr. Joaquín V. González”. Especialista Superior en Ed. Sexual. Colaboró en el libro Ideas para el aula de Meinardi, Elsa y Mateu, Marina (compiladoras).
Especialista en Docencia de Nivel Secundario, egresada del CITEP (UBA). Diplomada en Intervenciones Pedagógicas en Contexto de Encierro de la UNSAM y Especialista Superior en Políticas de la Infancia del Instituto Superior de Profesorado N°2 “Mariano Acosta”.
Maestranda en Educación en Ciencias Experimentales y Tecnología, FCEFyN (UNC), también cursa la Maestría y Doctorado en Estudios y Políticas de Género en la UNTREF. |
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REEHM (Red De Estudios y Experiencias en y desde el Heavy Metal) |
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Autonomous City of Buenos Aires, Argentine Republic, Argentine Republic |
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español |
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2953-3805 |
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PDF |
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https://www.facebook.com/reddeestudiosyexperienciasenydesdeelheavymetal/ |
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INTech @ brianhickam2019 @ |
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2381 |
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Author |
Soares Espindola, Mariana |
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Title |
Heavy, Holy, and Homey: The Role of Religious Imagery in Heavy Metal Album Covers |
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2023 |
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Visual Culture; Religion; Aesthetics; Album covers |
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Master's thesis |
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University of Alberta |
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Alberta |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2457 |
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Author |
Smialek, Eric T. |
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Title |
Genre and Expression in Extreme Metal Music, Ca. 1990-2015 |
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2016 |
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346 |
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Aesthetics; Black metal; Death metal; Extreme Metal; History (metal music); Musicians & conductors; Subgenres |
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Extreme metal music , a conglomeration of metal subgenres unified by a common interest in transgressive sounds and imagery, is now a global phenomenon with thriving scenes in every inhabited continent. Its individual subgenres represent a range of diverse aesthetics, some with histories spanning over thirty years. Scholarship on extreme metal now boasts a similar diversity as well as its own history spanning nearly two decades. With the rise of metal studies as an emerging field of scholarship, the scholarly literature on extreme metal has increased exponentially within the past seven years supported by annual conferences, the establishment of the International Society for Metal Music Studies (ISMMS), and a specialized journal ( Metal Music Studies). Despite this growth, the field is still characterized by what sociologist Keith Kahn-Harris has called “undoubtedly the most critical weakness in metal studies as it stands: the relative paucity of detailed musicological analyzes on metal” (Kahn-Harris 2011, 252). This blind spot in the literature is so pervasive that Sheila Whiteley began her preface to Andrew Cope's Black Sabbath and the Rise of Heavy Metal Music with the exclamation, “At last! A book about heavy metal as music ” (Cope 2010, xi).
As the first book-length musicological study of extreme metal, this dissertation responds to this critical gap by outlining, in previously unattempted detail, a wide range of genre conventions and semiotic codes that form the basis of aesthetic expression in extreme metal. Using an interdisciplinary mixture of literary genre theory, semiotics, music theory and analysis, acoustics, and linguistics, this dissertation presents a broad overview of extreme metal's musical, verbal, and visual-symbolic systems of meaning.
Part I: Interconnected Contexts and Paratexts begins with a critical survey of genre taxonomies, showing how their implicit logic masks value judgments and overlooks aspects of genre that are counterintuitive. This leads to an investigation of boundary discourses that reveals how fans define extreme metal negatively according to those subgenres and categories of identity that they treat as abject Others: nu metal, screamo, and deathcore as well as their associations with blackness, femininity, and adolescence . Part I concludes with a thick description of death metal and black metal that shows how its lyrics, album reviews, album artwork, band logos, and font styles collectively provide messages about the semantics of genre, most notably by drawing upon archetypes of the sublime and , in the case of raw black metal,
Part II: Analyzing Musical Texts synthesizes large corpus studies of musical recordings with close readings of individual songs. This section begins with a demonstration of how technical death metal bands Cannibal Corpse, Demilich, and Spawn of Possession play with listener expectations towards meter, syntax, and musical complexity to create pleasurable forms of disorientation that reward active and repeated listenings. It proceeds to investigate musical accessibility and formal salience in melodic death metal, showing through examples by In Flames and Soilwork how the notion of melody pervades this musicand contributes to its sense of rhetoric. Part II concludes with a study of musical expression in extreme metal vocals. Using discussions and recordings from a vocalist participant, a corpus study of eighty-five songs that begin with wordless screams, and close readings of excerpts by Morbid Angel, Zimmers Hole, and At the Gates, I demonstrate that the acoustical features of vowel formants are central to vocal expression in extreme metal, enabling vocalists to mimic large beasts in a way that fans find convincing and powerful. |
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Ph.D. thesis |
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McGill University |
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Montreal |
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en |
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9798597046549 |
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UCM - CAM @ amaranta.saguar.garcia @ smialek_genre_2016 |
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689 |
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Author |
Skeech, Michael |
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Title |
The Biology of Heavy Metal. Evolutionary Links Between Science and Culture |
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2022 |
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Music history |
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Doctoral thesis |
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University of Salford |
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Salford |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2307 |
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Author |
Simms, Bekah |
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Title |
Foreverdark: For Amplified Cello Soloist and Chamber Orchestra |
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Book Whole |
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2019 |
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64 |
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Bathory; Cello; Concerto; Heavy metal; Musical composition; Music history; Music theory |
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Foreverdark is a single movement, ten-minute concertino (short concerto) for amplified cello soloist with live electronic processing and chamber orchestra. The exact instrumentation consists of violoncello solo, flute, clarinet, oboe, bassoon, trumpet in Bb, horn in F, tenor trombone, percussion, piano, harp, violin 1, violin 2, viola, violoncello, and double bass; each part is played by a single player. The compositional style is a continuation and deeper exploration of the composer’s current compositional interests, namely the integration of quotation and popular music style signals within more broadly art music formats. By amplifying and separating the cello soloist from the ensemble, the player’s position alludes to that of a “lead guitarist;” subsequently, much of their melodic material (and that of the orchestra around them) is sourced from a variety of heavy metal riffs, most of them from bands the composer listened to as a teenager. The piece’s title, “Foreverdark,” both references the song with a similar name (Foreverdark Woods) by Viking metal artist Bathory as well as the composer’s long and somewhat nostalgic relationship to the metal genre itself. In addition to heavy metal-sourced melodic and rhythmic motifs, “Foreverdark” also contains some material bordering on a folk music aesthetic. Surprisingly, metal-turned-folk is a common stylistic shift in for some of the bands quoted within the work. |
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University of Toronto (Canada) |
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Ann Arbor |
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9781085778831 |
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INTech @ brianhickam2019 @ |
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2201 |
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Author |
Silva, Melina Aparecida dos Santos; Silva, Juremir Machado da; Gutfreind, Cristiane Freitas |
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Um grito de revolta: Notas sobre o discurso midiático afro-pessimista e a narrativa do filme Death Metal Angola |
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2020 |
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27 |
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3 |
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s. p. |
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Afropessimism; Angola; Deconolization; Africa; Documentary film; Death metal |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2473 |
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Silva, Melina Aparecida dos Santos; Sá, Simone Pereira de |
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Title |
Duas pernas, um braço: a banda Katingation e sua apropriação do death metal no cenário pós-guerra civil angolano |
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2014 |
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Comunicação Mídia E Consumo |
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11 |
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31 |
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65-81 |
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Angola; Africa; Death metal; War |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2475 |
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Silva, Melina Aparecida dos Santos; Polivanoz, Beatriz |
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“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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