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Author |
Hassan, Nedim |
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Title |
Metal on Merseyside: Music Scenes, Community and Locality |
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2021 |
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UK scene; Sociology |
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Palgrave Macmillan |
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Cham |
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978-3-030-77681-7 |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2120 |
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Author |
Rogers, Anna S.; Deflem, Mathieu |
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Title |
Doing Gender in Heavy Metal: Perceptions on Women in a Hypermasculine Subculture |
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2021 |
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Gender; Sociology; Masculinity |
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Anthem Press |
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London |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2124 |
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Author |
Volák, Vojtěch |
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Title |
Stávání se tíhou: Filozofie diference a metalová hudba [Becoming Heaviness: Philosophy of Difference and Metal Music] |
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2021 |
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Philosophy |
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Diploma thesis |
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Univerzita Karlova, Fakulta humanitních studií |
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Praha |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2137 |
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Author |
Guzman, Carmen |
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Title |
Babymetal's “Music in Action”: Redefining Authenticity, Decolonizing Metal, Destabilizing Economy |
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2021 |
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Babymetal (band); Authenticity; Decolonisation; Music industry |
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Master's thesis |
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University of Anchorage |
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Anchorage |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2138 |
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Author |
Aquino Ruiz, Frankz Armas, Laura |
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Title |
Relación e interacción entre la música académica contemporánea y el Metal Extremo |
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Year |
2021 |
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Music composition; Extreme metal; Contemporary classical music |
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Bachelor's thesis |
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Escuela Universitaria de Artes Totales |
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Madrid |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2147 |
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Author |
Iuama, Tadeu Rodrigues |
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Title |
O que acontece no palco é pretexto: Ecologia da Comunicação e capilaridades comunicacionais visitam o submundo musical |
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Year |
2021 |
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Pages |
247-263 |
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Communication |
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editorafi.org |
Place of Publication |
Porto Alegre |
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Barchi, Rodrigo |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2165 |
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Author |
Roby, David Allen |
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Title |
Crust Punk: An Anarchist Political Epistemology |
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Book Whole |
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Year |
2021 |
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Pages |
204 |
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Keywords |
Affect; Anarchism; Clothing; Cultural anthropology; Crust punk; Heavy Metal Music; Political science; Punk rock music; Reggae; Tattoos; Transiency |
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Abstract |
The Sex Pistols’ 1976 anthem, “Anarchy in the UK,” memorialized an ongoing relationship between anarchism and punk rock music. Although scholars of punk music have long documented the relationship between leftist or progressive politics in punk music scenes, they have not interrogated the content and sources of anarchist politics, often taking for granted the relationship between anarchism and punk. This dissertation examines the anarchist politics of a particular genre of punk, called “crust punk,” which is a blend of punk and heavy metal. Like most music subcultures, the crust punk scene is much more than musical sounds; it is associated with a particular lifestyle as well. Crust punks’ choices to drop out of society and live in squats or on the streets, I argue, are political. This dissertation combines ethnomusicological methods with a field of study called “political epistemology” from political science that seeks to understand the origins and composition of political ideas. I combine these two approaches to examine crust punk political ideas: where they come from, how they are shared within the scene, and in what ways they can be considered “anarchist.” I conclude that crust punk represents a form of what I theorize as “vernacular anarchism” that arises from precarious forms of existence, is formulated in everyday life experiences, and is given substance through affective and emotional responses to the poetics of crust punk song texts. |
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Ph.D. thesis |
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University of California, Davis |
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Ann Arbor |
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no |
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INTech @ brianhickam2019 @ |
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2199 |
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Author |
Yang, Zixuan |
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Title |
Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society |
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Year |
2019 |
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179 |
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Service design; Subculture; Music; Heavy metal; Marketing; Business strategy |
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Since the first album that Black Sabbath released in 1970, the 50-year-long history of heavy metal music makes it has developed into a diversified but controversial subculture all over the world. Even though several big names, such as Metallica, Iron Maiden or Judas Priest, have gained commercial success and mainstream exposure, most of the heavy metal bands, fans and communities are still far from a stable status. The market scale is threatened by poor social acceptance and incorrect stereotypes and is too limited to develop an operational model for heavy metal music communities as mature as mainstream music production in this current state. The goal of this thesis is to: 1) explore the core value of heavy metal subculture and design an organizational strategy to strengthen the connection between various roles within the community. The research was divided into three parts. The first part is the quantitative research on the development of heavy metal music in different regions, shows the regional trends of heavy metal subculture. The second part is the qualitative evaluation of heavy metal albums’ covers and lyrics, and documentary films about heavy metal music. The third part is the interviews with record shop owners. The first part Borrowing the CIS (Corporation Identity System) from the business field, the data collected during the second stage could be categorized into visual identities, communication identities, and behavior identities. The data collected from interviews are organized into a system map to show the current organizational strategy. The conclusion, this thesis proposes a new type of organizational strategy that supports the local heavy metal subculture community, in order to help stabilize the market and strengthen connections of community members through participation in it. Furthermore, inspired by the proposed strategy, more universal strategies and guidelines for other types of subculture are discussed. |
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Master's thesis |
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University of Cincinnati |
Place of Publication |
Ann Arbor |
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9781687936882 |
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no |
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INTech @ brianhickam2019 @ |
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2200 |
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Author |
Simms, Bekah |
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Title |
Foreverdark: For Amplified Cello Soloist and Chamber Orchestra |
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Year |
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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Doctoral thesis |
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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 |
Hudson, Stephen S. |
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Title |
Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter |
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2019 |
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334 |
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Cognitive science; Embodiment; Meter; Motion; Music theory; Performance studies; Rhythm |
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Abstract |
Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of listening. We construe meter through embodied metering practices: dance gestures, patterns of counting, or epistemologies of rhythmic motion. Many metering practices have conventional metering constructions, specific associations between sounding features, patterns of felt beats, and paths of motion through these beats. Drawing on concepts from cognitive science and performance studies, I explore how this embodied knowledge is constituted and applied in both planning of musical phrases by a performer, and in-time perception and cognition of musical rhythms by any listener or participant.
Metering constructions and practices are often performed by and associated with certain communities and identities. I take a culturally-situated approach to meter and felt motion, studying traditions of embodied movement and bodily discipline including headbanging in heavy metal (Chapter 1), characteristic dance rhythm topics in non-dance concert music of the eighteenth century (Chapter 2), motivic manipulation and developing variation in late Romantic chamber music (Chapters 3 and 4), and prosody and speech gestures in operatic recitative (Chapter 5). Contrary to many existing theories of meter, I argue that our feelings of beat are not necessarily organized in cyclical grids, but are improvised on the spot by stitching together familiar motions. I also explore how movements often embody and perform aesthetic ideologies and cultural meanings, with these hermeneutic frameworks often shaping listeners’ choice of movements, their proprioception of their own movements, and their perception of the qualities of rhythm and motion in the music they are listening to. |
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Ph.D. thesis |
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Northwestern University |
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9781085600613 |
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INTech @ brianhickam2019 @ |
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2202 |
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