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Soares Espindola, M. (2023). Heavy, Holy, and Homey: The Role of Religious Imagery in Heavy Metal Album Covers. Master's thesis, University of Alberta, Alberta.
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Skeech, M. (2022). The Biology of Heavy Metal. Evolutionary Links Between Science and Culture. Doctoral thesis, University of Salford, Salford.
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Simms, B. (2019). Foreverdark: For Amplified Cello Soloist and Chamber Orchestra. Doctoral thesis, University of Toronto (Canada), Ann Arbor.
Abstract: 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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Silva, M. A. dos S., Silva, J. M. da, & Gutfreind, C. F. (2020). Um grito de revolta: Notas sobre o discurso midiático afro-pessimista e a narrativa do filme Death Metal Angola. Logos, 27(3), s. p.
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Silva, M. A. dos S., & Sá, S. P. de. (2014). Duas pernas, um braço: a banda Katingation e sua apropriação do death metal no cenário pós-guerra civil angolano. Comunicação Mídia E Consumo, 11(31), 65–81.
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Silva, M. A. dos S., & Polivanoz, B. (2015). “Mar de camisas pretas”: camisas de bandas como mediadoras de sentidos e experiências na cena do heavy metal. Logos, 22(2), s. p.
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Silva, M. A. dos S., Machado, J., & Gutfreind, C. (2019). Associação Nacional dos Programas de Pós-Graduação em Comunicação XXVIII Encontro Anual da Compós, Pontifícia Universidade Católica do Rio Grande do Sul, Porto Alegre – RS, 11 a 14 de junho de 2019 1 www.compos.org.br www.compos.org.br/anais_encontros.php O oposto da destruição?: Death Metal Angola e a negociação com imaginários midiáticos das produções culturais angolanas [The opposite of destruction?: Death Metal Angola and the negotiation with media imaginaries of Angolan Cultural productions]. In XXVIII Encontro Anual da Compós, Pontifícia Universidade Católica do Rio Grande do Sul, Porto Alegre – RS, 11 a 14 de junho de 2019.
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Sikes, L. (2017). In the Groove: American Rock Criticism, 1966-1978. Ph.D. thesis, University of Rochester, Ann Arbor.
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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Shipley, G. J. (2017). Non-Terminator: Rise of the drone gods. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 188–201). St. Louis: Void Front Press.
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Shakespeare, S. (2017). Drone construction. Philosophy of identity in Conan's “Horseback Battle Hammer”. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 202–213). St. Louis: Void Front Press.
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