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Heath, D. (2015). Heavy Metal From The Antarctic Ends Of The Earth: Investigating The Metal Music Identity From Invercargill, Southland, New Zealand. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 230–239). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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Heinen, S. (2017). ”Odin rules”: Religion, Medien und Musik im Pagan Metal. Bielefeld: Transcript.
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Helden, I. von. (2017). Norwegian native art: cultural identity in Norwegian metal music. Münster: Lit.
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Helden, I. von. (2021). Større enn tid, tyngre enn natt – The Interplay of Language and Cultural Identity in the Lyrics of Norwegian Metal Bands. In R. - L. Valijärvi, C. Doesburg, & A. DiGioia (Eds.), Multilingual Metal Music: sociocultural, linguistic and literary perspectives on heavy metal lyrics. (pp. 49–59). London: Emerald.
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Heley, J., & Welsh, M. (2017). Regions rock : heavy metal and the role of music in the construction of regional identity for the British Midlands. In J. Riding, & M. Jones (Eds.), Reanimating regions: culture, politics and performance (pp. 26–45). New York & London: Routledge.
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Herbst, J. - P. (2020). From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal. Metal Music Studies, 6(1), 87–108.
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Herbst, J. - P. (2021). Culture-specific production and performance characteristics: An interview study with “Teutonic” metal producers. Metal Music Studies, 7(3), 445–467.
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Hill, R., & Spracklen, K. (Eds.). (2010). Heavy fundametalisms: music, metal and politics. Oxford: Inter-Disciplinary Press.
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Hoad, C. (2013). ’Hold the Heathen Hammer High’ Viking metal from the local to the global. In O. Wilson, & S. Attfield (Eds.), Shifting Sounds: Musical Flow: A Collection of Papers from the 2012 IASPM Australia/New Zealand Conference. (pp. 62–70). Dunedin: International Association for the Study of Popular Music.
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Hoad, C. (2018). ’He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost. Popular Music; Cambridge, 37(2), 175–192.
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