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Banchs, E., & Tshomarelo “Vulture” Mosaka. (2023). In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 227–232). London: Lexington Books.
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Castañeda, M. (2022). “DE CACERÍA” CONFLICTIVIDAD JUVENIL EN LA CIUDAD DE GUATEMALA A PRINCIPIOS DE LA DÉCADA DE 1990. Metal de Habla Hispana, , 42–55.
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Setničar, R. (2020). “From dawn till doom” – Od zore do pogube: razvoj in značilnosti doom metala kot glasbenega pojava : razvoj in značilnosti doom metala kot glasbenega pojava [“From dawn till doom”: the development and characteristics of doom metal as a musical phenomenon]. Bachelor's thesis, Univerza v Ljubljani, Ljubljana.
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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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Hernández Parra, S. I. (2022). “NO SOMOS CHAPULINES”. LA ESTIGMATIZACIÓN DE LA PRÁCTICA MUSICAL METAL COMO VIOLENTA A FINALES DEL SIGLO XX EN COSTA RICA. Metal de Habla Hispana, 1, 67–73.
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Friconnet, G. (2023). A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music. Metal Music Studies, 9(1), 77–100.
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Stašová, G., Vrzal, M., & Nenadalová, J. (2022). A Man Behind Everything? Motivational Sources of Metal Listening Among Female Audiences. Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura, 14(3). Retrieved May 1, 2024, from http://dx.doi.org/DOI 10.24917/20837275.14.3.8
Abstract: “The term “female metalhead” may sound rather abstract. What does she look like and what does she think? Is there a typical female metalhead? This article summarizes qualitative research on woman’s motivational resources for participation in the contemporary Czech metal subculture. It discusses factors related to why women listen to metal and the role of men in this process. The research is based on seventeen semi-structured interviews with women in Czech metal. Respective research questions focus on female metalheads’ understanding of their position inside the subculture, their visual appearance, reasons for inclination to metal (e.g., partner’s influence or an attraction to the metal community), the issue of sex symbols in the metal industry, and issues of elitism and exclusivity. Results show that women within the metal subculture strike a balance between masculinity and femininity and often judge their surroundings from the perspective on these two poles. However, the primary inspiration still drives from the male perspective with its typical visual and musical characteristics.”
“This article is a reworked version of Gabriela Stašová’s paper Za vším hledej muže? Motivační zdroje poslechu metalu u ženského publika (A man behind everything? Motivational sources of metal listening among female audiences) presented at the 5th Czech Conference about Metal (Brno, 2021) on the theme scenes, gender, identities. Due to its topic, the conference (with Stašová’s contribution in particular) received a broad response from the public and aroused controversy within a sector of Czech metal subculture. The controversy centered on the perception that the study of gender problematics (gender studies) and metal studies – as well as the social sciences and humanities in general-–are useless pursuits (see Miroslav Vrzal’s article in this issue)” (Source for both: this article)
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Khalil, L. M. G.(U. N. I. R.). (2017). A QUALIDADE DE VOZ GUTURAL: APONTAMENTOS PARA UMA CARACTERIZAÇÃO ACÚSTICA E ARTICULATÓRIA. Miguilim: Revista Eletrônica do Netlli., 6(2), 198–218.
Abstract: O gênero musical death metal, subdivisão do heavy metal, tem como característica o emprego de uma voz urrada, distorcida e pouco compreensível. No âmbito da música, essa qualidade de voz é denominada “gutural”, nomenclatura que faz referência, de maneira ampla, a perceptíveis tensões na região da garganta (por isso, “gutural”) observadas por falantes que empregam essa técnica. Tendo em vista que, em estudos sobre qualidade de voz, não existem muitas descrições que abordam tal produção, objetivamos realizar alguns apontamentos que contribuam para a caracterização acústica e articulatória da voz gutural. Para isso, apresentaremos alguns aspectos introdutórios do conceito de qualidade de voz (LAVER, 1980) e, adicionalmente, referências a estudos que possam contribuir para a nossa proposta, como os de Sakakibara et al. (2004) e de Smialek et al. (2012). Além disso, analisaremos espectrogramas da voz empregada nas canções Crucifier Avenged e Hammer Smashed Face, ambas da banda Cannibal Corpse, com o objetivo de descrever as peculiaridades acústicas da voz gutural.
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Gregof, N. (2022). ALERTA, ALERTA, ALERTA QUE CAMINA. MUJERES FEMINISTAS POR AMÉRICA LATINA. Metal de Habla Hispana, 1, 118–121.
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