|
|
Adamo, N. (2021). “In Black We Are Seen”. Heavy Metal Music in Argentina. In E. Scaricaciottoli, & G. Minore (Eds.), Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano (pp. 67–72). Buenos Aires: Clara Beter Ediciones.
|
|
|
|
Aesthetic Transcendence. (2012). Trine + Kim Design Studio. In T. Howells (Ed.), Black Metal: Beyond the Darkness. Black Dog Publishing.
|
|
|
|
Agapit, P., & Mounier, C. (2020). Réussir ? se démarquer au sein d’un secteur concurrentiel : l’expérience festivalière au service des festivals. Le cas du Motocultor Festival Open Air. In C. Charbonnier, Ë. Salvat, & J. Goebel (Eds.), French metal studied: Approches différenciées des acteurs et des publics (pp. 135–162). Corentin Charbonnier.
|
|
|
|
Ahlkvist, J. A. (1999). Music and cultural analysis in the classroom: Introducing sociology through heavy metal. Teaching Sociology; Beverly Hills, 27(2), 126.
|
|
|
|
Aitken, P. A. (2011). Attack/Affect: System of a Down and Genocide Activism. MUSICultures; Calgary, 38, 65-Ix.
|
|
|
|
Akoto, P. (2005). ”Menschenverachtende Untergrundmusik?”: Todesfaszination zwischen Entertainment und Rebellion am Beispiel von Gothic-, Metal- und Industrialmusik. Münster: Telos-Verl.
|
|
|
|
Akoto, P. (2005). ”Menschenverachtende Untergrundmusik?”: Todesfaszination zwischen Entertainment und Rebellion am Beispiel von Gothic-, Metal- und Industrialmusik. Ph.D. thesis, Universität Münster, Münster.
|
|
|
|
Alarcón Ruiz, J. C. (2017). CULTURA JUVENIL E IDENTIDAD: ORIGEN Y DESARROLLO DE LA CULTURA DEL METAL EN LA CIUDAD DE LIMA ENTRE LOS AÑOS 1980 Y 2017. Bachelor's thesis, Federico Villarreal National University, Lima, República del Perú. Retrieved May 3, 2024, from http://repositorio.unfv.edu.pe/bitstream/handle/UNFV/3804/UNFV_Alarc%C3%B3n%20Ruiz_Juan%20Carlos_T%C3%ADtulo%20Profesional_Antropolog%C3%ADa_2019.pdf?sequence=1&isAllowed=y
Abstract: This research deals with the origin and development of the culture of Metal music in the city of Lima, and how adolescents of that time began the construction of a musical scene and the construction of an identity as individuals and as a community. The initial development of this urban culture took place during the 1980s, a period that was disastrous for Peru, where there was a chaotic context at the political, social level; economic; terror, suffering and above all uncertainty about the future. Between the bombs, death and destruction – facts generated by armed movements – the culture of Metal began to take shape, having as protagonists this group of adolescents; largely as rebellion and rejection about what they had to live. It was a society they did not want to be in. Based on different cultural manifestations (bands, fanzines, concerts, organizations) they began to build their own world, culture and identity. This identity is revaluated and becomes more powerful today when compared with the new generations of metalheads; who, based on the use of technology and a generally more favorable context, also try to participate in this urban culture.
|
|
|
|
Alarie, S., & Brochu, S. (1996). Audition de musique ”Heavy Metal” et déviance : un lien complexe. Revue internationale de criminologie et de police technique, 49, 300.311.
|
|
|
|
Alasia, E. (2020). The Reason Behind My Writing: Another Day of Being. In E. Scaricaciottoli, N. Varas-Díaz, & D. Nevárez Araujo (Eds.), Heavy Metal Music In Argentina: in black we are seen. (pp. 72–83). Chicago: University of Chicago Press.
|
|
