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Boyarin, S., Saguar García, A., Christensen, A., & Swinford, D. (2019). The Politics and Poetics of Metal’s Medieval Pasts. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 71–80). London: Emerald.
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Overell, R. (2019). ‘I Think Sydney’s Pretty Shit’: Melbourne Grindcore Fans and their Others. In C. Hoad (Ed.), Australian Metal Music (pp. 71–90). London: Emerald.
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Copilaș, E. (2019). Negative determinations of intellect: A Hegelian critique of Slayer’s phenomenology. Metal Music Studies, 5(1), 71–87.
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Lesourd, É., Guesde, C., & Guibert, G. (2019). Élodie Lesourd, Black metal et art contemporain : pour une migration des symboles. Volume! La revue des musiques populaires, 15:2(1), 71–89.
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Okunew, N. (2019). Red Metal – Heavy Metal als eine Subkultur der DDR. Rundfunk und Geschichte, 45(3-4), 66–67.
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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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Hellrich, J., & Rzymski, C. (2019). Computational Detection of Medieval References in Metal. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 57–70). London: Emerald.
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Beauguitte, L., & Pecout, H. (2019). Les mondes du metal d’après l’Encylopedia Metallum. Volume! La revue des musiques populaires, 15:2(1), 57–69.
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Whitting, S., Klimentou, P., & Rogers, I. (2019). ‘We’re Just Normal Dudes’: Hegemonic Masculinity, Australian Identity, and Parkway Drive. In C. Hoad (Ed.), Australian Metal Music (pp. 55–70). London: Emerald.
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Herbst, J. - P. (2019). Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology and the future of metal music from producers’ perspectives. Metal Music Studies, 5(1), 53–69.
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