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Thomas, N. (2025). Masters of Reality: The (De)construction of Reality in the Production of Metal Music. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 397–410). Abingdon; New York: Routledge.
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Gamble, S., & Kennedy, L. (2025). Fragmented and Distributed Production Practices in 21st Century Metal Music: From the Studio to the Bedroom (and Back Again?). In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 411–426). Abingdon; New York: Routledge.
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Manuel, N. (2025). Electronic Drums in Industrial Metal and Continuing Practices in Contemporary Metal Music. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 427–442). Abingdon; New York: Routledge.
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Celikel, F. (2025). Guitar Pro or DAW-based Software for Metal Composition. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 443–455). Abingdon; New York: Routledge.
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Hemery, D. (2025). Black Metal and the Sonic Search for Nature. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 456–468). Abingdon; New York: Routledge.
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Herbst, J., & Mynett, M. (2025). Contemporary Approaches to Metal Music Production: Traditional Heavy Metal, Death Metal, and Metalcore. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 469–481). Abingdon; New York: Routledge.
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Squires, V. J. (2025). “Thine Voice is Oh So Sweet”: Gothic Metal and Diverse Vocal Timbres. In L. Burns, & C. Scotto (Eds.), The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production (pp. 341–353). New York, New York: Routledge, Taylor & Francis Group.
Abstract: "Metal music vocals are typically characterized by their aggression, which contributes to the overall volume of the music. Nevertheless, with the fracturing of the genre and the formation #of subgenres, vocal expression has developed beyond aggression and loudness. The characteristics of gothic metal result in a gloomy and somber tone that intermingles with its visual theatrics and dark lyrical matter; however, it is the diversity that the subgenre brings to vocal practices which has come to be one of this subgenre’s most substantial contributions to metal.
This chapter unpacks gothic metal’s diverse vocal expressions throughout a timbral analysis grounded in the four vocal timbres identified by Isabella van Elferen—“hollow,” “bombastic,” “tormented,” and “distorted.” Expanding upon this framework for vocal analysis, I replace “bombastic” with “saturated,” and propose a fifth vocal timbre, “ethereal,” in order to address how gothic metal differs from other gothic music styles. A selection of gender-contrasting examples are present to equally recognize male and female vocals.
In using these voice types as a scaffolding for an investigation into diversity in gothic metal vocal expression, this chapter sets apart metal music at large and the gothic style more specifically. This type of interpretive work is essential in order to expand the field of metal music studies, particularly in the area of vocal analysis, which receives limited inquiry, due in part to a greater trend within the field that prioritizes metal’s cultural and social elements."
[SOURCE: https://www.taylorfrancis.com/books/edit/10.4324/9781003354451/routledge-handbook-metal-music-composition-lori-burns-ciro-scotto]
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Latif, M. A. (2025). Music in religion. Theology, 128(1), 41–47.
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Friaud, A., & Jakubowicz, M. H. (2025). Étudier les musiques populaires : culture, économie, politique. Entretien avec Gérôme Guibert. transposition. Musique et Sciences Sociales, 13, s. p.
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Corral, D. M. A. (2025). Las Mujeres Músicas Metaleras: Arte, Poder y Crítica Social [Female Metal Musicians: Art, Power, and Social Criticism]. VOCES Y SABERES, 5(13). Retrieved October 16, 2026, from http://dx.doi.org/https://doi.org/10.22201/fesa.vocesysaberes.2025.13.115
Abstract: El metal es una representación musical que se considera un arte. A pesar de que su forma y contenido contrastan con la concepción de lo que se considera “bello”, este género siempre ha estado rodeado de ritos y costumbres que delimitan la categoría del ser metalero y excluyen a todos aquellos que no cumplan con las características mínimas para ser considerados parte de ese mundo.Como arte, el metal representa múltiples problemáticas sociales, incluyendo el contexto en el que se gesta. Es por esa razón que se le llama de esa forma, pues hace alusión a la industria metalúrgica que predominaba en Birmingham, Inglaterra, la cuna del género: Tommy Iommi guitarrista de Black Sabbath y a quien se le atribuye la invención del metal, trabajaba en una empresa de ese giro.
[Metal is a musical representation considered an art form. Although its form and content contrast with the concept of what is considered “beautiful,” this genre has always been surrounded by rituals and customs that delimit the category of being a metalhead and exclude all those who do not meet the minimum requirements to be considered part of that world. As an art form, metal represents multiple social issues, including the context in which it is created. It is for this reason that it is called that, as it alludes to the metal industry that predominated in Birmingham, England, the birthplace of the genre. Tommy Iommi, Black Sabbath guitarist and credited with inventing metal, worked in a company in that field.]
(SOURCE: https://vocesysaberes.aragon.unam.mx/index.php/RAVS/article/view/115)
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