Author  |
Title |
Year |
Publication |
Volume |
Pages |
| Lehmann, Marco; Kopiez, Reinhard |
Der Einfluss der Bühnenshow auf die Bewertung der Performanz von Rockgitarristen |
2011 |
”Metal matters”. Heavy Metal als Kultur und Welt |
|
183-194 |
| Mccombe, John |
Authenticity, artifice, ideology: Heavy metal video and MTV’s ‘Second Launch’, 1983–1985 |
2016 |
Metal Music Studies |
2 |
405-411 |
| Mertens, Mathias |
Medienästhetische Überlegungen zur Luftgitarre |
2011 |
”Metal matters”. Heavy Metal als Kultur und Welt |
|
225-241 |
| Messick, Kyle J. |
Metal for the masses: How indie metal labels have adapted for the digital era |
2021 |
La route vers l'indépendance. L'industrie musicale en transition |
|
|
| Messick, Kyle J. |
Music Industry in Crisis: the Impact Of a Novel Coronavirus on Touring Metal Bands, Promoters, and Venues |
2021 |
The Societal Impacts of Covid-19: A Transnational Perspective |
|
93-108 |
| Minore, Gito |
Producir metal. Autogestión, independencia, mainstream |
2021 |
Para cruzar mil senderos: Primeras jornadas de debate por una nueva cultura pesada en el metal argentino y latinoamericano |
|
27-32 |
| Netherton, Jason |
The entrepreneurial imperative: Recording artists in extreme metal music proto-markets |
2017 |
Metal Music Studies |
3 |
369-386 |
| Nohr, Rolf F.; Schwaab, Herbert (eds) |
”Metal matters”. Heavy Metal als Kultur und Welt |
2011 |
|
|
|
| Podoshen, Jeffrey S. |
Constructing black metal mythology for global monopoly: #ittakescourage |
2018 |
Metal Music Studies |
4 |
375-380 |
| Reis Alecrim, Thales |
The Day of Doom Has Come: A representação do mal, a indústria cultural e a cultura da participação na produção do Sepultura (1984-1987) |
2021 |
|
|
|
