| |
Author |
Title |
Year  |
Publication |
Volume |
Pages |
Links |
|
|
Mynett, Mark |
Defining contemporary metal music: Performance, sounds and practices |
2019 |
Metal Music Studies |
5 |
297-313 |
|
|
|
Chowenhill, Richard |
Seeing the Invisible: New Approaches to the Analysis of Extreme Metal and an Original Composition, “raw[within](to self soothe)” for Electric Guitar, Bass, and Percussion |
2020 |
|
|
|
|
|
|
Rodkiewicz, Maciej |
Hand of Doom. Pozabluesowe źródła metalowego paradygmatu [Hand of Doom. Non-blues sources of the metal paradigm] |
2020 |
Artyści i sceny metalowej (kontr)kultury [Artists and the metal (counter) culture scene] |
|
134-145 |
|
|
|
Swallow, Reuben |
Defining Consonance and Dissonance in Metal Music |
2021 |
|
|
|
|
|
|
Sabbath, Juan |
Bienvenidos al Sabbath: Crónicas, Reseñas y Reflexiones en Torno a la Vigencia del Underground, 2001–2021 |
2021 |
|
|
312 |
|
|
|
Radovanović, Bojana |
Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies |
2021 |
Shaping the Present through the Future. Musicology, Ethnomusicology and Contemporaneity |
|
97-110 |
|
|
|
Jordan, James Boddington |
Harmonic Structures of 21st Century Heavy Metal |
2021 |
|
|
|
|
|
|
Burns, Lori A.; Armstrong, Patrick |
Structuring subjectivity: Pain of Salvation’s “The Perfect Element”: Part I (2000) |
2021 |
Metal Music Studies |
7 |
357-382 |
|
|
|
Hudson, Stephen S. |
Compound AABA Form and Style Distinction in Heavy Metal |
2021 |
Music Theory Online |
27 |
n.p. |
|
|
|
Garza, Jose M. |
Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music |
2021 |
Music Theory Online |
27 |
n.p. |
|
