| |
Author |
Title |
Year |
Publication |
Volume |
Pages |
Links  |
|
|
Foltyn, Rafal |
Wilkołactwo w tekstach, nazewnictwie i przesłaniu europejskich zespołów metalowych |
2019 |
Kultura rocka 2. Słowo, dźwięk, performance |
|
517-534 |
|
|
|
Cheung, Oi Wun Joyce; Feng, Dezheng (William) |
Attitudinal meaning and social struggle in heavy metal song lyrics: a corpus-based analysis |
2019 |
Social Semiotics |
(accepted) |
|
|
|
|
Hosman, Sarah Siltanen |
Gender inequality in metal music production (book review) |
2019 |
Gender & Society |
33 |
652-654 |
|
|
|
Taylor, Matthew |
Eternal Defiance: Celtic Identity and the Classical Past in Heavy Metal |
2019 |
Classical Antiquity in Heavy Metal Music |
|
53-76 |
|
|
|
St-Laurent, Méi-Ra |
“It's kind of in the middle”: The “Mid-Fi” Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Québec Black Metal Scene |
2019 |
Proceedings of the 12th Art of Record Production Conference: Mono: Stereo: Multi |
|
267-272 |
|
|
|
Baert, Sébastien |
Cthulhu metal: H. P. Lovecraft : l’influence du mythe |
2019 |
|
|
|
|
|
|
Yang, Zixuan |
Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society |
2019 |
|
|
179 |
|
|
|
Simms, Bekah |
Foreverdark: For Amplified Cello Soloist and Chamber Orchestra |
2019 |
|
|
64 |
|
|
|
Hudson, Stephen S. |
Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter |
2019 |
|
|
334 |
|
|
|
Odell, Grace Kate |
A Night at the Opera: Performance, Theatricality, and Identity in the Music of Queen |
2019 |
|
|
174 |
|
