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Barchi, R. (2022). Infer(ce)no na música extrema: das ecologias e das trevas nas capas de álbuns grindcore. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 314–343). São Paulo: Pimenta Cultural.
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Dyer, R. (2026). The Underground in China: Metal, Punk, Hardcore and Noise 2013-2021. Ticehurst, East Sussex, UK: Earth Island Books.
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Glitsos, L. (2020). “Sticky Business”: An Examination of Female Musicians in the Context of Perth’s Metal Community. Popular Music and Society, 43(1), 93–113.
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Hjelm, T., Kahn-Harris, K., & LeVine, M. (Eds.). (2013). Heavy metal: controversies and countercultures. Bristol: Equinox.
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Kitteringham, S. (2014). Extreme Conditions Demand Extreme Responses: The Treatment of Women in Black Metal, Death Metal, Doom Metal, and Grindcore. Ph.D. thesis, University of Calgaru, Calgary.
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Lapkouski, P. A. (2025). Кросс-культурное взаимодействие в экстремальной музыке (на материале дэт-метала и грайндкора) [Cross-Cultural Interaction in Extreme Music (Death Metal and Grindcore)]. Научный вестник Московской консерватории [Journal of Moscow Conservatory], 16(2), 360–371.
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Lee, L. (2009). The brutal truth: Grindcore as the extreme realism of heavy metal. In G. Bayer (Ed.), Heavy metal music in Britain (pp. 53–70). Surrey: Ashgate.
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Mudrian, A. (2004). Choosing Death: The Improbable History of Death Metal & Grindcore. Los Angeles: Feral House.
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Nohr, R. F., & Schwaab, H. (Eds.). (2011). ”Metal matters”. Heavy Metal als Kultur und Welt. Münster: Lit.
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Overell, R. (2010). Brutal belonging in Melbourne’s grindcore scene. In N. K. Denzin (Ed.), Studies in Symbolic Interaction. Vol. 35 (pp. 79–99). Emerald.
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