| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Bannister, Matthew |
Joker to the thief: Trickster guitarists in 1970s stadium rock |
2023 |
Metal Music Studies |
2023 |
151-169 |
|
|
|
Barron, Lee |
Anti-sacred fashion: The use of profane performative costumes in the black metal music and performances of Nergal and Behemoth |
2024 |
Fashion, Style & Popular Culture |
Online first |
|
|
|
|
Beya, Sara |
Six feet three of Cheekbones, vanity and attitude: A discourse analysis of the construction of gender in the performance of metal music |
2020 |
|
|
|
|
|
|
Campoy, Leonardo Carbonieri |
As revelações da escuridão: o show no underground do heavy metal extremo como um ritual |
2022 |
Música Extrema: ruídos, imagens e sentidos |
|
203-221 |
|
|
|
Eves, Natasha |
Performing Reparative Craft: Oreet Ashery’s “Passing through Metal” |
2024 |
Textile. Cloth and Culture |
22 |
571-585 |
|
|
|
Gac, Domink |
Zabawa czy rytuał? Miejsce black metalu w świecie performansu |
2019 |
Kultura rocka 2. Słowo, dźwięk, performance |
|
311-320 |
|
|
|
Gac, Domink |
Zabawa czy rytuał? Miejsce black metalu w świecie performansu |
2016 |
Kultura rocka 2. Słowo, dźwięk, performance (2) |
|
94-104 |
|
|
|
Herbst, Jan-Peter |
Culture-specific production and performance characteristics: An interview study with “Teutonic” metal producers |
2021 |
Metal Music Studies |
7 |
445-467 |
|
|
|
Herbst, Jan-Peter (ed) |
The Cambridge Companion to Metal Music |
2023 |
|
|
320 |
|
|
|
Hudson, Stephen S. |
Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter |
2019 |
|
|
334 |
|
