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Bannister, M. (2023). Joker to the thief: Trickster guitarists in 1970s stadium rock. Metal Music Studies, 2023(2), 151–169.
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Barron, L. (2024). Anti-sacred fashion: The use of profane performative costumes in the black metal music and performances of Nergal and Behemoth. Fashion, Style & Popular Culture, Online first.
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Beya, S. (2020). Six feet three of Cheekbones, vanity and attitude: A discourse analysis of the construction of gender in the performance of metal music. Master's thesis, Umeå University, Umeå.
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Campoy, L. C. (2022). As revelações da escuridão: o show no underground do heavy metal extremo como um ritual. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 203–221). São Paulo: Pimenta Cultural.
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Eves, N. (2024). Performing Reparative Craft: Oreet Ashery’s “Passing through Metal”. Textile. Cloth and Culture, 22(3), 571–585.
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Gac, D. (2016). Zabawa czy rytuał? Miejsce black metalu w świecie performansu. In J. Osiński, M. Pranke, & P. Tański (Eds.), Kultura rocka 2. Słowo, dźwięk, performance (2) (pp. 94–104). Toruń: ProLog.
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Gac, D. (2019). Zabawa czy rytuał? Miejsce black metalu w świecie performansu. In J. Osiński, M. Pranke, & P. Tański (Eds.), Kultura rocka 2. Słowo, dźwięk, performance (pp. 311–320). Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
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Herbst, J. - P. (2021). Culture-specific production and performance characteristics: An interview study with “Teutonic” metal producers. Metal Music Studies, 7(3), 445–467.
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Herbst, J. - P. (Ed.). (2023). The Cambridge Companion to Metal Music. Cambridge Companions to Music. Cambridge, England: Cambridge University Press.
Abstract: “Exploring the musical styles and cultures of metal, this Companion is an indispensable introduction to this popular and distinctive genre” (source: Amazon.com).
“Since its beginnings more than fifty years ago, metal music has grown in popularity worldwide, not only as a musical culture but increasingly as a recognised field of study. This Cambridge Companion reflects the maturing field of 'metal music studies' by introducing the music and its cultures, as well as recent research perspectives from disciplines ranging from musicology and music technology to religious studies, Classics, and Scandinavian and African studies. Topics covered include technology and practice, identity and culture, modern metal genres, and global metal, with reference to performers including Black Sabbath, Metallica and Amon Amarth. Designed for students and their teachers, contributions explore the various musical styles and cultures of metal, providing an informative introduction for those new to the field and an up-to-date resource for readers familiar with the academic metal literature” (source: https://www.cambridge.org/).
Collection: The Cambridge Companions to Music.
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Hudson, S. S. (2019). Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter. Ph.D. thesis, Northwestern University, .
Abstract: Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of listening. We construe meter through embodied metering practices: dance gestures, patterns of counting, or epistemologies of rhythmic motion. Many metering practices have conventional metering constructions, specific associations between sounding features, patterns of felt beats, and paths of motion through these beats. Drawing on concepts from cognitive science and performance studies, I explore how this embodied knowledge is constituted and applied in both planning of musical phrases by a performer, and in-time perception and cognition of musical rhythms by any listener or participant.
Metering constructions and practices are often performed by and associated with certain communities and identities. I take a culturally-situated approach to meter and felt motion, studying traditions of embodied movement and bodily discipline including headbanging in heavy metal (Chapter 1), characteristic dance rhythm topics in non-dance concert music of the eighteenth century (Chapter 2), motivic manipulation and developing variation in late Romantic chamber music (Chapters 3 and 4), and prosody and speech gestures in operatic recitative (Chapter 5). Contrary to many existing theories of meter, I argue that our feelings of beat are not necessarily organized in cyclical grids, but are improvised on the spot by stitching together familiar motions. I also explore how movements often embody and perform aesthetic ideologies and cultural meanings, with these hermeneutic frameworks often shaping listeners’ choice of movements, their proprioception of their own movements, and their perception of the qualities of rhythm and motion in the music they are listening to.
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