Relevant bibliographies by topics / Guitar music (Heavy metal)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Guitar music (Heavy metal)'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Guitar music (Heavy metal)"

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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.
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Virtala, Paula, Minna Huotilainen, Esa Lilja, Juha Ojala, and Mari Tervaniemi. "Distortion and Western Music Chord Processing." Music Perception 35, no. 3 (2018): 315–31. http://dx.doi.org/10.1525/mp.2018.35.3.315.

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Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.
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WALSER, ROBERT. "HEAVY METAL MUSIC." Music and Letters 76, no. 4 (1995): 657—b—657. http://dx.doi.org/10.1093/ml/76.4.657-b.

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Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, no. 1 (2021): 70–82. http://dx.doi.org/10.1093/jaac/kpab065.

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Abstract In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if not impossibility, of this seemingly straightforward task. I first address the difficulties of identifying the defining features, or “Gestalt,” of heavy metal that would allow us to treat heaviness as a genre concept. Next, I discuss both the merits and the limits of analyzing heaviness in terms of an aesthetics of “noise” in rock music developed in recent philosophy of music. In the remaining sections, I consider other nonaesthetic features relevant to aesthetic judgments of heaviness and show that the term ‘heavy’ is conceptually inarticulable, if not irreducible. This, I conclude, has partly to do with the radically different, sometimes incompatible, musical properties present in the perception of musical heaviness.
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ARNETT, JEFFREY. "Adolescents and Heavy Metal Music." Youth & Society 23, no. 1 (1991): 76–98. http://dx.doi.org/10.1177/0044118x91023001004.

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Poutiainen, Ari, and Esa Lilja. "Heavy Metal and Music Education." Procedia - Social and Behavioral Sciences 45 (2012): 517–26. http://dx.doi.org/10.1016/j.sbspro.2012.06.589.

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Quinn, Kate. "Heavy metal music and managing mental health: Heavy Metal Therapy." Metal Music Studies 5, no. 3 (2019): 419–24. http://dx.doi.org/10.1386/mms.5.3.419_1.

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Riches, Gabby, and Karl Spracklen. "Raising the horns: Heavy metal communities and community heavy metal music." International Journal of Community Music 7, no. 2 (2014): 149–51. http://dx.doi.org/10.1386/ijcm.7.2.149_2.

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Maloy, Liam. "REVIEW | Queerness in Heavy Metal Music: Metal Bent." IASPM@Journal 8, no. 1 (2018): 136–39. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.11en.

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Barratt-Peacock, Ruth. "Heavy metal made for children? Interrogating the adult/child divide in Heavysaurus’s heavy metal humour." Metal Music Studies 8, no. 3 (2022): 293–308. http://dx.doi.org/10.1386/mms_00082_1.

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Heavysaurus (a German act founded in 2017, from a concept that originated in Finland in 2009) is marketed as metal music made for children. As with most children’s media, Heavysaurus’s music utilizes a dual address, entertaining both parents and children, particularly through its comedic value. The following article examines the implications of combining metal aesthetics with children’s media, and the resulting music’s relationship to humour. Although humour in metal music has been brought into connection with the Bakhtinian carnival, this article argues that Heavysaurus’s use of the carnivalesque and other elements of heavy metal humour does not represent a Bakhtinian upheaval of power structures (by challenging dominant constructions of childhood for instance) but instead challenges and makes visible the constructed nature of adulthood itself.
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Dissertations / Theses on the topic "Guitar music (Heavy metal)"

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Mcdowell, Michael A. "Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6319.

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The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.
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Roby, David Allen. "Bastard offspring : heavy metal, hardcore punk, and metalcore." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1486.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music
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Vaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.

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Marjenin, Peter A. "The Metal Folk: The Impact of Music and Culture on Folk Metal and the Music of Korpiklaani." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1412632625.

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Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.

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Cope, Andrew Laurence. "From the dawn of the Sabbath ... metal was born." Thesis, University of Salford, 2007. http://usir.salford.ac.uk/26626/.

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The early 1990s saw the publication of important academic works on the subject of heavy metal music. These works were seminal in that they were the first to recognise and interrogate, in any substantial way, a topic that had been, until then, valued only as a cultural/sociological subject. Those ground-breaking works included Robert Walser's 1993 publication Running with The Devil: Power, Gender and Madness in Heavy Metal and Deena Weinstein's Heavy Metal: The Music and its Culture first published in 1991. Both works however, present heavy metal in broad terms, creating a wide paradigm that includes bands with widely differing musical syntax and aesthetic concerns (e.g. Cradle of Filth to Bon Jovi). These generalisations, being based on the perceived commonality of such concepts as power-chords and gendering, form something of a paradox that has been unquestioningly embraced by subsequent authors and so sustaining that opinion. I have challenged these generalisations and asserted that hard rock and heavy metal are distinctly different generic forms in both musical syntax and aesthetic. Moreover, I have argued that both Black Sabbath and Led Zeppelin were pivotal in the formation of heavy metal and hard rock respectively and that the first six albums of both bands were particularly significant to the generic evolution of both forms of music. Heavy metal has evolved and become an established form of music over the last three and a half decades but vitally retains the central coding established in Black Sabbath's early work, not least the consistent utilisation of key intervals such as the tritone and flat 2nd, modal riffs, down-tuned guitars, aggressive performance techniques, episodic structuring and anti-patriarchal themes. By contrast, Led Zeppelin made significant contributions to the evolution of hard rock through a re-working of blues-based themes and syntax and the development of an eclectic repertoire. This work deconstructs that evolutionary process, highlighting the distinct nature of both forms.
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Körner, Stefan. "Theologie als Beat, Pop und Heavy Metal." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-101963.

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Der erste Eindruck, er täuscht. Viele Besucher, die das „Schallarchiv“ zum ersten Mal betreten, äußern sich verhalten, die leichte Enttäuschung kaum verhehlend: „Das ist es also“. Ja, das ist es, das weltgrößte Archiv für christliche Popmusik. Und in der Tat: 2.500 LPs sind optisch weit weniger eindrücklich als die gleiche Anzahl Bücher. Was sich aber in den Plattenhüllen, in den Rillen des Vinyl verbirgt, das hörbar wird, sobald die Nadel die Vertiefungen nach den darin eingepressten Tönen abtastet, bringt den Hörer unvermittelt ins Staunen. Manch angestaubte Platte lässt vernehmen, wie sehr sie sich gegen das Archivieren sträubt, wie gerne sie laut gehört werden will. Es ist also so eine Sache mit dem Sammeln und Aufbereiten eines Gegenstandes, der vom Wesen her nichts Museales an sich hat, sondern ein energiegeladenes Zeugnis musikalischen Ausdrucks religiöser Gefühle ist. Und so geht dem Archivar immer wieder Folgendes durch den Kopf: Und führt mich doch nicht schon wieder in Versuchung! In die Versuchung, die potentiellen und tatsächlichen Opfer wissenschaftlicher Neugier zu ihrem Recht kommen zu lassen, flüstern sie ihm doch täglich zu: Play me, and play me loud – manchmal zur Freude und manchmal zum Leidwesen der anderen Mitarbeiter. [...]
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Silva, Wlisses James de Farias. "Heavy metal no Brasil: os incômodos perdedores (década de 1980)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-12112014-111119/.

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presente estudo pretende analisar o Heavy Metal no Brasil nos anos 1980, historiando sua origem, bem como sua chegada ao Brasil e a forma como esse estilo foi absorvido pela juventude brasileira, destacando suas especificidades. Ao historiar esse processo, daremos ênfase ao panorama político, econômico e social do país no período e suas articulações com o movimento heavy metal, procurando responder até que ponto essas condições influenciaram a estética desse movimento, e como ele foi adaptado e absorvido no panorama cultural brasileiro, influenciando-o por sua vez<br>This study aims to analyze the Heavy Metal in Brazil in the 1980s studies the history their origin and their arrival in Brazil and how that style was absorbed by Brazilian youth, highlighting its specific features. When recounting this process, we will emphasize the political, economic and social landscape of the country in the period and its articulations with the heavy metal movement, seeking to respond to what extent these conditions influenced the aesthetics of this movement, and how it was adapted and absorbed into the cultural landscape Brazilian, influencing it in turn
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Strother, Eric S. "Unlocking the Paradox of Christian Metal Music." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/9.

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In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.
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Brunner, Ike. "Taken to the extreme heavy metal cover songs-- the impact of genre /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1155518980.

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Books on the topic "Guitar music (Heavy metal)"

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Heavy metal lead guitar. Hal Leonard Pub. Corp., 1991.

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Stetina, Troy. Heavy metal rhythm guitar. Hal Leonard Pub. Corp., 1991.

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group), Dream Theater (Musical. Prog metal guitar tab. Alfred Pub. Co., 2009.

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Roth, Arlen. Arlen Roth's heavy metal guitar. Schirmer Books, 1991.

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group), Disturbed (Musical. Nu metal guitar tab. Alfred Pub. Co., 2009.

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Strong, M. C. The great metal discography. Canongate, 1998.

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Strong, M. C. The great metal discography: From hard rock to hardcore. 2nd ed. Mojo, 2001.

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group), Tesla (Musical. The great radio controversy. Cherry Lane Music, 1989.

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Roses, Guns N'. Greatest hits. Edited by Phillips Mark 1947-. Cherry Lane Music, 2013.

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Hendrix, Grady. We Sold Our Souls. Quirk Books, 2018.

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Book chapters on the topic "Guitar music (Heavy metal)"

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Hoad, Catherine. "Norwegian Black Metal and Viking Metal." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_3.

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Poole, Simon. "Retro Rock and Heavy History." In Global Metal Music and Culture. Routledge, 2016. http://dx.doi.org/10.4324/9781315742816-23.

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Hoad, Catherine. "Mapping Representation in Metal Music Studies." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_2.

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Hoad, Catherine. "Afrikaans Metal in Post-Apartheid South Africa." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_4.

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Hoad, Catherine. "Normophilia and Banal Nationalism in Australian Extreme Metal." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_5.

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Hoad, Catherine. "(Re)sounding, (re)sealing: Translocal Terrains of Whiteness across Norway, South Africa and Australia." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_6.

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Hoad, Catherine. "Introduction." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_1.

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Hoad, Catherine. "Conclusion." In Heavy Metal Music, Texts, and Nationhood. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_7.

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Smith, Evan. "“Even Heavy-Metal Fans Complain that Today’s Music Is Too Loud!!!”." In The Rock History Reader. Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-72.

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Soumya, Mahesh, and S. V. Narasimhan. "Effects of Vocal Loading on Singing Power Ratio and Singer’s Formant with Indian Heavy Metal Vocalists." In Advances in Speech and Music Technology. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_2.

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Conference papers on the topic "Guitar music (Heavy metal)"

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Permana, Catur Surya, Ferry Matias, and Ahmad Hidayat. "Why Heavy Metal?: A Sound of Guitar Study in Dangdut." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763202640271.

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Matsushita, Soichiro. "A wrist-worn motion evaluation system for fast and powerful down picking of heavy metal guitar." In UbiComp '19: The 2019 ACM International Joint Conference on Pervasive and Ubiquitous Computing. ACM, 2019. http://dx.doi.org/10.1145/3341163.3347726.

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