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1
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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Aglugub, Raymond David. "Shape shift: riff variation and development in the music of Metallica." Thesis, Boston University, 2007. https://hdl.handle.net/2144/30663.
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Thesis (M.M.)--Boston University<br>Past musicological efforts have helped to elucidate the elements of style and aesthetics in heavy-metal music and explain their deeper social and cultural meanings, especially through the efforts of musicologists such as Robert Walser, Steve Waksman, Susan Fast, and Glenn T. Pillsbury. Through these discussions we recognize the riff as the primary structure unit in heavy metal and understand how it has developed out of the blues and earlier rock traditions [TRUNCATED]
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Brunner, Isaac. "Taken to the Extreme: Heavy Metal Cover Songs – The Impact of Genre." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1155518980.
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Chan, Ka-shue, and 陳嘉澍. "The association between listening to heavy metal music and risk behavior in adolescents." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/193835.
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Background: In 1984, a 19-year-old boy shot himself to death. According to the news at that time, the boy have listened to a heavy metal singer: Ozzy Osbourne's song "Suicide Solution". His parents believed Ozzy Osbourne is responsible for their son's death. Because of this case, listening to heavy metal music induced adolescent risk behaviors and suicidal behaviors became a keen dispute. Especially some parents have proposed that heavy metal music should be banned so as to prevent similar case occur again.
Objective: To investigate the association between heavy metal music and adolescent risk behavior, problem behavior or suicide.
Methods: Relevant studies which are published from 1983 to 2013 were searched and identified through PubMed and Google Scholar with a combination of keywords. Studies concerning the association between heavy music preference and any of the problem behaviors or suicide were included. Among the 183 studies included, 10 studies were found to be available and relevant so that they were selected in this literature review. The entire studies were carried out in western countries and all of them are observational studies using questionnaires to collect the data. They used different sample sizes and outcome measurements.
Results: 9 out of 10 studies indicated that heavy metal music was associated with adolescent risk/problem behavior or suicide. However, the causal relationship between heavy metal music and the risk/problem behavior and suicide of adolescent cannot be determined.
Conclusion: In summary, there is evidence that Heavy Metal Music does have an association with adolescent risk/problem behavior and suicide. But further researches are needed in different countries to increase the generalizability and establish the hypothesis of whether there is a relationship between them.<br>published_or_final_version<br>Public Health<br>Master<br>Master of Public Health
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Allen, Tammy Rene. "A classification of the dress of heavy metal music groups using content analysis." Thesis, Virginia Tech, 1993. http://hdl.handle.net/10919/46090.
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<p>The research was a qualitative study of the dress of heavy metal (HM)
music groups using content analysis. The purpose was to examine dress
characteristics of a representative random sample of HM music groups. The
objectives were (a) to develop a classification system for HM music groups
based on time and subgenre, (b) to identify music groups within each cell (i.e.,
time and subgenre) of the classification system, and (c) to identify dress
characteristics of a representative random sample of the music groups.</p>
<p>
The subjects in the study were HM music groups as pictured on albums.
The variables were the selected items of dress and the classification of the
groups by time and subgenre. A classification system was developed and used
for the selection of subjects. Using the HM Dress Classification Instrument
developed by the researcher, specific dress characteristics of twenty-four HM
music groups were identified. This data was compiled in tabular format.</p>
<p>
Among the twenty-four HM groups, the predominant clothing was a black
woven shirt and black leather/suede pants. Clothing trim included studs,
motifs/designs, words and fringe. No visible jewelry was predominant. The
primary shoes observed were western boots. Straight, shoulder-length black or
blond hair with no head covering was predominant. Beards, makeup, tattooing,
and other forms of corporal adornment were observed. Although some dress
categories were dominated by single items, changes were observed across
time and subgenres. The data indicated rejection of the two null hypotheses.</p><br>Master of Science
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Allen, Tammy Reneé. "A classification of the dress of heavy metal music groups using content analysis /." This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-12042009-020120/.
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Fiore, Adriano Alves. "Iconografia, simbolismo e a cultura contemporânea do Heavy Metal." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4765.
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Previous issue date: 2015-12-18<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>It has been approximately 45 years since heavy metal began attracting multitudes of faithful followers in Brazil and the rest of the world. This study centers on the postulation that the genre s sound combined with its grotesque and baroque iconography is able to produce a contemporary world culture and that it requires continuous research to find its most precise description. The phenomenon is analyzed principally in light of the Bakthinian theory of carnivalization, which has received the addition of the methodological path traced by means of exploratory studies, as well as the author s direct in situ participation in festivals such as Rock in Rio, Wacken Open Air and Monsters of Rock. Both documental and bibliographic researches centered on the reading of images. The corpus includes images from photographs, newspapers, websites, blogs, paintings, t-shirts, posters, comic books, books, encyclopedias, movies, documentaries, animation and LP, CD, DVD, Blu-ray and VHS covers, as well as dress, makeup and hairstyle in short, the complete heavy metal imaginarium. The focus is of a diachronic-synchronic nature and features in the history of the heavy metal genre. The problematization involves the following question: What are the main pictorial and symbolic elements produced by the music industry that provoke such intense, notoriously impassioned devotion in heavy metal dilettantes and how do they achieve their purpose with such efficacy? It is further postulated that the intense sound of heavy metal emanates an interior sensation of force and superhuman power in its fans that transforms into a type of unlimited love and exacerbated fidelity (i.e. an almost absolute dependency), which is commensurate with a group, collective or social demand for protection. Results allow for the conclusion that by being conscious of this idiosyncrasy, illustrators, designers and advertisers have striven to perpetuate an iconographic and symbolic universe equally intense, robust and intimidating in which Bakhtin s key carnivalizing motifs can be found (Death, masquerade, good/evil dualism, hyperbolism, the grotesque, Hell, the laugh, hybridization, metamorphosis, the banquet, insanity and antithesis)<br>Há 45 anos, aproximadamente, o heavy metal vem atraindo multidões de seguidores fiéis em todo o mundo, e esse é também um fenômeno contínuo no Brasil. O estudo empreendido neste trabalho assenta-se no pressuposto de que o som do heavy metal aliado à sua iconografia grotesca e barroquizante é capaz de produzir uma cultura contemporânea de abrangência mundial, cuja configuração demanda contínua pesquisa para se encontrarem elementos capazes de fornecer sua mais nítida descrição. O conceito bakhtiniano de carnavalização é utilizado como principal fundamento do quadro teórico-metodológico adotado, que também é incrementado por meio de estudos exploratórios, além de observação direta concretizada com a participação in situ do autor em festivais como o Rock in Rio, Wacken Open Air e Monsters of Rock. As partes documental e bibliográfica concretizam-se por meio da leitura de imagens. O corpus é constituído por imagens de fotografias, jornais, sites, blogs, pinturas, estampas (camisetas), pôsteres, histórias em quadrinhos, livros, enciclopédias, revistas, filmes, documentários, desenhos animados, ilustrações de capas de LPs, CDs, DVDs, Blu-rays e VHSs bem como na indumentária e no visual continuamente introduzido no imaginário do heavy metal. Opta-se por um recorte diacrônico-sincrônico pertinente à história do gênero heavy metal. A problematização tem foco na seguinte pergunta: Quais são os principais elementos transformados em imagem e símbolo pela indústria videofonográfica e de que maneira conseguem cumprir, com eficácia, o propósito de acender tamanha devoção, notoriamente apaixonada, nos diletantes do heavy metal? Um segundo pressuposto se apresenta, o de que a intensidade sonora do heavy metal faz emanar uma sensação interior de força e poder supra-humanos em seus apreciadores que se transforma em uma espécie de amor ilimitado e exacerbada fidelidade dependência quase absoluta , podendo este sentimento ainda recrudescer em função de envolver uma procura por proteção grupal, coletiva ou social. Os resultados permitem afirmar que conscientes dessa idiossincrasia metálica, ilustradores e profissionais em design e propaganda esforçam-se em perpetuar o universo iconográfico e simbólico do heavy metal igualmente intenso, robusto e intimidador , no qual se nota a presença dos principais motivos carnavalizantes de Bakhtin (a Morte, a mascaragem, o dualismo Bem e Mal, hiperbolismo, o grotesco, o Inferno, o riso, hibridização, metamorfose, o banquete, a loucura, o avesso)
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Nakamura, Sandra. "Machinassiah: heavy metal, alienação e crítica na cultura de massa." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03022010-145308/.
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A cultura de massa (midiática) tem sido tradicionalmente considerada pouco criativa, alienada e, portanto, menos relevante do que as formas artísticas clássicas e canônicas. Sua incapacidade de se relacionar com a sociedade de outro modo que não como produto disponível no mercado fariam dela mero sustento da lógica de consumo. Propomos no presente trabalho a observação desta forma de cultura a partir de uma outra perspectiva. Com base em teorias Pós-Coloniais, da Complexidade e do Letramento Crítico, mostramos que a alienação da cultura de massa não lhe é uma característica intrínseca, mas uma construção feita a partir de práticas sociais cotidianas. Sendo uma construção, a alienação pode ser desconstruída, e a cultura pode tornar-se crítica, política, socialmente interessada e interessante. Trabalhamos com esta hipótese analisando o heavy metal, tomado como manifestação cultural (de massa) tradicionalmente identificada com a rebeldia e a contestação cultural e social. Observamos diferentes estratégias de dissidência a que recorrem roqueiros e headbangers, constatando que rupturas mais profundas com o conformismo alienado emergem de sua participação crítica em sua cultura musical, na cultura de massa e na sociedade de consumo. A confirmação de tal constatação foi obtida pela análise (multimodal) de um caso, representado pela banda sueca Pain of Salvation.<br>Mass culture has been traditionally associated with lack of creativity and alienation, being considered less valuable and interesting than classic and canonic forms of Culture and Art. Its only role in society would be that of a commodity. It would be destined to serve consumption. The aim of our research is to offer a change in the perspective from which we see mass culture. Based on concepts and ideas coming from Postcolonial theories, Social Complexity and Critical Literacy, we can see alienation not as an intrinsic quality of mass culture, but as a construction that is socially produced. Therefore, we work on the hypothesis that, being a construction, alienation can be deconstructed, and culture can be made critical, political, socially interested and interesting. In order to confirm this, heavy metal music, traditionally identified with both cultural and social resistance and disobedience, was taken for analysis. We could, then, observe the different strategies of dissidence adopted by rockers and headbangers, finally concluding that deeper ruptures with alienated conformity emerge from their critical participation in the music culture, in mass culture, and in the consumer society. Final conclusions on this were made after the multimodal analysis of a case, represented by the Swedish band Pain of Salvation.
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Mirabella, Marita. "Heavy Metal and Globalization : Reception study on the Metal community in the Global South." Thesis, Stockholms universitet, JMK, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144032.
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Heavy Metal is a peculiar music genre, made by fans for fans, which spread throughout the entire planet and became, over its five decades of existence, a global community as well. These aspects of Heavy Metal make it a very interesting phenomenon to study. Heavy Metal has previously been researched with a micro outlook on its local connotations in several different Global South countries, analyzing one at a time. As far as the whole Global Metal community is concerned, to this day, there seems to be no literature that is based on the Global South perspective, but only on the Western one. As it has not been attempted to study Global Metal with a macro outlook and to take a broader perspective on it, this research employs a larger view on the Global South’s point of view on Metal culture. Therefore this study aims at giving possible explanations about the reasons behind Heavy Metal worldwide spread. Results will show how further Heavy Metal reception studies on Global South metalheads should be approached through the lens of the Cosmopolitan paradigm; how the metalheads of the sample tend to indicate Death Metal as the most spread sub-genre and to describe themselves as open minded and tolerant. This research helps showing a slight tendency of metalheads to consider themselves part of a Global community, which is defined more like a family, underlining their inclination towards cosmopolitanism. Finally it will show how there should be a broader study on the sense making of well-known songs to determine whether or not there is a certain degree of similar interpretation across different cultures.
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Yang, Zixuan. "Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212593057542.
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Bergström, Pontus. "En tung historia : En undersökning om metalbandet Sabatons historiebruk." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40594.
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The purpose of this paper has been to examine the heavy metal band Sabatons use of history and to relate it to societal trends in today’s Sweden. I have examined Sabatons music, album covers and music videos in order to define a certain use of history. To do this I have used a use of history theory and a heavy metal theory. My results showed that some of Sabatons use of history could be defined as commercial and that the societal trends in today`s Sweden have in some cases affected the selection and presentation of events and characters that`s been portrayed by Sabaton. Earlier use of history in other forms of media, especially movies, has also played a part in the selection and presentation, which becomes particularly obvious in some of Sabatons music videos. However, an overall theme in my results have shown that the heavy metal cultures norms and ideas have been the main cause behind the selection, but especially the way characters and events is portrayed in their songs, an existential use of history.
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Smith, Gregory Vance. "Rhetorics of Fear, Deployment of Identity, and Metal Music Cultures." Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/3676.
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The purpose of this study is to analyze the rhetorics of fear operating in public discourses surrounding metal music. This analysis focuses on how the public rhetorics deploy identity on listener populations through both the mediation and legislation of identities. Specifically, this mediation takes place using both symbols of fear and arguments constructed on potential threats. Texts for analysis in this study include film and television documentaries, newspaper articles, book-length critiques of and scholarship on heavy metal, and transcripts from the U.S. Senate Hearings on Record Labeling.
"Heavy metal" and "metal music" are labels that categorize diverse styles of music. While there is no exemplar metal song that accounts for a definition of the genre, the terms have been consistently used in rhetorics of fear. These rhetorical movements produce and deploy deviant identities, depend on the construction of cultural crisis, and generate counter rhetorics of agency for individuals and subcultures. The study moves 1) chronologically through metal history, 2) geographically from the United States to
Norway, and 3) contextually through media events that produce the public discourses of identity, crisis, and counter rhetorics. This study charts the rhetorical movements that have created fear within communities, leading to threats of legislation or criminalization of segments of the population.
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Lindgren, Mats. "Känsla för metal : Att gestalta känslor med hjälp av symphonic metal." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43447.
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Syftet med det här arbetet var att gestalta fem olika känslor inom genren symphonic metal. Därigenom ville jag avgöra vilka verktyg jag kunde ha nytta av i framtiden för att gestalta känslor musikaliskt och vilka skillnader som finns mellan att gestalta olika känslor. För att göra detta använde jag mig av referenslyssning av tio låtar plus några orkestrala stycken per känsla. Resultatet av lyssningen, tillsammans med olika låtskrivningstekniker, litteratur, Kirnbergers intervallkaraktäristik och Matthesons tonartskaraktäristik, användes till att skriva och arrangera mina fem låtar. Resultatet blev att jag hade lyckats skildra känslorna bra med den metod jag hade använt, men att intervallkaraktäristiken och tonartskaraktäristiken var onödiga; det skulle räcka med mina kunskaper som jag hade förvärvat under utbildningen, referenslyssning och min känsla som låtskrivare. Jag kunde inte heller urskilja några skillnader mellan att gestalta de olika känslorna; metoden var universellt tillämplig.
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Olson, Benjamin Hedge. "I am the Black Wizards: Multiplicity, Mysticism and Identity in Black Metal Music and Culture." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206132032.
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Thibodeau, Anthony. "Anti-colonial Resistance and Indigenous Identity in North American Heavy Metal." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395606419.
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Mayer, Adam P. "“The Fist in the Face of God”: The Decentralized Diffusion of Heavy Metal Music through the Internet." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314362557.
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Reynisson, Haukur. "Man vs. Machine : A comparative study on MIDI programmed and recorded drums." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43782.
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Whilst drum replacement, the act of replacing the sound of a particular drum with a pre-recorded sample, has been in practice since the 1970s it is only towards the end of the first decade of the 21st century that software drum machines such as Toontrack’s Superior Drummer 2.0 and Steven Slate Drums have become an popular alternative to actual drum recordings within music production. With the increasing popularity there have been voices from the music community in protest claiming that a machine could never replace an actual drummer. What I aimed to do in this project was to do a comparative study, where I analyse and compare various aspects of both alternatives – a recorded performance with an actual drummer and a MIDI programmed performance sampled drum machine – and see whether or not a human drummer could possibly be replaceable. The results indicated that, given the circumstances and project restrictions, the differences were mostly too miniscule to have any practical value and therefore a drummer was in this scenario replaceable by a MIDI programmable drum machine.<br>Trots att “drum replacement”, att ersätta ljudet av en specifik trumma med ett förinspelat ljudklipp, har använts sedan 70-talet så är det först mot slutet av 2000-talets första decennium som mjukvarubaserade trumbibliotek, så som Toontracks Superior Drummer 2.0 och Steven Slate Drums, har blivit ett populärt alternativ för faktiska truminspelningar inom musikproduktion. I och med den ökade populäriteten har många från musikvärlden protesterat och hävdat att en maskin aldrig kan ersätta en riktig trumslagare. Tanken med det här projektet var att göra en jämförande studie där jag analyserar och jämför olika aspekter av de båda alternativen - ett inspelat framförande med en riktig trumslagare och ett framförande programmerat i MIDI med en samplingsbaserad trummaskin - för att se huruvida en mänsklig trummis skulle kunna vara ersättningsbar. Resultaten visade, med hänsyn tagen till projektets begränsningar, att skillnaderna var för små för att ha något praktiskt värde och att en trummisen i det här scenariot därför kunde ersättas med en midiprogrammerbar trummaskin.
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Chauvin, Max. "In and out of control : the consumption of loudness in the metal community." Thesis, Cergy-Pontoise, Ecole supérieure des sciences économiques et commerciales, 2014. http://www.theses.fr/2014ESEC0008.
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La consommation de musique live durant les concerts peut avoir des conséquences graves pour les individus et la société dans son ensemble. Cette thèse explore les motivations des consommateurs à s’exposer à des niveaux sonores extrêmes. Nous nous concentrons plus précisément sur le cas du métal, un genre qui place la puissance sonore au coeur de son identité collective. Nous analysons comment les amateurs du genre valorisent des niveaux sonores potentiellement délétères. Nous utilisons un paradigme sémiotique afin d’interpréter les données issues d’un travail ethnographique multi-méthodes et identifions quatre registres de valorisation : épistémique et transformatif, politique, spirituel, et esthétique. Cette approche dégage le sens profond et riche de la consommation de la puissance sonore et contribue ainsi à expliquer la résistance de certains consommateurs aux politiques de santé publiques promouvant la protection de soi. Notre analyse mitige également l’absolutisme des recommandations émises par la psychologie des comportements de santé du consommateur, un courant de recherche que nous analysons dans notre section théorique<br>The consumption of live music during concerts can have dire consequences for individuals and society alike. This dissertation explores consumers’ motivations to expose themselves to extreme sound levels. Focusing on metal – i.e. a genre that places loudness at the heart of its collective identity – we discuss how music enthusiasts come to valorize potentially deleterious sonic stimuli. We use a semiotic framework to interpret our multi-method ethnography and identify four areas of valorization with respect to loudness: epistemic and self-transformative, political, spiritual, and aesthetic. This approach paints loudness consumption as a deeply meaningful process. In doing so, it helps to understand consumers’ resistances to the public policies that advocate self-protection from harmful sound levels. It also casts doubt about the absolutism that shrouds the recommendations issued from consumer health psychology, a research stream we review in our theoretical section
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Santos, Jefferson Dantas. "Whiplash.net : estilo de vida e investimento afetivo de fãs no heavy metal brasileiro." Pós-Graduação em Sociologia, 2014. https://ri.ufs.br/handle/riufs/6318.
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This thesis aims to analyze how a site developed, nurtured and consumed by heavy metal fans can have an empowering character. For this, we analyze the Whiplash.net, the most trusted specializing in heavy metal in Portuguese. Theoretically we left assertions of authors like Henri Jenkins, John Fiske, Lawrance Grossberg and Michel de Certeau to show how the action of fans can reverse the logic of consumption prescribed by cultural industries and create new meanings from their everyday life and their interests. Such action is possible due to their affective investment in relation to its object of worship, process which is here understood as active reception process, not only because relativize cultural and media hierarchies, but also generates socialization and conflicts within the lifestyle.<br>A presente dissertação tem como objetivo analisar como um site desenvolvido, alimentado e consumido por fãs de heavy metal pode ter um caráter empoderador. Para tanto, analisamos o Whiplash.net., o maior site especializado em heavy metal de língua portuguesa. Teoricamente partimos de assertivas de autores como Henry Jenkins, John Fiske, Lawrance Grossberg e Michel de Certeau para evidenciar como a ação dos fãs pode inverter lógicas de consumo prescritas pelas indústrias culturais e criar novos significados a partir do seu cotidiano e de seus interesses. Tal ação é possível graças ao seu investimento afetivo em relação a seu objeto de culto, processo que é entendido como recepção eminentemente ativa, não só porque relativiza hierarquias culturais e midiáticas, mas também gera socialização e conflitos no seio do estilo de vida.
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Sewell, John Ike Jr. ""Doing it For The Dudes": A Comparative Ethnographic Study of Performative Masculinity in Heavy Metal and Hardcore Subcultures." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/36.
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Abstract: This ethnographic study compares and contrasts performative masculinities of the overwhelmingly male heavy metal (HM) and hardcore (HC) subcultures. Conclusions derived from this research indicate the following: identities associated with HM and HC conflate masculinity with working-classness, HM and HC identities (and thus masculinities) are merging at present; participation in HM and HC enclaves can serve to symbolically marginalize constituents, and this symbolic marginalization can result in repercussions in the lived world outside of subculture; the hegemonic masculinity of HM and HC subcultures is subsidiary hegemonic masculinity, meaning that it supports the male-dominated structure of mainstream culture without empowering HM and HC males in an extra-subcultural sense; and that despite these negative ramifications, HM and HC participants still find the shared identities and community interaction of these enclaves to be empowering.
Keywords: heavy metal, hardcore, subculture, masculinity, performativity, gender, class, ideology, rock music, identity
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Zheng, Yu. ""The Screaming Successor": Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479453595002855.
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Leighton, Tristan Daniel. "Contrasting sounds and overlapping scenes: The role of the middle class in punk/metal crossover." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617318778941129.
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Hall, Frances L. "Metal Music and Masculinity in the 1980s: Cultural Markers for the End of the Century." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481478280201701.
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Motos, Vallverdú Natàlia. "El tractament de la mitologia en el Heavy Metal i els orígens de la performance a l' escenari." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/672790.
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Els anhels per descobrir els lligams i les premises que vehiculen la música Heavy Metal amb els orígens de la nostra civilització i amb les arrels del nostre llenguatge, han estat els elements més rellevants que han marcat el procés d'anàlisi, i han anat forjant l'articulació de la tesi al llarg de la seva elaboració.
El Heavy Metal és una música fortament vital i enèrgica, i els elements mitològics són conductors d' aquesta vitalitat que generen.
Determinats moviments i períodes històrics i culturals mantenen un vincle de caràcter transgressor que es manifesta a través dels elements màgics i de la mitologia, sota una forma d' alienació del Món, però també com a manera d' expressar-se de caire reivindicatiu i progressista.
El pensament grec clàssic forma part de l' essència del missatge que transmeten les bandes, sobretot des de l’impuls dionisíac, i el llenguatge des del qual aquestes es comuniquen és simbòlic i de caràcter socialitzant.
Els trets judeo-cristians són intrínsecs al Heavy Metal, i es manifesten en les bandes tan dins l'àmbit profà com en el sagrat.<br>Los anhelos por descubrir los vínculos y las premisas que vehiculan la música Heavy Metal con los orígenes de nuestra civilización y con las raíces de nuestro lenguaje, han sido los elementos más relevantes que han marcado el proceso de análisis, y han ido forjando la articulación de la tesis a lo largo de su elaboración.
El Heavy Metal es una música fuertemente vital y enérgica, y los elementos mitológicos son conductores de esta vitalidad que generan.
Determinados movimientos y períodos históricos y culturales mantienen un vínculo de carácter transgresor que se manifiesta a través de los elementos mágicos y de la mitología, bajo una forma de alienación del Mundo, pero también como forma de expresarse de carácter reivindicativo y progresista.
El pensamiento griego clásico forma parte de la esencia del mensaje que transmiten las bandas, sobre todo desde el impulso dionisíaco, y el lenguaje desde el que estas se comunican es simbólico y de carácter socializante.
Los rasgos judeocristianos són intrínseco al Heavy Metal, y se manifiestan en las bandas tanto dentro del ámbito profano como en el sagrado.<br>The desire to discover the links and premises that carry Heavy Metal music with the origins of our civilization and the roots of our language, have been the most relevant elements that have marked the process of analysis, and have been forging the articulation of the thesis throughout its elaboration.
Heavy Metal is a strongly vital and energetic music, and the mythological elements are conductors of this vitality that they generate.
Certain historical and cultural movements and periods maintain a transgressive link that is manifested through magical elements and mythology, in a form of alienation from the world, but also as a way of expressing oneself in a vindictive and progressive way.
Classical Greek thought is part of the essence of the message conveyed by the bands, especially from the Dionysian impulse, and the language from which they communicate is symbolic and socializing.
Judeo-Christian thought is intrinsic to Heavy Metal, and manifests itself in bands in both the profane and the sacred realm.
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Bove, Adrielle Luchi Coutinho. "Juventude e Heavy Metal : usos do espaço, práticas de consumo e produção de significados na cidade de Juiz de Fora-MG." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4492.
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Previous issue date: 2017-02-23<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A presente pesquisa objetivou investigar as relações entre juventude e música, em particular o estilo heavy metal, procurando analisar a construção social do “headbanger” no universo do rock. Considerando a atuação destes jovens como expressão das culturas juvenis contemporâneas, se propôs a compreender como este estilo de vida é formado a partir da escolha musical do rock e do heavy metal através de uma investigação etnográfica. O contexto analisado foi a cidade de Juiz de Fora-MG, conta com um mercado de bens e serviços específico para atender o público headbanger, como lojas especializadas na venda de artigos de rock e heavy metal, estúdios de música, escolas de música, bares, casas de shows, empresas de excursão, praças, estúdios de tatuagem e body piercing, dentre outros. A investigação foi dividida em três eixos de análise: o primeiro, sobre os usos dos espaços da cidade e a produção de uma extensa malha de interações entre os sujeitos headbangers. O segundo, como os bens materiais assumem uma dimensão simbólica a partir das práticas cotidianas dos sujeitos, ajudando a atar significados e servir de ponte entre sujeitos e grupos. O terceiro, o processo pelo qual o sujeito se torna um headbanger, considerando a transformação pela qual ele passa após escolher o rock e o heavy metal como uma experiência iniciática. A pesquisa procura demonstrar a importância da música nas práticas cotidianas desses jovens, bem como sua capacidade de agenciamento a partir dela, se organizando em grupos, escolhendo determinados espaços da cidade como points de socialização, e utilizando do consumo como uma forma de trazer nos bens materiais suas escolhas e gostos, sua estética, como marcadores de identidade.<br>The present research aimed to investigate the relation between youth and music, in particular the heavy metal, looking forward to analyze the “headbanger” social construction in the rock and heavy metal environment. Considering the young people acting as expression of contemporary young cultures, as far as they express the group experiences and preferences, this work’s purpose was to use the results of an ethnographic investigation to comprehend how life style is built from choosing rock and heavy metal as a musical predilection. The analyzed background was the city of Juiz de Fora – MG, where there is a specific market for headbangers customs, namely specialized stores, rehearsal studios, music schools, pubs, concert halls, tattoo and body piercing studios, among other examples. The investigation was divided into three analytical lines: the first one is about the usage of urban space by headbangers and how they create a interactional meshwork among them. The second line explores how consumption goods become more symbolical according to daily routines, allowing to tie meanings and linking people and groups. The third one examines the process of becoming a headbanger, considering the changes the person goes through when initiated in the rock and heavy metal movement. This investigation expects to disclose the importance of music in these young people daily routines, as well as its capacity of intervention, the choice of certain spaces of the city as social points, and the use of accessories as a display of individual tastes, aesthetic and identity.
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Liberto, Anthony. "Word Salad." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/39.
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I've always considered myself a serious person who understood the meaning of labor. I am determined to labor over my ideas, and to labor seriously. The problem, and by "problem," I mean, "best thing" about this is that no one takes me seriously. Ever. They seem to like my work anyway. Apparently, I'm more funny than I am serious. But that's okay, because, secretly, I think I've always tried to be serious because I never thought I was smart enough to be funny. I often misunderstand things. Sometimes I mishear or wrongly attribute or think that facts are a metaphors or that metaphors are facts. Then I take this (mis)information back to my studio and playing Cosmic Matchmaker, yoking together seeming disparate elements to create a visual vocabulary. And then I labor over it. Very seriously.
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Andersson, Robert. "I det glimrande mörkrets djup : om religiöst gränsöverskridande, identitetssökande och meningsskapande i svensk extrem metal-lyrik." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6849.
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This study is an attempt to investigate religious perceptions and its development, function and connection to religious practise within the Swedish extreme metal scene. This is performed mainly by a qualitative method of investigation, studying lyrical content published on a number of extreme metal albums, thereafter relating the lyrical progression to the progession of the scene as a whole and also to the development of individual religious belief and practise. The lyrically expressed manifestations of religiosity within the extreme metal scene prove to be related to religious practise in some cases, most visibly in the Christian parts of the scene.The study also indicates that development of religious expression often is evident regardless of religious preference. This development also regularly relates to an increase in musical evolution and prowess often achieved with increased age and maturity. Musically and lyrically, the extreme metal scene displays transgressive attributes which assist both individual and group in the process of creating identity, meaning and individuality.Experiencing extreme metal, in concert or in the privacy of one´s own home, can be one way of perceiving spirituality in this modern age.
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Allain, Florence. "Musiques extrêmes, sexe et orientation sexuelle : la culture Métal face au genre : de 1970 à nos jours." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H028.
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Présentant des styles musicaux spécifiques des musiques extrêmes, cette thèse permet au lecteur de découvrir leurs sources d'inspirations et imaginaires. Elle interroge, à travers l'histoire du genre, le concept de contre-culture attaché à la culture Metal. Dans cette perspective, cette recherche va s'intéresser aux stéréotypes et aux préjugés. Ceux liés à la pornographie, souvent mis en avant par les détracteurs de cette musique, avec l'analyse du projet Girls X présenté par le festival Hellfest Open Air. Puis ceux relatifs à l'homosexualité en étudiant le sous-genre du glam'metal et les figures de l'androgyne et du beefcake tout en s'interrogeant sur la place des femmes dans ce sous-genre. Ce travail met aussi en opposition deux sous-genres musicaux, le métal symphonique et le black métal afin de réaliser une analyse de la présence féminine sur ces deux scènes. Le premier a pour particularité de mettre en scène le conte de La Belle et la Bête et le second d'observer le lien entre femmes et religions, grandes inspiratrices du black métal, et de présenter un héros spécifique du Métal, le prêtre-guerrier. L'étude du corps féminin dans la culture Métal est essentielle. Ce sera l'occasion de mettre en lumière les muses du Métal et les critères auxquels elles doivent correspondre. Enfin, cette thèse s'intéresse aux interactions entre ce qui est traditionnellement associé à la féminité et à la masculinité dans cette culture musicale notamment à travers les notions de puissance et pouvoir, la pratique du maquillage et le port de la jupe. Enfin, le changement de genre fait l'objet d'un dernier point de ce travail<br>Is Heavy Metal music a counterculture? To answer this question this thesis presents various styles of Metal music with their imaginary worlds and inspirations in relation to gender studies. First, this thesis studies pornography stereotypes and prejudices with Hellfest Open Air Festival's project: Girls X. Then, this analysis studies those in relation to homosexuality in the glam'metal and present androgyne and beefcake figures. There is also some question as to, where women are in the glam' metal ? This research shall also estimate the presence of women into symphonic metal and black metal. Symphonic metal staging tale of Beauty and the Beast and black metal study observe link between of women and religions and present the warrior-priest hero character. This work studies the female body in Heavy Metal culture as well as the interactions within this musical culture, which matter and are seen as traditionally masculine or feminine through notions power over and power to, makeup... Lastly the thesis study the transgender people in Heavy Metal culture
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Gendreau, Marc-Antoine. "Le heavy metal érigé en contre-culture dans le cadre du Record Labeling Hearing : une sous-culture en émergence entre stigmatisation et reconnaissance." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30973.
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La thèse analyse un document intitulé Record Labeling Hearing (RLH) (1985), qui reprend dans son intégralité une séance qui s’est tenue au Congrès des États-Unis à propos du contenu jugé problématique de certains albums de musique. Au cœur de cette séance, se retrouve le Parents Music Resource Centre (PMRC), un groupe de pression qui voit le jour en 1984. D’après le PMRC, les albums avec des paroles traitant de sexe, de violence, d’occulte, de drogues et d’alcool méritent l’autocollant du « Parental Advisory : Explicit Lyrics » afin d’avertir les parents des thématiques abordées. La séance réunit des sénateurs du Congrès américain, les membres du PMRC et des alliés de ces derniers, dont la National Parent/Teacher Association (NPTA), ainsi que des représentants de l’industrie de la musique et trois artistes. Nous verrons dans la thèse qu’en fait, c’est le heavy metal que le PMRC et ses alliés visaient lors du RLH et non par exemple certains contenus transversaux à divers types d’albums de musique. A cette époque, la sous-culture du heavy metal était encore en émergence et pour tout dire bien fragile. En 1985, elle était même menacée de fragmentation en raison de la popularité de certains de ses sous-genres. Or, en présentant le heavy metal comme une contre-culture, le RLH a aidé ce genre musical à se constituer en véritable sous-culture.
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Brizard, Cyril. "Le monde du métal symphonique : vers une sociologie de l'oeuvre comme création continuée, l'exemple de Nightwish." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00672836.
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Le metal symphonique est un genre musical qui mêle la musique classique à la musique metal. Nightwish, un groupe d'origine finlandaise, est parmi les représentants les plus reconnus du genre. Prenant pour point de départ les œuvres musicales de ce dernier, la présente recherche interroge, d'un point de vu sociologique, la dimension combinatoire de son metal symphonique. Des sources d'origines différentes - le metal symphonique a tout d'un oxymore - sont assemblées, peut-être continuées par Nightwish. De la construction collective d'un groupe qui modèle, par les particularités individuelles de ses membres, les œuvres qu'il réalise, aux pratiques des amateurs de Nightwish, en passant par les influences du groupe et son monde imaginaire, cette thèse suit - dans le processus de l'œuvre - la trace de la continuation. D'un acteur du monde Nightwish à l'autre, l'œuvre musicale ne serait-elle pas un processus continué, une résurrection, à chaque audition, d'une créature mythique, créée et recréée sans cesse ?
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Poletti, Neto Walter. "The rime of the ancient mariner” em diferentes narrativas." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8141.
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Previous issue date: 2016-04-04<br>Não recebi financiamento<br>The main objective of this dissertation is to investigate the dialogue between the
romantic poem The Rime of the Ancient Mariner, by Samuel Taylor Coleridge, first published in 1798, and its transcreation – concept proposed by Haroldo de Campos – in the homonymous song released by the heavy-metal group Iron Maiden. Based on three levels of analysis of both texts, according to Fredric Jameson dialectical critic, this interpretation will make evident or clear, in the very first moment, which elements of the poem are approached or neglected in Steve Harris’ adaptation, leader, founder and main songwriter of the British group; simultaneously, a comparison between the form of the texts will be made to list important elements such as rime and meter, verses and stanzas, fable, “characters”, and others. In the second moment, the analysis must point out how nature and religion, illustrated in elements such as the sea, rain, snow, fog and mist, Sun and Moon, wind and breeze, beautiful or slimy living things, prayers, sin and “shrieve” made critics such as Franca Neto, John Lowes, Alexander Silva and Tania Asnes to interpret the poem as imaginative,
subjective or religious, connected to what Fredric Jameson calls strategies of containment. The third level of reading will bring up the History hidden under the surface of the work of arts, or in other words, an social-aesthetical reading or an “political interpretation of the literary texts” (JAMESON, 1992, p. 15) supported specially in the concepts of mediation – “the establishment of relationships between, say, the formal analysis of a work of art and its social ground, or between the internal dynamics of the political state and its economic base” (ROBERTS, 2000, p. 78, 79), verifying acts socially symbolic revealed in a final analysis.<br>O objetivo desta dissertação é investigar o diálogo entre o poema romântico The Rime
of the Ancient Mariner, de Samuel Taylor Coleridge, publicado originalmente em 1798, e sua transcriação – conceito proposto por Haroldo de Campos – na música homônima do grupo de heavy-metal Iron Maiden.
A análise dos textos se dá em três níveis, de acordo com a crítica dialética de Fredric
Jameson. Em primeira instância, a análise evidenciará quais elementos do primeiro são
abordados ou negligenciados na releitura de Steve Harris, líder, fundador e principal
compositor do grupo britânico; simultaneamente, caberá uma comparação entre a forma dos textos, elencando elementos fundamentais da estrutura como rima e métrica, versos e estrofes, fábula, “personagens”, entre outros. Num segundo momento, a análise deverá salientar como a natureza e a religião, a partir de elementos como mar, chuva, neve, névoa, Sol e Lua, ventos e brisas, criaturas divinas belas ou assustadoras, orações, pecado e absolvição levaram críticos como Franca Neto, John Lowes, Alexander Silva e Tania Asnes interpretaram o poema como imaginativo,
subjetivo ou religioso, prendendo-se àquilo que Fredric Jameson denomina estratégias de
contenção. Traremos à tona a História oculta por debaixo da superfície das obras a fim de ampliar nossa leitura ao plano estético-social ou, segundo proposto por Fredric Jameson em “O Inconsciente Político”, uma “interpretação política dos textos literários” (JAMESON, 1992, p. 15) apoiada especialmente nos conceitos de mediação – “relações entre a análise formal de
uma obra de arte e seu chão social” (JAMESON, 1992, p. 35), verificando atos socialmente simbólicos a serem revelados à luz de uma análise final.
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Smith, Jonathan B. "I Get a Thrill from Punishment: Lou Reed's Adaptations and the Pain They Cause." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4012.
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This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music.
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Turbé, Sophie. "Observation de trois scènes locales de musique métal en France : pratiques amateurs, réseaux et territoire." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0391/document.
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Comment comprendre ce qui lie la passion musicale au territoire, ou en d’autres termes, ce qui articule la « scène » au « local » ? Le monde du metal constitue un objet de choix pour observer les manifestations de la passion musicale de ses amateurs au travers d’un continuum de pratiques, qui les inscrivent à la fois dans les sphères de la consommation et de la production des scènes locales. Pour attayer ce propos, il s’agit de faire l’étude ethnographique des mécanismes de coordination de la production musicale en région, en s’appuyant sur l’observation de trois scènes locales de musique metal en France. La thèse montre comment l’action collective de ces amateurs est toujours attachée à un territoire, autant qu’aux objets musicaux qui guident leurs pratiques et leurs trajectoires. L’observation des ancrages et des mobilités, à la fois des objets et des humains qui composent ces scènes, démontre ainsi que l’action collective au sein d’un territoire de proximité est toujours pris dans de multiples enchevêtrements d’échelles et de réseaux d’acteurs qui ne peuvent se réduire à l’observation d’un monde musical à huis-clos<br>A multisited ethnography of three local metal scenes in France. Amateurs practices, networks and territory. How a musical passion can be connected to the territory or, in other words, what links a musical "scene" — in the sense of a local world of art — to its location ? The world of metal inform the manifestations of the musical passion of its fans through a continuum of practices, which are the supports of the sphere of consumption and production of local metal scenes. To reach a better understanding of this local anchoring of the world of metal, we have implemented an ethnographic study of the coordination mechanisms of musical expression and production in the context of local scenes, through the observation of three local metal scenes in France. This ethnographic study shows that the collective agency of music amateurs is always attached to a territory, as well as depending of the musical objects — local and translocation — that guide their practices and their trajectories. The observation of the forms of anchoring and of the mobilities, both of objects and humans, that contribute to the production of these scenes, reminds us that music amateurs always operate within the frame of a local territory. Their collective action is always caught in an entanglements of scales and networks actors, meaning that we cannot reduce the observation of a musical world to practice operated alone and behindclosed doors
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Lee, Hsin-Lin, and 李欣霖. "The integrated marketing communication strategy of heavy metal music." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/16224726108243826496.
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碩士<br>國立臺灣大學<br>國際企業學研究所<br>93<br>This paper attempted to combine the newly-rising concept of marketing in the 90s—the strategy of integrated marketing communication and heavy metal music. The researcher expected to construct a systematic model which can comply with the marketing of music industry. Initially, the researcher employed the analysis of literature and historical structural analysis to generalize the diffusion pattern of American heavy metal music. With the profound interview with Rock Empire Music and Universal Music, the researcher further access to the production and marketing process and authorization of the industry of Taiwan heavy metal records as well as the model of importing foreign records in order to recognize the important beneficial parties of industry value chain. After analyzing the above information and initially establishing the integrated marketing communication model which was suitable for music industry, the researcher proceeded with profound interviews with three target companies of TRA Music, Rock Empire Music and Magnum Music in order to understand how these promoters of Taiwanese heavy metal music operated the strategy of integrated marketing communication and promoted heavy metal music in Taiwan. With examination and modification of the model of integrated marketing communication, the research finally found out that this theoretical model could actually function as the basis with respect to the marketing communication planning of the promoters of heavy metal music. Upon the modification of partial process and elements of marketing communication, this model could also be applied to the promotion of other kinds of music. The modified model was divided into five sections:
(i)Consumer: One should employ qualitative analysis and quantitative analysis to access to the consumers which could function as the basis for establishing the categories of consumers. The researcher could further select the target customers and explore their authentic demands.
(ii)Other stakeholders: one should initially examine the possible individuals or groups who might affect the promoting activities of music and explore their benefits.
(iii)Development of marketing planning: With regard to the consumers of each section and various beneficial parties, one could respectively design a communication message which could convince them to discard other opportunities and manage the resources upon the marketing communication of heavy metal music.
(iv)Elements of marketing communication mix: One could employ concerts, records, music videos, radio stations, public relation, personal sales, print promos, Internet and magazines to spread the communication messages.
(v)Coordination of products, prices and channels: The prices, products and channels should comply with the communication messages designed by the marketing plans.
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Lacourse, Éric. "Aliénation, musique heavy metal et risque suicidaire chez les adolescents." 1999. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/NQ65314.pdf.
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Mulder, Bianca Simone. "An exploration of how South African youth experience heavy metal music." Thesis, 2015. http://hdl.handle.net/10394/17007.
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This mini-dissertation presents a discussion of the qualitative study exploring how South African youth, between the ages of 18 and 35, who are active listeners of Heavy Metal music experience this genre of music. The sample in the present study consists of 26 South African youths, living in various parts of the country, who listen to Heavy Metal music. Participants were recruited from attendees of the Heavy Metal music festival, Witchfest, which took place in Newtown, Johannesburg during 3-5 April 2015. An explorative qualitative research design was used. Three methods were used to gather data for the research study. Semi-structured interviews were conducted with individual participants, and one focus group session was also carried out. Participants were approached at random times throughout Witchfest. Interview questions for both the semi-structured interviews and for the focus group session consisted of themes relating to the participants’ introduction to Heavy Metal music, how they experience Heavy Metal music, whether or not the music influences their relationships, and whether they experience Heavy Metal music as dangerous or violent in nature. Data was also gathered using unstructured nonparticipant observation, and therefore the behaviour and appearance of festival attendees was also observed at varying times throughout Witchfest.
The results show that many participants were introduced to Heavy Metal music via their families and friends. This was mostly because these family members and friends listened to Heavy Metal music themselves. This, participants stated, was a very important factor in their experiences of Heavy Metal music because the commonality of listening to the music brings people closer together and strengthens the bonds between them. Apart from the music enhancing their relationships, participants also noted that Heavy Metal music evokes positive emotions within them and contributes to their well-being, owing to the fact that they often experience the act of listening to this genre of music as therapeutic and as an outlet for their negative feelings. These findings contradict dominant views held by non-listeners of Heavy Metal music, namely that this music causes dangerous and negative feelings and behaviours, and shed light on the influence that this genre of music has on South African youth. On the other hand, findings also showed that the social setting surrounding Heavy Metal is associated with the frequent consumption of drugs and large amounts of alcohol. Although participants claimed that drugs and alcohol tend to enhance their experiences of Heavy Metal music festivals and of the music itself, the potentially harmful consequences of this practice cannot be ignored and requires additional investigation.
The mini-dissertation is concluded with a chapter that outlines the conclusions and limitations related to the study, and on this basis, several recommendations were proposed for future research and practical application of the findings. Some of these recommendations include that future studies include a broader range of data gathering, and a wider variation of participants. It is suggested that future researchers attend one or two more Heavy Metal music festivals to attain this varied sample. Also, due to the fact that most Heavy Metal music listeners are older in age, further studies on the topic could increase the age in the sample selection criteria to 35 and above. Also, in order to avoid including participants that are intoxicated in any way, prospective studies could obtain participants by means other than from Heavy Metal music festivals, in settings free from drugs and alcohol.
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Lee, Shuo, and 李碩. "Rock Taiwan: The Cultural Identities and Practices of Heavy Metal Music Fans in Taiwan." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/31018552918818705327.
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碩士<br>世新大學<br>新聞學研究所(含碩專班)<br>95<br>This thesis is about how heavy metal music develops in its origin, England and America, and becomes a worldwide phenomenon in the perspective of cultural hybridization.
For heavy metal music has been seen as deviant and peripheral, Michel Foucault’s genealogy would be my main research method as I discuss the history of heavy metal music. On the other hand, in order to respond to my aim of this thesis, which is to figure out the historical developments and the cultural identities of heavy metal music in Taiwan, I would take field investigation and in-depth interview as my major method.
The research finds out that, at the cultural practices side, heavy metal music fans in Taiwan have their agencies in some degrees. Those fans would take their life experiences as reference to rebuild the subculture practices from England or America as a new hybridization. While at the cultural identities side, those fans show a variety of viewpoints which reflect the particular native political and historical context. I suggest that in those different views that we could depict the contradictory position of Taiwan in modern-day globalization process, and it is a serious issue for all the Taiwanese in this generation.
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Baltazar, Lídia Maria Ferrão. "Are heavy metal music bands-musicians, managers of their own music business?: a multiple case study: portuguese vs. Finnish bands." Master's thesis, 2013. http://hdl.handle.net/10400.6/3096.
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The Music Industry is a very complex world that embraces different and broad segments
needing of academic exploration. The big majority of studies and/or academic approaches to this unique business world have been focusing greatly on the record labels side but have failed to address the role of those who make the music – the musicians/artists. This is exactly
what the present study aimed to understand: What is the role of the musicians in the music business? Aren’t they one of the key elements, essential players, within the whole industry, if not the most important elements ever? The industry of music includes a large number of creative and wise musicians/bands behind one of the most discriminated music genres in the music history - Heavy Metal Music. However, diverse studies have demonstrated that Heavy
Metal is recognized as a music genre that generates profit, with an increasing legion of fans all over the world hence, also considered popular music. Therefore, the purpose of this study is to understand how Heavy Metal Music bands and musicians succeed and how they manage to conciliate artistic creativity and commercial demands. By making a multiple case study analysis within two different settings – Portugal versus Finland – it will be shown that Heavy
Metal bands / musicians possess business skills that allow them to manage and conduct both the artistic and business activities of their music business. In some of the cases, it will also be raised their entrepreneurial skills in innovating and finding new ways of reaching the audience and becoming more successful whilst doing what they love the most – making music and playing it live.
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Lin, Ching-Heng, and 林敬恒. "Fusion of Heavy Metal Music and Symphony and its Application in Writing Music: an Analysis on my Original Work “Landscape of my Life”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6d358r.
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碩士<br>輔仁大學<br>音樂學系<br>107<br>Symphony and Heavy Metal music are completely different music genres, but the amount of musicians who are trying to combine symphony and Heavy Metal music is increasing nowadays, making this kind of crossover music style more widespread, creating the subgenre of Heavy Metal music informally called Symphonic Metal that combines symphony and Heavy Metal music. Many Symphonic Metal bands were born, making this subgenre more popular in music industry. The sound of Symphonic Metal that combines the powerful, aggressive factor of Heavy Metal music, and complicated music texture and timbre variety of symphony, is magnificent, making the genre itself more widely applied by metal bands, and moreover, by film music and production music. The author will introduce the history and development of Heavy Metal music and symphony, and analyze his original work “Landscape of my Life”, discussing the song form, instrumentation, and lyrics.
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Palmer, Craig Sidney. "Caught between Christianity and the hard rock : a narrative study." Diss., 2013. http://hdl.handle.net/2263/37380.
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The research study, Caught between Christianity and the hard rock: A narrative study, presents, explores and discusses the stories of Christian hard rock musicians from a predetermined Christian hard rock band, comprising of four members. The study takes a narrative approach at exploring and discussing the participants’ stories, which comprise the qualitative data for the study. The stories were collected by means of four individual semi-structured interviews and a group unstructured interview. The interviews sought to ask the participants certain questions to hear and collect their stories pertaining to the various narratives interplaying in their lives as Christian hard rock musicians. Following collection and transcription of these stories, the stories were analysed according to interpretive narrative analysis, according to Riessman, with reference to Labov’s 6 elements of transcription. Such stories were subsequently reported and discussed within the research study from a narrative theoretical point of departure. This allows for the reader to gain an understanding of the various narratives interplaying in the lives of Christian hard rock musicians, and the significance of such narratives and their experiences, which ultimately is assumed to influence the participants’ daily lives. Ultimately, the study facilitates for the participants to tell their stories as they wished to tell them, in terms of how they may be “caught between Christianity and the hard rock” music genre. Subsequently the study also serves for the reader to gain a narrative understanding as to how the band members understand themselves and their band to be in the world.<br>Dissertation (MA)--University of Pretoria, 2013.<br>gm2014<br>Psychology<br>unrestricted
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Takasugi, Fumiko. "Romantic, do-it-yourself, and sexually subversive an analysis of resistance in a Hawaiʻi local punk rock scene /". Thesis, 2004. http://proquest.umi.com/pqdweb?index=0&did=775161261&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1235090046&clientId=23440.
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