Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-26T18:22:46.318Z Has data issue: false hasContentIssue false

Select Academic Bibliography

Published online by Cambridge University Press:  31 August 2023

Jan-Peter Herbst
Affiliation:
University of Huddersfield
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select Academic Bibliography

Adorno, Theodor W., The Culture Industry (Routledge, 1991).Google Scholar
Alapatt, Eothen and Ikonne, Uchenna, Wake Up You! The Rise and Fall of Nigerian Rock 1972–1977, Vols. 1 and 2 (Now-Again, 2016).Google Scholar
Alapatt, Eothen and Koloko, Leonard, Welcome to Zamrock! 1972–1977: How Zambia’s Liberation Led to a Rock Revolution (Now-Again, 2017).Google Scholar
Arthur, W. Brian, The Nature of Technology: What It Is and How It Evolves (Penguin, 2009).Google Scholar
Ashcroft, Bill, Griffiths, Gareth and Tiffin, Helen (eds.), Postcolonial Studies: The Key Concepts (Routledge, 2013).CrossRefGoogle Scholar
Attali, Jacques, Noise: The Political Economy of Music, trans. Brian Massumi (University of Minnesota Press, 1985).Google Scholar
Banchs, Edward, Heavy Metal Africa: Life, Passion, and Heavy Metal in the Forgotten Continent (Word Association, 2016).Google Scholar
Banchs, Edward, Scream for Me Africa! Heavy Metal Identities in Post-Colonial Africa (Intellect, 2022).CrossRefGoogle Scholar
Bardine, Bryan and Stueart, Jerome, Living Metal: Metal Scenes Around the World (Intellect, 2021).Google Scholar
Barone, Stefano, Metal, Rap, and Electro in Post-Revolutionary Tunisia: A Fragile Underground (Routledge, 2019).Google Scholar
Barratt-Peacock, Ruth and Hagen, Ross (eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (Emerald, 2019).CrossRefGoogle Scholar
Baulch, Emma, Making Scenes: Reggae, Punk and Death Metal in 1990s Bali (Duke University Press, 2007).Google Scholar
Bauman, Zygmunt, Identity (Polity Press, 2004).Google Scholar
Bayer, Gerd (ed.), Heavy Metal Music in Britain (Routledge, 2016).CrossRefGoogle Scholar
Bellanta, Melissa, Larrikins: A History (University of Queensland Press, 2012).Google Scholar
Berkers, Pauwke and Schaap, Julian, Gender Inequality in Metal Music Production (Emerald, 2018).CrossRefGoogle Scholar
Biasutti, Michele, ‘Group Music Composing Strategies: A Case Study within a Rock Band’, British Journal of Music Education 29/3 (2012): 343–57.CrossRefGoogle Scholar
Birnie-Smith, Jess and Robertson, Wesley C., ‘Superdiversity and Translocal Brutality in Asian Extreme Metal Lyrics’, Language and Communication 81 (2021): 4863.CrossRefGoogle Scholar
Bourdieu, Pierre, ‘The Field of Cultural Production, or: The Economic World Reversed’, in Richard Nice (trans.), The Field of Cultural Production (Columbia University Press, 1993 [1983]), pp. 2973.Google Scholar
Boynik, Sezgin and Güldallı, Tolga (eds.), An Interrupted History of Punk and Underground Resources in Turkey 1978–1999 (Bas Yayınları, 2007).Google Scholar
Brackett, David, ‘(In Search of) Musical Meaning: Genres, Categories and Crossover’, in Hesmondhalgh, David and Negus, Keith (eds.), Popular Music Studies (Arnold, 2002), pp. 6583.Google Scholar
Brown, Andy R., ‘The Importance of Being Metal’, in Scott, Niall and von Helden, Imke (eds.), The Metal Void: First Gatherings (Inter-Disciplinary Press, 2010), pp. 105–34.Google Scholar
Brown, Andy R., ‘Everything Louder than Everyone Else: The Origins and Persistence of Heavy Metal Music and Its Global Cultural Impact’, in Bennett, Andy and Waksman, Steve (eds.), The SAGE Handbook of Popular Music (Sage, 2015), pp. 261–77.Google Scholar
Burke, Peter, What Is Cultural History? (Polity Press, 2004).Google Scholar
Burkitt, Ian, ‘Emotional Reflexivity: Feeling, Emotion and Imagination in Reflexive Dialogues’, Sociology 46/3 (2012): 458–72.Google Scholar
Burns, Robert G. H., Experiencing Progressive Rock: A Listener’s Companion (Rowman & Littlefield, 2018).Google Scholar
Cardwell, Tom, ‘Battle Jackets, Authenticity and “Material Individuality”’, Metal Music Studies 3/3 (2017): 437–58.CrossRefGoogle Scholar
Cardwell, Tom, Heavy Metal Armour: A Visual Study of Battle Jackets (Intellect, 2022).CrossRefGoogle Scholar
Christe, Ian, Sound of the Beast: The Complete Headbanging History of Heavy Metal (Alison and Busby, 2004).Google Scholar
Clifford-Napoleone, Amber, Queerness in Heavy Metal Music: Metal Bent (Routledge, 2015).CrossRefGoogle Scholar
Coggins, Owen, Mysticism, Ritual and Religion in Drone Metal (Bloomsbury Academic, 2018).Google Scholar
Coggins, Owen, ‘Ecology, Estrangement and Enchantment in Black Metal’s Dark Haven’, Green Letters 24/4 (2021): 113.Google Scholar
Cope, Andrew L., Black Sabbath and the Rise of Heavy Metal Music (Ashgate, 2010).Google Scholar
Côté, James and Levine, Charles, Identity Formation, Agency, and Culture: A Social Psychological Synthesis (Lawrence Erlbaum Associates, 2002).Google Scholar
Crowcroft, Orlando, Rock in a Hard Place: Music and Mayhem in the Middle East (Zed Books, 2017).Google Scholar
Dawes, Laina, ‘What Are You Doing Here?’ A Black Woman’s Life and Liberation in Heavy Metal (Bazillion Points, 2012).Google Scholar
Dodds, Sherril, Dancing on the Canon: Embodiments of Value in Popular Dance (Palgrave Macmillan, 2011).CrossRefGoogle Scholar
Elovaara, Mika and Bardine, Bryan, Connecting Metal to Culture: Unity in Disparity (Intellect, 2017).Google Scholar
Endean, Gareth, Half a Ton of Metal: 50 Years of the Loudest Music on Earth (Blurb, 2020).Google Scholar
Erbe, Marcus. ‘“This Isn’t Over ‘til I Say It’s Over!” Narratives of Male Frustration in Deathcore and Beyond’, in Heesch, Florian and Scott, Niall (eds.), Heavy Metal, Gender and Sexuality (Routledge, 2016), pp. 182–92.Google Scholar
Fellezs, Kevin, ‘Black Metal Soul Music: Stone Vengeance and the Aesthetics of Race in Heavy Metal’, in Abbey, Eric James and Helb, Colin (eds.), Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music (Lexington Books, 2014), pp. 121–38.Google Scholar
Fletcher, K. F. B., ‘Classical Antiquity, Heavy Metal Music, and European Identity’, in Gómez, Fernando Lozano, Rivas, Alfonso Álvarez-Ossorio and Hernandez, Carmen Alarcon (eds.), The Present of Antiquity: Reception, Recovery, Reinvention of the Ancient World in Current Popular Culture (Presses universitaires de Franche-Comté, 2019), pp. 223–46.Google Scholar
Fletcher, K. F. B. and Osman, Umurhan (eds.), Classical Antiquity in Heavy Metal Music (Bloomsbury, 2019).Google Scholar
Frith, Simon and Zagorski-Thomas, Simon (eds.), The Art of Record Production: An Introductory Reader for a New Academic Field (Ashgate, 2012).Google Scholar
Gaines, Donna, Teenage Wasteland: Suburbia’s Dead End Kids (University of Chicago Press, 1998).Google Scholar
Gamble, Steven, ‘Breaking Down the Breakdown in Twenty-First Century Metal’, Metal Music Studies 5/3 (2019): 337–54.Google Scholar
Gamble, Steven, How Music Empowers: Listening to Modern Rap and Metal (Routledge, 2021).Google Scholar
Gibson, Chris and Connell, John, Music Festivals and Regional Development in Australia (Ashgate, 2012).Google Scholar
Greene, Paul D., ‘Electronic and Affective Overdrive: Tropes of Transgression in Nepal’s Heavy Metal Scene’, in Wallach, Jeremy, Berger, Harris M. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011), pp. 109–34.Google Scholar
Hagen, Ross, ‘Black Metal’, in Wallach, Jeremy, Berger, Harris B. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011), pp. 180–99.Google Scholar
Hagen, Ross, Darkthrone’s A Blaze in the Northern Sky (Bloomsbury, 2020).Google Scholar
Halnon, Karen Bettez, ‘Inside Shock Music Carnival: Spectacle as Contested Terrain’, Critical Sociology 30/3 (2004): 743–79.Google Scholar
Halnon, Karen Bettez, ‘Heavy Metal Carnival and Dis‐Alienation: The Politics of Grotesque Realism’, Symbolic Interaction 29/1 (2006): 3348.CrossRefGoogle Scholar
Hecker, Pierre, ‘Taking a Trip to the Middle Eastern Metal Scene: Transnational Social Spaces and Identity Formations on a Non-National Level’, Nord-Süd aktuell 19/1 (2005): 5766.Google Scholar
Hecker, Pierre, Turkish Metal: Music, Meaning, and Morality in a Muslim Society (Ashgate, 2012).Google Scholar
Hecker, Pierre and Mattsson, Douglas, ‘The Enemy within: Conceptualizing Turkish Metalheads as the Ideological “Other”’, in Bardine, Bryan A. and Steuart, Jerome (eds.), Living Metal: Metal Scenes Around the World (Intellect, 2021), pp. 5577.Google Scholar
Heesch, Florian, ‘Metal for Nordic Men: Amon Amarth’s Representations of Vikings’, in Scott, Niall (ed.), The Metal Void (Inter-Disciplinarity Press, 2010), pp. 7180.Google Scholar
Heesch, Florian and Scott, Niall (eds.), Heavy Metal, Gender and Sexuality (Routledge, 2016).Google Scholar
Herbst, Jan-Peter, ‘Heaviness and the Electric Guitar: Considering the Interaction between Distortion and Harmonic Structures’, Metal Music Studies 4/1 (2018): 95113.Google Scholar
Herbst, Jan-Peter, ‘Teutonic Metal: Effects of Place‐ and Mythology‐Based Labels on Record Production’, International Journal of the Sociology of Leisure 4 (2021): 291313.Google Scholar
Herbst, Jan-Peter and Mynett, Mark, ‘Nail the Mix: Standardisation in Mixing Metal Music’, Popular Music & Society 44/5 (2021): 628–49.Google Scholar
Herbst, Jan-Peter and Mynett, Mark, ‘(No?) Adventures in Recording Land: Engineering Conventions in Metal Music’, Rock Music Studies 9/2 (2021): 137–56.Google Scholar
Herbst, Jan-Peter and Mynett, Mark, ‘What Is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers’, Popular Music & Society 45/5 (2022): 633–53.Google Scholar
Herbst, Jan-Peter and Mynett, Mark, ‘Toward a Systematic Understanding of Heaviness in Metal Music Production’, Rock Music Studies 10/1 (2022): 16–37.Google Scholar
Herron-Wheeler, Addison, Wicked Women: Women in Metal from the 1960s to Now (Self-published, 2014).Google Scholar
Hill, Rosemary Lucy, Gender, Metal and the Media: Women Fans and the Gendered Experience of Music (Palgrave Macmillan, 2016).CrossRefGoogle Scholar
Hillier, Benjamin, ‘Investigating the Australian Sound in Australian Extreme Metal’, 12th Annual Graduate Research Conference (University of Tasmania, 2018).Google Scholar
Hillier, Benjamin, ‘Considering Genre in Metal Music’, Metal Music Studies 6/1 (2020): 526.Google Scholar
Hillier, Benjamin and Barnes, Ash, ‘Wolf in Sheep’s Clothing: Extreme Right-Wing Ideologies in Australian Black Metal’, IASPM Journal 10/2 (2020): 3857.Google Scholar
Hoad, Catherine, ‘Hold the Heathen Hammer High: Viking Metal from the Local to the Global’, in Wilson, Oli and Attfield, Sarah (eds.), Shifting Sounds: Musical Flow – A Collection of Papers from the 2012 IASPM Australia/New Zealand Conference (IASPM, 2013), pp. 6270.Google Scholar
Hoad, Catherine, ‘We Are the Sons of the Southern Cross’, Journal of World Popular Music 3/1 (2016): 90107.CrossRefGoogle Scholar
Hoad, Catherine (ed.), Australian Metal Music (Emerald, 2019).Google Scholar
Holt, Fabian, Genre in Popular Music (University of Chicago Press, 2007).Google Scholar
Homan, Shane , ‘“I Tote and I Vote”: Australian Live Music and Cultural Policy’, Arts Marketing 1/2 (2011): 96107.Google Scholar
Hudson, Stephen, Feeling Beats and Experiencing Motion: A Construction-Based Theory of Meter, doctoral dissertation (Northwestern University, 2019).Google Scholar
James, Kieran and Walsh, Rex, ‘Bandung Rocks, Cibinong Shakes: Economics and Applied Ethics within the Indonesian Death-Metal Community’, Musicology Australia 37/1 (2015): 2846.Google Scholar
Jenks, Chris, Transgression (Psychology Press, 2003).Google Scholar
Jocson-Singh, Joan, ‘Vigilante Feminism as a Form of Musical Protest in Extreme Metal Music’, Metal Music Studies 5/2 (2019): 263–73.CrossRefGoogle Scholar
Kahn-Harris, Keith, Extreme Metal: Music and Culture on the Edge (Berg, 2007).Google Scholar
Karjalainen, Toni-Matti (ed.), Sounds of Origin in Heavy Metal Music (Cambridge Scholars Publishing, 2018).Google Scholar
Karpe, Matthew, Nu Metal Resurgence (FastPrint, 2018).Google Scholar
Kawano, Kei and Hosokawa, Shuhei, ‘Thunder in the Far East: The Heavy Metal Industry in 1990s Japan’, in Wallach, Jeremy, Berger, Harris M. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011), pp. 247–69.Google Scholar
Kearney, Mary Celeste, Gender and Rock (Oxford University Press, 2017).Google Scholar
Kennedy, Lewis F., ‘The Symbiotic Relationship between Metal and Hardcore in the 21st Century’, in Karjalainen, Toni-Matti and Kärki, Kimi (eds.), Modern Heavy Metal: Markets, Practices and Cultures (Aalto University Press, 2015), pp. 424–33.Google Scholar
Kennedy, Lewis F., Functions of Genre in Metal and Hardcore Music, doctoral dissertation (University of Hull, 2018). https://hydra.hull.ac.uk/resources/hull:16545.Google Scholar
Kennedy, Lewis F., ‘Intersections of Genre, Heritage and Place in the New Wave of American Heavy Metal’, in Maloney, Liam and Schofield, John (eds.), Music and Heritage: New Perspectives on Place-Making and Sonic Identity (Routledge, 2021), pp. 126–35.Google Scholar
Kristeva, Julia, The Powers of Horror: An Essay on Abjection (Columbia University Press, 1982).Google Scholar
Kruse, Holly, ‘Abandoning the Absolute: Transcendence and Gender in Popular Music Discourse’, in Jones, Steve (ed.), Pop Music and the Press (Temple University Press, 2002), pp. 134–55.Google Scholar
Laing, Rob, ‘What Is Djent?’, Total Guitar (May 2011): 4954.Google Scholar
Lake, Daniel, USBM: A Revolution of Identity in American Black Metal (Decibel Books, 2020).Google Scholar
Lawler, Steph, Identity: Sociological Perspectives (Polity Press, 2008).Google Scholar
Leonard, Marion, Gender in the Music Industry: Rock, Discourse and Girl Power (Ashgate, 2007).Google Scholar
LeVine, Mark, Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam (Three Rivers Press, 2008).Google Scholar
LeVine, Mark, We’ll Play Until We Die: Journeys Across a Decade of Revolutionary Music in the Muslim World (University of California Press, 2022).Google Scholar
Liew, Kai Khiun and Fu, Kelly, ‘Conjuring the Tropical Spectres: Heavy Metal, Cultural Politics in Singapore and Malaysia’, Inter-Asia Cultural Studies 7/1 (2006): 99112.Google Scholar
Lucas, Olivia, ‘“Shrieking Soldiers … Wiping Clean the Earth”: Hearing Apocalyptic Environmentalism in the Music of Botanist’, Popular Music 38/3 (2019): 481–97.Google Scholar
Marrington, Mark, ‘From DJ to Djent-Step: Technology and the Re-coding of Metal Music since the 1980s’, Metal Music Studies 3/2 (2017): 251–68.CrossRefGoogle Scholar
Marrington, Mark, ‘The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music’, in Russ, Hepworth-Sawyer, Hodgson, Jay and Marrington, Mark (eds.), Producing Music (Routledge, 2019), pp. 5274.Google Scholar
Mattsson, Douglas, ‘“Spreading VX Gas Over Kaaba”: Islamic Semiotics in Turkish Black Metal’, in Hecker, Pierre, Furman, Ivo and Akyıldız, Kaya (eds.), The Politics of Culture in Contemporary Turkey (Edinburgh University Press, 2021), pp. 4967.Google Scholar
McFarlane, Ian, The Encyclopedia of Australian Rock and Pop (Allen & Unwin, 1999).Google Scholar
McIver, Joel, Extreme Metal (Omnibus Press, 2000).Google Scholar
McIver, Joel, ‘Periphery’, Metal Hammer (Summer 2012): 60–3.Google Scholar
Mudrian, Albert, Choosing Death: The Improbable History of Death Metal & Grindcore (Feral House, 2004).Google Scholar
Muggleton, David, Inside Subculture: The Postmodern Meaning of Style (Berg, 2000).Google Scholar
Mynett, Mark, Metal Music Manual: Producing, Engineering, Mixing, and Mastering Contemporary Heavy Music (Routledge, 2017).CrossRefGoogle Scholar
Mynett, Mark, ‘Defining Contemporary Metal Music: Performance, Sounds and Practices’, Metal Music Studies 5/3 (2019): 297313.Google Scholar
Negus, Keith, Music Genres and Corporate Cultures (Routledge, 1999).Google Scholar
Newsom, Daniel, ‘Rock’s Quarrel with Tradition: Popular Music’s Carnival Comes to the Classroom’, Popular Music and Society 22/3 (1998): 120.Google Scholar
O’Donoghue, Heather, From Asgard to Valhalla: The Remarkable History of the Norse Myths (I. B. Tauris, 2008).Google Scholar
O’Hagan, Lauren, ‘“My Musical Armor”: Exploring Metalhead Identity through the Battle Jacket’, Rock Music Studies 9/1 (2022): 3453.Google Scholar
Overell, Rosemary, ‘Brutal Belonging in Melbourne’s Grindcore Scene’, Studies in Symbolic Interaction 35/1 (2010): 7999.Google Scholar
Overell, Rosemary, Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan (Palgrave MacMillan, 2014).Google Scholar
Patterson, Dayal, Black Metal: Evolution of the Cult (Feral House, 2013).Google Scholar
Pichler, Peter, ‘The Power of the Imagination of Historical Distance: Melechesh’ “Mesopotamian Metal” as a Musical Attempt of Solving Cultural Conflicts in the Twenty-First Century’, Metal Music Studies 3/1 (2017): 97112.Google Scholar
Pichler, Peter, Metal Music, Sonic Knowledge, and the Cultural Ear in Europe since 1970: A Historiographic Exploration (Franz Steiner, 2020).Google Scholar
Quader, Shams Bin and Redden, Guy, ‘Approaching the Underground: The Production of Alternatives in the Bangladeshi Metal Scene’, Cultural Studies 29/3 (2014): 124.Google Scholar
Reyes, Ian, Sound, Technology, and the Interpretation in Subcultures of Heavy Music Production, doctoral dissertation (Pittsburgh University, 2008). http://d-scholarship.pitt.edu/7194/1/Reyes_ETD.pdf.Google Scholar
Reyes, Ian, ‘Blacker than Death: Recollecting the “Black Turn” in Metal Aesthetics’, Journal of Popular Music Studies 25 (2013): 240–57.Google Scholar
Reynolds, Simon, Blissed Out: The Raptures of Rock (Serpent’s Tail, 1990).Google Scholar
Riches, Gabrielle, ‘Brothers of Metal! Heavy Metal Masculinities, Moshpit Practices and Homo-sociality’, in Roberts, Steven (ed.), Debating Modern Masculinities: Change, Continuity, Crisis? (Palgrave Macmillan, 2014), pp. 88105.Google Scholar
Riches, Gabrielle, Lashua, Brett and Spracklen, Karl, ‘Female, Mosher, Transgressor: A “Mo-shography” of Transgressive Practices within the Leeds Extreme Metal Scene’, IASPM Journal 4 (2014): 87100.Google Scholar
Rivera-Segarra, Eliut, Ramos, Jeffrey W. and Varas-Díaz, Nelson, ‘“A Scream That Makes Us Visible”: Latin American Heavy Metal Music and Liberation Psychology’, in Varas-Diaz, Nelson, Araújo, Daniel Nevárez and Rivera-Segarra, Eliut (eds.), Heavy Metal Music in Latin America: Perspectives from the Distorted South (Lexington Books, 2020), pp. 287304.Google Scholar
Rowe, Paula, ‘Global Metal in Local Contexts: Questions of Class among Heavy Metal Youth and the Structuring of Early Metal Identity Formations’, Metal Music Studies 3/1 (2017): 113–31.Google Scholar
Rowe, Paula, Heavy Metal Youth Identities: Researching the Musical Empowerment of Youth Transitions and Psychosocial Wellbeing (Emerald, 2018).Google Scholar
Rowe, Paula and Guerin, Bernard, ‘Contextualizing the Mental Health of Metal Youth: A Community for Social Protection, Identity and Musical Empowerment’, Journal of Community Psychology 46/4 (2018): 429–41.Google Scholar
Scott, Niall, ‘Heavy Metal and the Deafening Threat of the Apolitical’, Popular Music History 6/1 (2012): 224–39.Google Scholar
Shadrack, Jasmine, Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss (Emerald, 2020).Google Scholar
Sharpe-Young, Gary, Metal: The Definitive Guide (Jawbone, 2007).Google Scholar
Shelvock, Matt, ‘The Progressive Heavy Metal Guitarist’s Signal Chain’, in Hepworth-Sawyer, Russ, Paterson, Justin, Hodgson, Jay and Toulson, Rob (eds.), Innovation in Music (Future Technology Press, 2013), pp. 126–38.Google Scholar
Smialek, Eric, Genre and Expression in Extreme Metal Music, ca. 1990–2015, doctoral dissertation (McGill University, 2015). https://escholarship.mcgill.ca/concern/theses/qv33s018k.Google Scholar
Smialek, Eric and St-Laurent, Méi-Ra, ‘Unending Eruptions: White-Collar Metal Appropriations of Classical Complexity, Experimentation, Elitism, and Cultural Legitimization’, in Scotto, Ciro, Smith, Kenneth and Brackett, John (eds.), The Routledge Companion to Popular Music Analysis: Expanding Approaches (Routledge, 2019), pp. 378–99.Google Scholar
Spracklen, Karl, The Meaning and Purpose of Leisure: Habermas and Leisure at the End of Modernity (Palgrave Macmillan, 2009).Google Scholar
Spracklen, Karl, Constructing Leisure: Historical and Philosophical Debates (Palgrave Macmillan, 2011).CrossRefGoogle Scholar
Spracklen, Karl, Digital Leisure, the Internet and Popular Culture: Communities and Identities in a Digital Age (Palgrave, 2015).CrossRefGoogle Scholar
Spracklen, Karl, Metal Music and the Re-imagining of Masculinity, Place, Race and Nation (Emerald, 2020).Google Scholar
Stolz, Nolan, Experiencing Black Sabbath: A Listener’s Companion (Rowman & Littlefield, 2017).Google Scholar
Strachan, Robert, Sonic Technologies: Popular Music, Digital Culture and the Creative Process (Bloomsbury, 2017).Google Scholar
Stratton, Jon (ed.), Australian Rock: Essays on Popular Music (Network Books, 2007).Google Scholar
Thibodeau, Anthony J., Anti-Colonial Resistance and Indigenous Identity in North American Heavy Metal, MA dissertation (Bowling Green State University, 2014).Google Scholar
Thomas, Niall, ‘Innovation and Tradition in Metal Music Production’, Metal Music Studies 7/3 (2021): 423–43.Google Scholar
Thomas, Niall and King, Andrew, ‘Production Perspectives of Heavy Metal Record Producers’, Popular Music 38/3 (2019): 498517.Google Scholar
Trafford, Simon, ‘Viking Metal’, in Meyer, Stephen C. and Yri, Kirsten (eds.), The Oxford Handbook of Music and Medievalism (Oxford University Press, 2020), pp. 563–85.Google Scholar
Trafford, Simon and Pluskowski, Aleks, ‘Antichrist Superstars: The Vikings in Hard Rock and Heavy Metal’, in Marshall, David W. (ed.), Mass Market Medieval (McFarland, 2007), pp. 57–73.Google Scholar
Turman, Katherine and Wiederhorn, Jon, Louder than Hell: The Definitive Oral History of Metal (It Books, 2013).Google Scholar
Turner, Daniel, ‘Outlining the Fundamental Production Aesthetics of Commercial Heavy Metal Music Utilising Systematic Empirical Analysis’, Art of Record Production Conference (2009). www.artofrecordproduction.com/aorpjoom/symposiums/21-arp-2009/117-turner-2009 (accessed 14 April 2021).Google Scholar
Umurhan, Osman, ‘Heavy Metal Music and the Appropriation of Greece and Rome’, Syllecta Classica 23 (2012): 127–52.Google Scholar
Varas-Díaz, Nelson, Decolonial Metal Music in Latin America (Intellect, 2021).Google Scholar
Varas-Díaz, Nelson, Araújo, Daniel Nevárez and Rivera-Segarra, Eliut, Heavy Metal Music in Latin America: Perspectives from the Distorted South (Lexington Books, 2021).Google Scholar
Varas-Díaz, Nelson and Scott, Niall (eds.), Heavy Metal and the Communal Experience (Lexington Books, 2016).Google Scholar
Vasan, Sonia, ‘The Price of Rebellion: Gender Boundaries in the Death Metal Scene’, Journal for Cultural Research 15/3 (2011): 333–49.Google Scholar
Vasan, Sonia, ‘Gender and Power in the Death Metal Scene: A Social Exchange Perspective’, in Brown, Andy R., Spracklen, Karl, Kahn-Harris, Keith and Scott, Niall (eds.), Global Metal Music and Culture: Current Directions in Metal Studies (Abingdon, 2016), pp. 261–76.Google Scholar
Von Helden, Imke, Norwegian Native Art: Cultural Identity in Norwegian Metal Music (LIT, 2017).Google Scholar
Wagner, Jeff, Mean Deviation: Four Decades of Progressive Heavy Metal (Bazillion Points Books, 2010).Google Scholar
Wallach, Jeremy, ‘Unleashed in the East: Metal Music, Masculinity, and “Malayness,” in Indonesia, Malaysia and Singapore’, in Wallach, Jeremy, Berger, Harris M. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011), pp. 86105.Google Scholar
Wallach, Jeremy, ‘Distortion-Drenched Dystopias: Metal in Island Southeast Asia’, in Scott, Niall (ed.), Reflections in the Metal Void (Inter-Disciplinary Press, 2012), pp. 101–19.Google Scholar
Wallach, Jeremy, ‘Global Rock as Postcolonial Soundtrack’, in Moore, Allan F. and Carr, Paul (eds.), Bloomsbury Handbook for Rock Music Research (Bloomsbury, 2020), pp. 469–85.Google Scholar
Wallach, Jeremy, Berger, Harris M. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011).Google Scholar
Wallach, Jeremy and Clinton, Esther, ‘Theories of the Post-Colonial and Globalization: Ethnomusicologists Grapple with Power, History, Media, and Mobility’, in Berger, Harris M. and Stone, Ruth (eds.), Theory for Ethnomusicology: Histories, Conversations, Insights (Prentice Hall, 2019), pp. 1114–39.Google Scholar
Walser, Robert, Running with the Devil: Power, Gender and Madness in Heavy Metal Music (Wesleyan University Press, 1993).Google Scholar
Weinstein, Deena, Heavy Metal: The Music and its Culture (Da Capo Press, 2000 [1991]).Google Scholar
Wiederhorn, Jon and Turman, Katherine, Louder than Hell: The Definitive Oral History of Metal (It Books, 2013).Google Scholar
Williams, Duncan, ‘Tracking Timbral Changes in Metal Production from 1990 to 2013’, Metal Music Studies 1/1 (2015): 3968.Google Scholar
Wilson, Scott (ed.), Melancology: Black Metal Theory and Ecology (Zero Books, 2014).Google Scholar
Wong, Cynthia P., ‘“A Dream Return to Tang Dynasty”: Masculinity, Male Camaraderie, and Chinese Heavy Metal in the 1990s’, in Wallach, Jeremy, Berger, Harris M. and Greene, Paul D. (eds.), Metal Rules the Globe: Heavy Metal Music Around the World (Duke University Press, 2011), pp. 6385.Google Scholar
Zinn, Howard, The Politics of History (University of Illinois Press, 1990).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select Academic Bibliography
  • Edited by Jan-Peter Herbst, University of Huddersfield
  • Book: The Cambridge Companion to Metal Music
  • Online publication: 31 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781108991162.026
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select Academic Bibliography
  • Edited by Jan-Peter Herbst, University of Huddersfield
  • Book: The Cambridge Companion to Metal Music
  • Online publication: 31 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781108991162.026
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select Academic Bibliography
  • Edited by Jan-Peter Herbst, University of Huddersfield
  • Book: The Cambridge Companion to Metal Music
  • Online publication: 31 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781108991162.026
Available formats
×