Relevant bibliographies by topics / Heavy metal (Music) Social aspects

Academic literature on the topic 'Heavy metal (Music) Social aspects'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Heavy metal (Music) Social aspects"

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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.

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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.

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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Reyes Contreras, Miguel. "Acercamiento onomástico al nombre de las bandas de Heavy Metal." Onomástica desde América Latina 2, no. 3 (December 18, 2020): 59–81. http://dx.doi.org/10.48075/odal.v0i0.26062.

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El acto de nombrar es considerado en cierto modo un ritual. Parte de una lista de opciones y termina en una etapa en la que se narra el proceso. Cualquier ente que tiene un nombre, lo recibe para ser individualizado y ser considerado único por lo menos en el espacio circundante y no es la excepción en el proceso de nombrar una banda musical, concepto conocido como crematónimo. El propósito de este texto es presentar un análisis Onomástico, sobre un corpus de nombres de bandas de varios subgéneros de heavy metal y conocer la estructura lingüística de los nombres, las lenguas de nominación y aspectos onomásticos asociados con influencias sociales, religiosas, culturales, literarias, etc. y la clasificación y discusión en la nomenclatura onomástica. Bajo un enfoque cuantitativo y desde los puntos de vista lingüístico y onomástico se analiza un corpus de nombres de 844 bandas de Heavy Metal (de todo el mundo), un género que ha sabido construir su propia subcultura con reglas, modas, discurso propio y sus rituales de nominación. El análisis revela influencias culturales, literarias, históricas, religiosas y lingüísticas en la nominación de las bandas y una amplia variedad de construcciones morfológicas y sintácticas en los nombres. Encontramos que esta variedad de referencias vertidas en un nombre de una agrupación es un entramado de conexiones sociales, lingüísticas y culturales y no deben ser estudiados solo desde la perspectiva musicológica o antropológica, sino también desde los ámbitos lingüísticos, sociales y culturales.Palabras clave: Crematónimo, Heavy metal, Onomástica, intercategorías.Abstract:The act of naming is considered a certain ritual. It is rooted in a list of options and ends in a stage where the process is narrated. Any object which bears a name, bears it to be seen as individual and unique, at least in the surroundings, and the process of naming a music band is no exception. The concept used for this process is Chrematonymy. The main aim of this text is to present an onomastic overview, out of a several subgenres of heavy metal band name corpus in order to explore the linguistic structure of such names, languages chosen for naming and onomastic aspects associated to social, religious, cultural, literary influences and also to classify and discuss based onomastic nomenclature. Based on a quantitative approach and from the linguistic and onomastics point of view, a corpus 844 Heavy Metal bands’ names from all over the world, a genre which constructed its own subculture with their own rules, fashion, discourse and naming rituals. Our analysis reveals cultural, literary, historical, religious and linguistic in band naming as well as an ample variety of morphological and syntactic constructions in the catalog of names. We can find that the variety of references in the name of a band is a network of social, linguistic and cultural connections and should not be only studied from the musicology or anthropology’ perspective, but also as a linguistic, social and cultural phenomenon.Key words: Chrematonym, Heavy metal, Onomastics, intercategories.
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Hadžajlić, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 129. http://dx.doi.org/10.25038/am.v0i17.276.

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Heavy Metal is a specific, alternative music genre that exists on the fringe of popular music, where it is classified by its own culture: musical style, fashion, philosophy, symbolic language and political activism. For over five decades of the existence of heavy metal, its fans have developed various communication systems through different types of transnational networks, which significantly influenced the development of all aspects of metal culture, which relates both to divisions within the genre itself and to various philosophical and political aspects of heavy metal activism – of a global heavy metal society. Going through the processes of globalization, and so glocalization, heavy metal is today a significant part of popular culture in North and South America, Europe, Asia, Australia; while in some societies it represents the cultural practice of a long tradition with elements of cultural tourism, in some countries where conservative, religious policies are dominant, it represents subversive practices and encounters extreme criticism as well as penalties. Globalization in the context of the musical material itself is based on the movement from idiomatic, cultural and intercultural music patterns to transcultural – where heavy metal confronts the notion of one's own genre. Post-metal, the definition of a genre that goes beyond the aesthetic concepts of heavy metal, contains the potential of overcoming the genre itself. Article received: March 30, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Hadžajlič, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies 17 (2018): 129−137. doi: 10.25038/am.v0i17.276
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Arnett, Jeffrey. "Heavy metal music and reckless behavior among adolescents." Journal of Youth and Adolescence 20, no. 6 (December 1991): 573–92. http://dx.doi.org/10.1007/bf01537363.

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DiGioia, Amanda. "Nameless, but not blameless: Motherhood in Finnish heavy metal music." Metal Music Studies 6, no. 2 (June 1, 2020): 237–55. http://dx.doi.org/10.1386/mms_00015_1.

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This article argues that, in some specific cases, Finnish heavy metal lyrics are horror texts, and that mothers in Finnish heavy metal lyrics are often relegated to tropes, like being ‘othered’. This shows that motherhood in Finnish heavy metal lyrics, much like motherhood in horror texts, is rarely depicted subversively. This article will address aspects of what makes motherhood horrifying and monstrous in Finnish heavy metal music. Because Pekka Kainulainen, the lyricist for Amorphis (a Finnish heavy metal band), was interviewed specifically for this project, the main example used in this article will be the lyrics of Amorphis. However, several other Finnish metal bands will also be utilized to support this thesis.
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SINGER, SIMON I., MURRAY LEVINE, and SUSYAN JOU. "Heavy Metal Music Preference, Delinquent Friends, Social Control, and Delinquency." Journal of Research in Crime and Delinquency 30, no. 3 (August 1993): 317–29. http://dx.doi.org/10.1177/0022427893030003004.

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Thomas, Niall, and Andrew King. "Production perspectives of heavy metal record producers." Popular Music 38, no. 3 (October 2019): 498–517. http://dx.doi.org/10.1017/s026114301900031x.

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AbstractThe study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented, the exploration of the production and the artistic nature of this endeavour is still developing. This article explores phenomenological aspects of producing heavy metal music from the perspective of seven renowned producers working within the genre. Through a series of interviews and subsequent in-depth analysis, particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A conceptual framework is then put forward for understanding the production methodology of recorded heavy metal music, and how developing technology has influenced the production of the genre.
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Baizerman, Arek R. "Response: Heavy metal music?A view from a teen." Child & Youth Care Forum 21, no. 1 (February 1992): 23–24. http://dx.doi.org/10.1007/bf00757341.

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Susino, Marco, and Emery Schubert. "Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics." Empirical Musicology Review 14, no. 1-2 (November 26, 2019): 2. http://dx.doi.org/10.18061/emr.v14i1-2.6376.

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This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.
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Dissertations / Theses on the topic "Heavy metal (Music) Social aspects"

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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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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.

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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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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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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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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.
Dissertation (MA)--University of Pretoria, 2013.
gm2014
Psychology
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Books on the topic "Heavy metal (Music) Social aspects"

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Roccor, Bettina. Heavy metal: Kunst, Kommerz, Ketzerei. Berlin: I.P. Verlag, 1998.

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Weinstein, Deena. Heavy metal: Acultural sociology. New York: Lexington Books, 1991.

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Weinstein, Deena. Heavy metal: A cultural sociology. Toronto, Ont: Maxwell Macmillan Canada, 1991.

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Heavy metal: A cultural sociology. New York: Lexington Books, 1991.

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L' âge du metal. Rosières-en-Haye: Camion blanc, 2007.

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Heavy metal: The music and its culture. Boulder, Colo: Da Capo Press, 2000.

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Rock duro anti-sistema: Heavy-metal, tradizione e ribellione. Roma: Settimo sigillo, 2006.

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Heavy metal Islam: Rock, resistance, and the struggle for the soul of Islam. New York: Three Rivers Press, 2008.

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Fargo rock city: A heavy metal odyssey in rural Nörth Daköta. [New York]: Scribner, 2002.

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Klosterman, Chuck. Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota. New York, USA: Scribner, 2003.

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Book chapters on the topic "Heavy metal (Music) Social aspects"

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"Exploring the Demographics of Heavy Metal Music Users with Social Media." In Heavy Metal Generations, 15–21. BRILL, 2012. http://dx.doi.org/10.1163/9781848881471_003.

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Kelly, Sean K. "Communities of resistance: heavy metal as a reinvention of social technology." In The Resisting Muse: Popular Music and Social Protest, 149–62. Routledge, 2017. http://dx.doi.org/10.4324/9781351218061-11.

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Wallmark, Zachary. "Vector of Brutality: Madness, Violence, and Contagion in Heavy Metal Reception." In Nothing but Noise, 145–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190495107.003.0006.

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This chapter investigates the role played by timbre in the moral panic over heavy metal music that erupted in the United States during the 1980s and 1990s. Examining the social dynamics of this reception history and exploring philosophical tensions surrounding sound and semantics in Western culture (in dialogue with Adriana Cavarero), it argues that the “brutal” timbral palette of heavy metal, its acoustical noisiness (vocal and electric guitar distortion), played an essential though overlooked role in the public furor over the meaning of heavy metal. Tracing the arc of public reception between 1985 and 2000, it posits three distinct phases in the moral panic: (a) initial critique of the song lyrics and imagery, (b) anxiety over backmasked lyrics, and (c) fear of the timbral “brutality” of the genre, which was linked to contagious violence. It considers the dynamics of race, class, and gender in heavy metal reception to show how the iconic timbral vocabulary of the genre came to represent a public health and safety menace in late twentieth-century America.
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Conference papers on the topic "Heavy metal (Music) Social aspects"

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Wattana, Piyarat, Subin Somdee, Surachai Lamsunthia, Jutharat Wondee, and Surasak Chonchirdsin. "The Pilot Recycled Drill Cuttings Road: Utilisation of Onshore Drill Cuttings Waste for Road Application." In SPE Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210748-ms.

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Abstract This project focuses on development of method to recycle the onshore drill cuttings waste and use them in road application. The hazardous characteristics of the drill cuttings waste are also tested and evaluated to address concerns in both safety and environment aspects. The project goals are to recycle drill cuttings waste into new use, reduce environmental footprint and waste management cost, as well as promote corporate social responsibility and sustainability development. Potential use of drill cuttings contaminated with synthetic based mud as part of material for road application were investigated. Samples of the drill cuttings were tested for presence of heavy metal. Laboratory tests were performed to evaluate suitable percentage of drill cuttings to be incorporate into aggregate for road pavement. Pilot recycled drill cuttings road was constructed at PTTEP Rapid Scale-Up Center. The environmental impact assessment on soil, surface water, and underground water around pilot road areas are also carried out to investigate potential environmental impact of the pilot road. Results on heavy metal tests indicate that the drill cuttings are non-hazard with concentration of heavy metal within standards specified in the Department of Mineral Fuel Notification on Petroleum Waste Management dated 28 Feb 2013 and is safe for recycling in road application. Laboratory tests performed in collaboration with the Department of Rural Road indicate that 6% of drill cuttings can be incorporated into aggregate for construction of binding course and wearing course of hot-mixed asphalt road. A 1.2-kilometer pilot recycled drill cuttings road with 6% drill cutting incorporated was then constructed at PTTEP Rapid Scale-Up Center (RASC). The pilot road is used as an access road and road surrounding the PTTEP RASC. Samples of soil around pilot area as well as surface water and underground water from public water and from water drains nearest to the pilot road areas were taken for analysis prior to and after the construction of the pilot recycled drill cuttings road to investigate potential leakage and to assess potential environmental impact of the pilot road to the public water. The water analysis results are within acceptable standards in accordance to the Notification of the National Environmental Board. The pilot recycled drill cuttings road project is consulted and endorsed by the Department of Mineral Fuel and is the first implementation on drill cutting waste utilization in Thailand. It offers cost effective and environmentally sound recycling method for drill cutting waste management and serve as example of circular model for exploration and production waste.
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