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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Epp, André. "Heavy metal as a profession?: The Mexican heavy metal scene and its effects as an informal and non-formal learning space." Metal Music Studies 7, no. 1 (March 1, 2021): 149–58. http://dx.doi.org/10.1386/mms_00039_1.
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Through the far-reaching social change experienced in modern society, spaces and places of learning increasingly transform. Schools, training companies and universities remain important, albeit formal, educational institutions; however, informal and non-formal learning spaces increasingly gain attention when it comes to the acquisition of work-related knowledge and competences. Even though in recent years, youth and music cultures have focused more on learning in general and knowledge in particular, research about the educational potential of heavy metal has remained a blind spot, seldom garnering any attention. Therefore, the article illustrates, from a biographical perspective, what influence the Mexican heavy metal scene has had on the acquisition of work-related competences and how these settings can be considered spaces and places of informal and non-formal learning. The underlying educational possibilities as well as different modalities of learning are illustrated. To record the biographies of participants from the Mexican heavy metal scene, autobiographical interviews were conducted. These autobiographical-narrative interviews allowed for the analyses of certain individual cases as well as the underlying societal structures and patterns. The results are illustrated with the help of a case study. Ultimately, the study showcases the biographical development of an individual’s life and the ways in which the spaces and places connected to heavy metal in this individual’s life offered key educational moments. Thus, the educational potential of the Mexican heavy metal scene for the acquisition of work-related knowledge is determined.
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Stoikiv, Andrii. "THE ROLE OF THRASH METAL IN THE FORMATION OF EXTREME HEAVY MUSIC (BASED ON THE INTERVIEW OF MUSICIANS)." Scientific Herald of Uzhhorod University. Series: History, no. 1 (44) (June 27, 2021): 160–68. http://dx.doi.org/10.24144/2523-4498.1(44).2021.232681.
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The article is devoted to defining the role of thrash metal music in the foundation of extreme heavy music in the late 1980s and early 1990s. Attention focused on the importance of a separate sub-genre of heavy metal music in forming a new style of heavy music, including new vocal techniques, building more complex compositions, and expanding the lyrics' themes. Analyzed the criteria by which extreme heavy music can attribute among other sub-genres of heavy metal and defined thrash metal as a transitional stage between heavy metal and extreme music. The work is interdisciplinary, which manifested in the use of methodological approaches to history and cultural studies. The article examined various areas of development of thrash metal music, particularly the United States, where the phenomenon has appeared; Germany and Switzerland, which differed qualitatively from the American scene; and Brazil, whose musicians have set recording standards for much of the extreme music. The article identified the reasons for the popularity decline of thrash metal in the early 1990s in the context of the general development of rock music and identified the features of the evolution into extreme metal. In addition to the musical component, the article outlined the social and behavioral elements of thrash metal fans during bands' performances, which also formed the image of the extremity of metal music. Special attention in the article is devoted to the Slayer and Megadeth bands, the foundation of controversy in the subject of lyrics, which, in turn, is characterized by extreme metal. Evolving from the New Wave of British heavy metal, American thrash metal develop new features in heavy music, including fast, aggressive riffs, and sharpened the lyrics' themes, primarily political and anti-religious. Rebelled against the dominance of glam metal, thrash metal fans developed their image, which consisted of aggression and appropriate behavior during concerts. Developed in the United States, thrash metal has gained popularity in other parts of the world, whose scenes have developed their characteristics, which, in the future, influenced the formation of extreme heavy music. In the late 1980s, the US radio format shifted the demand for grunge, which supplanted thrash metal from the radio. The sub-genre began to decline and was replaced by death and black metal in the heavy metal music underground.
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Hansen, Christine Hall, and Ranald D. Hansen. "Constructing personality and social reality through music: Individual differences among fans of punk and heavy metal music." Journal of Broadcasting & Electronic Media 35, no. 3 (June 1991): 335–50. http://dx.doi.org/10.1080/08838159109364129.
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González Martínez, Susana, and Nelson Varas-Díaz. "Heavy metal music as communal intervention: Experiences and challenges in the context of the metal-academia dyad in Jaén, Spain." Metal Music Studies 7, no. 1 (March 1, 2021): 7–26. http://dx.doi.org/10.1386/mms_00029_1.
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In this article we aim to address the complex interrelation between metal music and academia through a case study design and analysis. The case study examined is an academic conference held during the past seven years at the University of Jaén, located in Jaén, a province in the south of Spain. This sociocultural project, entitled the ‘Rock and Metal Encounter’ (RME), has taken place in a context of frequent out-migration, with a precarious rural economy, and poor communication networks. There a small metal scene has resisted a precarious setting characterized by restrictive public policies towards music and culture. The RME has combined two lines of action; a purely academic one, through the diffusion of studies on metal music; and a social one, in which community intervention components have been interspersed with the aim of promoting social cohesion and cultural development among Jaén’s metal scene. In light of this experience, we discuss the potential use of metal music as a form of community intervention to foster the cultural development of small music scenes in disadvantaged settings, and the university’s role in this process. We also explore resistance and tensions faced by the incursion of metal music as a community intervention practice in this particular academic setting.
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Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES." Social Behavior and Personality: an international journal 40, no. 4 (May 1, 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.
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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.
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Kosek, Jakub. "Głos prekursora heavymetalowego brzmienia... O autobiografii "Iron man". "Moja podróż przez niebo i piekło z Black Sabbath" Tony’ego Iommiego." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 95–107. http://dx.doi.org/10.24917/20837275.10.3.8.
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The voice of the precursor of heavy metal sound. About the Tony Iommi’s autobiography "Iron man". "My journey through heaven and hell with Black Sabbath" This article focuses on the some aspects of the autobiography of heavy metal music precursor Tony Iommi. Text Iron man. My journey through the sky and hell with Black Sabbath was considered in the context of category of autobiographical memory. Special attention was paid to the main characters of narrative and to the specific and crucial events of the artist’s life.
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Ridwan, Endrizal, and Bardi Rahmawan. "The heavy metal genre in an Islamic city of Padang: struggle and promotion." ATTARBIYAH: Journal of Islamic Culture and Education 6, no. 1 (August 15, 2021): 1–14. http://dx.doi.org/10.18326/attarbiyah.v6i1.1-14.
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A qualitative research was conducted on how heavy metal survived and competed with other genres in a sacred city of Padang Indonesia, where metal and religion seemed to be unmatched. This research aims at understanding why heavy metal showed no significant progress despite its long existence in the city. An interview of five musicians from the five most popular metal bands in the city revealed that the metal music genre had struggled to survive for two reasons: the stigma of its negative influence on society and the failure of metal musicians in proving that metal symbols and lifestyle were irrelevant to the arts of metals. A SWOT analysis suggests that the metalheads need to utilize their subcultural capital by modifying their music using religious lyrics within the scene and by following social norms outside the scene.
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Berger, Harris M. "Death metal tonality and the act of listening." Popular Music 18, no. 2 (May 1999): 161–78. http://dx.doi.org/10.1017/s0261143000009028.
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In recent years popular music scholars have paid increasing attention to musical sound. From Robert Walser's landmark work on heavy metal (1993), to Alan Moore's important analysis of rock style periods (1993), to a number of shorter studies (Whiteley 1990; Josephson 1992; Bowman 1995; Ford 1995; Hawkins 1996; Edström 1996), more and more scholars have recognised that all levels of scholarly focus must be pursued if we are to gain purchase on the phenomena of popular music. With no exceptions of which I am aware, all the popular music scholars concerned specifically with musical sound seek to explore the connections between sound and its social contexts. My goal here is to show how attention to musical perception can forward this project and to argue that perception is best understood as a kind of social practice. The act of perception constitutes musical forms and musical meanings in experience. The act of perception is where the rubber of sound meets the road of social life, and by treating perception as a practice we can draw more intimate connections between songs and subjects, sound and society, than would be possible if we were to start from musical structures and then search for linkages to social context. None of this, of course, is to deny the value of studies focused on musical structures, performance events, broad social contexts or large-scale social history, but to argue that the constitution of musical perception by musicians and listeners deserves greater attention and to suggest how this kind of scrutiny might serve the larger aims of popular music studies.
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Pérez González, Bianca Natascha. "El infierno terrenal en los orígenes del Heavy Metal." Sincronía XXV, no. 79 (January 3, 2021): 499–508. http://dx.doi.org/10.32870/sincronia.axxv.n79.26a21.
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Heavy Metal, as a movement of art and social commitment was born as an expression of counterculture in its denial to be part of a society plagued by ethical and moral incongruities, establishing Existentialism as its dominant philosophical foundation. In the decadent religious context that characterized the twentieth century, the french philosopher Jean- Paul Sartre begets two plays, No Exit (1944) and The Devil and the Good Lord (1951), that will come to lay the foundations of one of the most transcendent hells for contemporary thought: otherness. In his music, Black Sabbath, as a pioneering group of this musical genre, contains in his lyrics the Sartrean concept of The Otherness as earthly hell. From the symbolic deconstruction of the myth of heaven and hell from the Western Christian tradition, Black Sabbath re-signifies hell to propose a rational explanation of the problems of his time and to make it the metaphor for the disillusionment and nihilism of a modern Europe, in which mythical icons are being replaced by representations of concrete reality.
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Pluta, Joanna. "Cechy osobowości a preferencja muzyki metalowej – wstępna metaanaliza dotychczasowych badań." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 19–33. http://dx.doi.org/10.24917/20837275.10.3.2.
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Personality traits and the preference for metal music – preliminary meta-analysis of previous researches The article presents the relations between personality traits and preference for metal music in view of previous psychological research. First reports concerning the influence of personality traits on music preferences appeared in the middle of the 20th century (Cattel & Anderson 1953). Social stereotypes relating to heavy metal fans have had an impact on formulation of research hypotheses according to which this group is characterised by antisocial behaviour, suicidal tendencies, depressive moods, substance and alcohol abuse, school problems and dysfunctional families. However, past researches have demonstrated a predictive value of different traits, such as openness to experience, risk-taking, extraversion and sensation seeking.
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Foster, Lisa. "The Rhetoric of Heavy Metal Resistance: Musical Modalities in Iraqi Public Life." Middle East Journal of Culture and Communication 4, no. 3 (2011): 320–38. http://dx.doi.org/10.1163/187398611x590183.
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Abstract This article explores the possibilities of heavy metal as an active and vital part of Iraqi civic life. Using a rhetorical analysis, the public dimensions of Iraqi heavy metal are shown to offer cathartic relief and public critique, craft identities and community, and foster modes of identification between Iraqi and Western public spheres. A survey of resources (over 100 texts total) was conducted primarily around the bands Acrassicauda and Dog Faced Corpse. Texts for analysis narrate artists' relationships to their music, to Iraq and to their sociopolitical condition. This article concludes that heavy metal acts as a modality, or way of crafting publics, in Iraq. Rooted in the sounds and social fabric of today's Iraqi youth, heavy metal modalities offer a unique amalgam of personal pain, public commentary and global cultural ties that succinctly capture the tension and struggle of a transitioning new Iraq.
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VAN DEN BERG, PETER T. "Book review ofMetalheads: Heavy Metal Music and Adolescent Alienation Westview Press, Jeffrey Jensen Arnett. Colorado, 1996, 196 pages." European Journal of Personality 11, no. 1 (March 1997): 81–82. http://dx.doi.org/10.1002/(sici)1099-0984(199703)11:1<81::aid-per274>3.0.co;2-a.
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VAN DEN BERG, PETER T. "Book review of Metalheads: Heavy Metal Music and Adolescent Alienation Westview Press, Jeffrey Jensen Arnett. Colorado, 1996, 196 pages." European Journal of Personality 11, no. 1 (March 1997): 81–82. http://dx.doi.org/10.1002/(sici)1099-0984(199703)11:1<81::aid-per274>3.3.co;2-1.
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Botero Camacho, Manuel, and Nuria Picón del Campo. "A Twist in the Song: Retracing Myth and Dante´s Poem in Heavy Metal Music." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 166–85. http://dx.doi.org/10.7195/ri14.v15i1.1013.
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Abstract:The study of music is gathering strength in the academic world, although the scope is still growing, and there are plenty of elements it does not contemplate yet. As a multidisciplinary subject, music has the power of the melody and the power of the lyrics, which, apart from being able to reach any social nook, makes it a gigantic cultural tool with the force of sending any kind of message in a dynamic and effective way. The way in which heavy metal – and especially its symphonic branch – plays with this duality of melody and text, together with the mythological content where its lyrics feed on makes this genre an essential step in this kind of research. This investigation has been focused on symphonic metal as a source of mythological knowledge to build a bridge that links this genre of popular music with one of the most celebrated works of literature of all times: The Divine Comedy: with a double purpose: on the one hand, to demonstrate the importance of this genre within our society and, on the other, to study yet one more field which has not escaped the influence of the Dantesque world.Resumen:El estudio de la música está cobrando fuerza en el mundo académico, aunque el alcance todavía está creciendo, y hay un montón de elementos que no contempla todavía. Al ser un tema multidisciplinario, la música tiene el poder de la melodía y el poder de las letras, que, además de ser capaz de llegar a cualquier rincón social, hace que sea una herramienta cultural gigantesca con la fuerza de enviar cualquier tipo de mensaje en una dinámica y manera efectiva. La manera en la que el Heavy Metal - y especialmente su rama sinfónica - juega con esta dualidad de la melodía de texto, junto con el contenido mitológico en el que sus letras se alimentan de este género se hace esencial en este tipo de investigación. Esta investigación se ha centrado en el metal sinfónico como una fuente de conocimiento mitológico para construir un puente que une el género de la música popular con una de las obras más célebres de la literatura de todos los tiempos: la Divina Comedia, con un doble objetivo: por una parte, para demostrar la importancia de este género dentro de nuestra sociedad y, por otro, para estudiar todo campo adicional que no ha escapado a la influencia del mundo dantesco.
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Moghaddam, Kimia. "Rock music fans’ subculture in Tehran." Social Responsibility Journal 11, no. 3 (August 3, 2015): 424–38. http://dx.doi.org/10.1108/srj-11-2014-0151.
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Purpose – The purpose of this paper is to the investigate the rock music, and in particular the genre known as heavy metal, subculture in Iran and identify its relationship to social responsibility. Design/methodology/approach – The research was conducted qualitatively through in-depth interview with more than 100 rock music fans who identify themselves as belonging to the particular subculture under investigation. It also investigates the history of such music within the country to explain that it is marginalized and forbidden in a way which is not generally understood in Western countries. Findings – The findings of the paper show that the fans of the music identify themselves as a particular subculture within the society and share not just an interest in the music but also in social concerns, politics and religion. Social implications – This paper shows that subcultures are interrelated with social responsibility and that this is dependent upon the nature of the society in which the subculture resides. This is important in understanding the dynamics of change within a country. Originality/value – This is one of the very few papers which looks at the link between subcultures and social responsibility and, therefore, is important in showing that social responsibility can develop independently of any organization while not being bounded by the nature of the society which spawns it.
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Gusāns, Ingars. "2018. gada latviešu metālmūzikas albumi." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 185–200. http://dx.doi.org/10.37384/aplkp.2020.25.185.
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The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.
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Paulissen, P. C. J. M. (Jarell). "The Devil’s Music: Satanism and Christian Rhetoric in the Lyrics of the Swedish Heavy Metal Band Ghost." Religions 12, no. 3 (March 21, 2021): 214. http://dx.doi.org/10.3390/rel12030214.
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This paper is an inquiry into a contemporary heavy metal band from Sweden called Ghost. Ghost released its first studio album in 2010 and, while there is some discussion as to what their genre is exactly, they immediately became a rising star in the metal scene. Yet what is of particular interest from a storytelling point of view, especially with regard to theological answers to philosophical questions in popular culture, is that the band presents itself as a satanic version of the Catholic Church through their stage act and lyrics. This made me curious whether they are trying to convey a message and, if yes, what that message might be. For the present paper, I have focused on the latter by performing a non-exhaustive textual analysis of the lyrics in a selection of songs from each of the four studio albums released so far. Ghost turns Christian liturgy on its head by utilizing devout language that is normally reserved for God and Christ to describe Satan and the Antichrist, a strategy I have called the ”satanification” of Christian doctrine, and in doing so their songs evoke imagery of a satanic faith community at prayer. The band then uses this radical inversion of traditional Christian themes to criticize certain elements of society, especially those aspects they associate with organized religion.
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Breen, Marcus. "A stairway to heaven or a highway to hell?: Heavy metal rock music in the 1990s." Cultural Studies 5, no. 2 (May 1991): 191–203. http://dx.doi.org/10.1080/09502389100490161.
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Goossens, Didier, Nelson Varas-Díaz, and Edward Banchs. "Lost in the field: Lessons from metal music studies fieldwork in the Global South." Metal Music Studies 8, no. 2 (June 1, 2022): 163–82. http://dx.doi.org/10.1386/mms_00073_1.
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Ethnographic fieldwork is a core method of anthropological, sociological and cultural research, characterized by a lengthy stay in an area or among a social group that is being studied. In the best-case scenario, a researcher becomes an insider through fieldwork. This method, however, has experienced heavy criticism for its exploitative origins and traditions that, among others, maintain a strong focus on Global North gazes and give little back to studied communities, especially those located in the Global South. Metal music studies have seen fieldwork-based research in both the Global North and South; and although a productive method in this field of research, it has not yet been considered in emerging critical reflections on methodology in its body of publications. This article aims to make such a contribution by reflecting on lessons from metal research in the Global South. Building on experiences in Latin American and African countries, we seek to explore how fieldwork-based research on metal, in general, can be informed by situated experiences in these regions by means of four distinct elements: (1) the importance of multiple subjectivities and epistemologies, (2) the principles of positionality and communality, (3) the confrontation and dismantling of privilege and (4) the diversification of fieldwork methods in terms of data collection and sharing.
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Mustamo, Aila. "The Crisis of the Welfare State and the Politics of the Past in Black Metal and Folk Metal Subcultures." YOUNG 28, no. 1 (July 26, 2019): 69–84. http://dx.doi.org/10.1177/1103308819836318.
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Anti-modernism has always been a part of the ideology of black metal and folk metal subcultures. In addition to Christianity, a common enemy in the field of modernity is the ‘social democratic’ welfare state. Although at least black metal can be considered as a counterculture, both black metal and folk metal subgenres reflect widely shared ideas from the mainstream. Based on interview material, this article examines how members of black metal and folk metal subcultures participate in the discussion about the welfare state. It gives voice to individuals rarely heard in music media or in the gatherings of the black metal and folk metal scenes. This article brings forward critical discourses about the apolitical tradition of heavy metal subcultures. It discusses ideologies and representations, and reception of ideas shared in metal communities.
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Burns, Lori A., and Patrick Armstrong. "Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)." Metal Music Studies 7, no. 3 (September 1, 2021): 357–82. http://dx.doi.org/10.1386/mms_00055_1.
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This article examines how Pain of Salvation’s album The Perfect Element: Part I (2000) develops narrative subjectivity through a range of compositional and performative parameters. We reveal a myriad of ways in which the music contributes to the expression of human subjectivity and offers significant moments of interpretive clarity. Attending to the expressive aspects of music, we focus in particular on how the song structures are articulated through the following elements: formal, harmonic, temporal, thematic and textural/timbral content. Contextualizing the concept album narrative within the genres of progressive rock and heavy metal and offering a framework for analysis derived from narrative theory, we interpret how the musical parameters convey the song lyrics and overall album concept. Pain of Salvation’s narrative of human trauma emerges through musical structures that are channelled to shape storyworld and subjectivity. Presenting analytic snapshots of the twelve album tracks, our aim is to create a sense of analytic ‘immersion’, whereby the reader engages actively with the multifaceted expressive content of words and music.
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Baker, Charley, and Brian Brown. "Suicide, Self-Harm and Survival Strategies in Contemporary Heavy Metal Music: A Cultural and Literary Analysis." Journal of Medical Humanities 37, no. 1 (March 29, 2014): 1–17. http://dx.doi.org/10.1007/s10912-014-9274-8.
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McLEOD, KEN. "Bohemian rhapsodies: operatic influences on rock music." Popular Music 20, no. 2 (May 2001): 189–203. http://dx.doi.org/10.1017/s0261143001001404.
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Opera and operatic images have invaded nearly all aspects of popular culture. Films (even silent films), radio, television, literature and numerous other media have all, to one degree or another, appropriated either actual opera or operatic devices and conventions. One important realm of popular culture that has appeared relatively immune to operatic influence, however, is rock music. Though several studies have illustrated the impact of ‘classical’ instrumental music on heavy metal and pop music, no serious scholarship has as yet explored the considerable influence exerted by opera, and its conventions, on various forms of rock music (Aledort 1985; McClary and Walser 1990; Walser 1992; Covach 1997). This essay examines the various manifestations of opera in rock music with particular concentration on works by Queen, Nina Hagen, Klaus Nomi and Malcolm McLaren that employ specific instances of operatic vocality or borrowing. Such opera–rock fusions are often predicated upon the transgression of conventional musical boundaries and often reflect an analogous rejection of traditional cultural boundaries surrounding sexual orientation, gender and class. Long overlooked, recognising opera's cross-relations with rock offers new insights into the postmodern blurring of traditional distinctions between ‘high’ and ‘low’ art and broadens our understanding of both genres.
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Turner, Emily, Amanda Furtmann, Hope Dang, Destiny DeNicola, and George Sutphin. "The Interaction of Osmotic and Heavy Metal Stress in C. elegans." Innovation in Aging 5, Supplement_1 (December 1, 2021): 682. http://dx.doi.org/10.1093/geroni/igab046.2566.
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Abstract Cellular stress is an ever-present aspect of aging and a primary driver of many common age-associated diseases such as cancer, diabetes, or neurodegenerative diseases. As we age, stress-induced damage accumulates over time, along with reduced efficacy of stress response pathways at combatting such damage. Molecular stress response pathways are well studied in the context of individual stressors, but there is a lack of understanding of how these responses change when multiple stressors are encountered at the same time. The goal of our work is to explore the impact of multiple simultaneous stressors on health and survival, and to investigate the underlying molecular pathways involved. To accomplish this, we utilize the nematode Caenorhabditis elegans to monitor lifespan changes in response to various stressors. We simultaneously exposed C. elegans to high concentrations of sodium chloride and cadmium chloride, known to induce osmotic and heavy metal stress, respectively. We found that lifespan is drastically decreased by the combined stress, significantly more so than the reduction in lifespan caused by either individual stress. Our results show that glycerol levels, which are normally increased in response to osmotic stress, are significantly lowered when the two stresses are combined compared to levels detected for osmotic stress alone. This suggests that the presence of cadmium may sensitize worms to sodium and other osmotic stressors by blunting cells’ ability to mount an appropriate molecular response. In ongoing work, we will continue to dissect the mechanisms through which cadmium influences glycerol production and other aspects of osmotic stress response.
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Gerke, Barbara. "The Social Life of Tsotel." Asian Medicine 8, no. 1 (September 17, 2013): 120–52. http://dx.doi.org/10.1163/15734218-12341287.
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No other compound in Tibetan medical pharmacology seems to be as fascinating, controversial, and enigmatic astsotel(btso thal, lit. ‘cooked ash’), the processed mercury sulphide ash that provides the base material of many of the popular Tibetan ‘precious pills’ (rin chen ril bu). The compound contains—apart from numerous herbs and other ingredients—eight metals and eight rock components.Tsotelpractices, which can be traced back to the thirteenth century in Tibet, are considered the pinnacle of Tibetan pharmacology. The commercial value oftsotelgives it a strong economic and social life of its own. This paper analyses the social life oftsotelfrom an anthropological perspective and sketches key aspects oftsotel’s biography, which in one way or the other are linked to medical, political, and religious perceptions of mercury:tsotelevents with their political and institutional agendas; the value oftsotelas a medical, religious, and political commodity; safety and toxicity debates; andtsotel’s religious and political efficacy. I argue that the social life oftsotelis increasingly linked to perceptions of toxicity and safety because of its chief ingredient, mercury, being contested in a globalised arena of tightened international regulations as well as the recent attention given to heavy metal toxicity issues in Asian medicines. Also, several fundamental misconceptions of the substance of mercury itself, its processed form of mercury sulphide, and of the contamination of herbal ingredients with heavy metals will be highlighted. Examples are based on ethnographic fieldwork with Tibetan medical practitioners and pharmacologists in India and Nepal.
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Thomson, Andrew, and Amanda M. E. Thomson. "Metallica the state/Metallica the war machine: A Deleuzoguattarian analysis of the world’s biggest metal band." Metal Music Studies 8, no. 3 (September 1, 2022): 381–400. http://dx.doi.org/10.1386/mms_00086_1.
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Metallica has offered a diverse catalogue of music and breadth of performance over their careers. As a band occupying an integral cultural placement as measured by both level of fame and influential import, many academic inroads have been opened to their work, career and music. These lines of inquiry, along with more general lines of inquiry into the genre of heavy metal itself, frequently position Metallica as the unofficial ambassadors of the music. However, despite the depth and breadth of research devoted to these areas, an underdeveloped opening exists when it comes to the potential parallels and connections between the music and actions of Metallica and the philosophical works of Gilles Deleuze and Felix Guattari, specifically their notions of the state and the nomadic war machine. These theories serve as the basis of exploration in this research and provide new considerations and perspectives of both the career of Metallica and the larger implications to the study of popular music. The relations between Deleuze and Guattari and popular music offer many connections and examples, but the work of Metallica was selected as a representation of all of these connections as they are the ideal band from which to launch and develop these notions. Metallica is a group with clear distinctive phases to their career that fall within the concepts of the war machine (1981–91) and the state (1991–2008). While Metallica is not the only example of a band that falls into these dichotomous categorizations, they offer the best opportunity to define and clarify the connections to the ideas of Deleuze and Guattari. This can then be applied to other bands, genres of music and aspects of popular culture. Metallica is symbolic of this undertheorized connection to the works of Deleuze and Guattari. While these theoretical connections to the ideas of Deleuze and Guattari may not serve as the final piece to a full comprehension of the complexities of Metallica’s controversial career, they offer insights and open nascent pathways towards further analysis of the band. This is important because they have existed both on the fringes of marginalization and as a significant part of the discourse of popular culture.
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Epstein, Jonathon S., David J. Pratto, and James K. Skipper. "Teenagers, behavioral problems, and preferences for heavy metal and rap music: A case study of a southern middle school." Deviant Behavior 11, no. 4 (October 1990): 381–94. http://dx.doi.org/10.1080/01639625.1990.9967860.
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Bjurström, Erling. "Reviews : DeenaWeinstein: Heavy metal. A cultural sociology. New York: Lexington Books, 1991. Robert Walser: Running with the devil. Power, gender and madness in heavy metal music. Hanover & London:Weslyan University Press, 1993." YOUNG 3, no. 4 (November 1995): 74–76. http://dx.doi.org/10.1177/110330889500300407.
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Thomson, Andrew. "Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject." Metal Music Studies 7, no. 1 (March 1, 2021): 43–60. http://dx.doi.org/10.1386/mms_00031_1.
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Satan has long served as the ultimate evil, the world’s primary scapegoat. The Devil’s role in music, especially extreme music and heavy metal, has been to shock, terrify and enrage. But what if the imagery and ideology of Satan is used to combat an immoral societal evil? Is it then possible that the radical evil could itself become a force for good? This article intends to examine the music and philosophy of three modern bands, dubbed The New Satanists: Ghost, Twin Temple and Zeal & Ardor. Each band uses varying degrees of satanic influence to raise awareness of their perceived objectionable and abject issues in society: a harsh and unjust patriarchy, the Christian conversions and role of religion during the era of American slavery and suppression of individuality from the Catholic Church. Through the examination of these bands, social issues and Jean Baudrillard’s concept of symbolic evil, this article will examine theories of traditional evil potentially becoming a force for good when it combats the moral sickness existent in society. An alternate perspective – that of Satan as a liberator – could serve as a cure for a gamut of ills.
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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.
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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Kurapov, Anton, and Mykhailo Kandykin. "CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (12) (2020): 52–56. http://dx.doi.org/10.17721/bsp.2020.2(12).9.
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This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.
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Singh, Shubhi, Akanksha Sharma, and Rishabha Malviya. "Industrial Wastewater: Health Concern and Treatment Strategies." Open Biology Journal 9, no. 1 (February 2, 2021): 1–10. http://dx.doi.org/10.2174/1874196702109010001.
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Water is a basic need for the functioning of all life forms that exist on earth. However, current water resources are being polluted by anthropogenic sources, which include social unit, as well as agricultural and industrial waste. People all over the world have concerns about the impact of effluent pollution on the atmosphere, which is increasing day by day. It is hard to purify wastewater before it flows into water reservoirs. Hence, the treatment of wastewater remains an essential need before it is allowed to enter natural water streams. Wastewater treatment is relatively a modern practice. This review will particularly discuss the ways of heavy metal ion removal from wastewater. The ultimate purpose of wastewater management is to improve the health of human and environmental aspects.
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Skorupa, Angelika, Małgorzata Worwąg, and Mariusz Kowalczyk. "Coffee Industry and Ways of Using By-Products as Bioadsorbents for Removal of Pollutants." Water 15, no. 1 (December 29, 2022): 112. http://dx.doi.org/10.3390/w15010112.
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As a result of anthropological activities, various pollutants, for example heavy metals, enter the environment in significant quantities. They have the potential to accumulate in living organisms and are not biodegradable in the environment. This poses a major threat to the health and life of living organisms and the environment. Therefore, the search for effective technologies to reduce anthropic pollutants in the environment is so important. Currently, membrane techniques, chemical precipitation, electrolysis, coagulation, ion exchange and adsorption, among others, are used to remove heavy metal ions. The most versatile method is adsorption on adsorbents. It is a relatively simple method, but very expensive. This prompts a constant search for new, effective and inexpensive adsorbents. Coffee is one of the most important foodstuffs and agricultural commodities in the world. From the point of view of the circular economy, by-products from the processing of coffee beans have become a valuable raw material in other areas of life. An important way to manage waste from the coffee bean processing industry is to produce adsorbents using it. There are data from laboratory studies indicating that it is possible to produce effective and low-cost adsorbents using by-products from the agro-food industry to remove pollutants from the aquatic environment and wastewater. Laboratory studies prove the high efficiency of heavy metal removal when using coffee-processing waste as adsorbents. However, data from real-world studies are still lacking. In addition, there is a lack of data from analyses on the impact of alternative adsorbents on economic, environmental and social aspects.
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Marino, Stefano. "Writing Songs after Auschwitz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017): 26–41. http://dx.doi.org/10.28937/1000107634.
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Der Beitrag beginnt mit Adornos provokanter Aussage »Nach Ausschwitz ein Gedicht zu schreiben, ist barbarisch« und fragt, ob Kunst im Zeitalter der Völker- morde überhaupt noch möglich ist. Im Anschluss untersuche ich Adornos Begriff des Engagements in der Kunst, der ja eng mit dieser Frage verbunden ist, und die Bedeutung von »Auschwitz« in seiner Philosophie. Adornos Vorstellung von »wahrer« Kunst (d. h. Kunst mit einem relevanten »Wahrheitsgehalt«) führt dazu, den Gegenbegriff »falsche« oder »unwahre« Kunst, insbesondere Massenkultur und Popmusik, zu untersuchen. Adorno hätte es wahrscheinlich als eine Art Blasphemie angesehen, über Themen wie den Völkermord Pop- oder Rock-Songs zu schreiben und aufzuführen, aber das hier vertretene Argument ist, dass seine diesbezügliche Meinung auf Vorurteilen beruht, die seine Kunst- und Musikphilosophie negativ beeinflussen. Die Lieder über den Armenischen Völkermord, die von der Heavy Metal-Band System of a Down geschrieben und aufgeführt wurden, dienen dem Autor als ein Beispiel, das ein kritisches Überdenken einiger Aspekte von Adornos Ästhetik fördern soll. In this paper I start with Adorno’s famous and provocative statement “To write poetry after Auschwitz is barbaric”, aimed at asking whether art was still possible in the age of genocides. Then, I take into examination Adorno’s concept of commitment in art – which is closely related to these questions - and the meaning itself of the notion of “Auschwitz” in Adorno’s philosophy. Analyzing what Adorno called “true” art (i.e. art provided with a relevant “truth content”) leads to take into consideration what he understood vice-versa as false or untrue art, in particular mass culture and popular music. Adorno would have probably considered as a sort of blasphemy or heresy the idea itself to write and perform pop-rock songs about such subjects as genocide, but I argue that his views rely on some prejudices that negatively condition his philosophy of art and especially of music. The songs on the Armenian genocide written and performed by the heavy metal band System of a Down serve here as a profitable example that may be of help to foster a critical rethinking of some aspects of Adorno’s aesthetics.
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Braverman, V. Ya. "ON THE REPLACEMENT OF FOSSIL COAL IN LOCAL SOLID FUEL BOILERS." Energy Technologies & Resource Saving, no. 1 (March 20, 2019): 7–16. http://dx.doi.org/10.33070/etars.1.2019.01.
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The paper substantiates the need to replace fossil coal in local solid fuel boilers by biocoal produced from various types of agricultural waste. Selection of the best available technology for biocoal production should be based on an integrated assessment including economic, environmental and social aspects. It is noted that direct combustion of agricultural waste does not meet environmental safety standards and also requires significant costs for modernization of existing boiler equipment. It is proposed to produce biocoal from agricultural waste using modern methods of thermochemical treatment — torrefaction and carbonization. End-products of biomass torrefaction — biocoal pellets or briquettes — have high calorific value, low sulfur and heavy metal contents, and low nitrogen oxide emissions. Hydrothermal carbonization is currently the most advanced biomass processing technology. It completely prevents pollution and has a number of significant advantages over other methods of biomass treatment. These advantages make it possible to consider hydrothermal carbonization to be the best available technology for the production of biochar, liquid biofuel and other products from non-food biomass. Bibl. 15, Fig. 2, Tab. 1.
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Pimentel, Carlos Eduardo, Valdiney Veloso Gouveia, and Tatiana Cristina Vasconcelos. "Preferência musical, atitudes e comportamentos anti-sociais entre estudantes adolescentes: um estudo correlacional." Estudos de Psicologia (Campinas) 22, no. 4 (December 2005): 403–13. http://dx.doi.org/10.1590/s0103-166x2005000400008.
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Considerando que a preferência musical é pouco estudada para compreensão do comportamento anti-social, pretenderam-se conhecer as relações que esse construto guarda com os comportamentos desviantes, tendo em conta também as atitudes frente ao uso de maconha. Contou-se com uma amostra de 548 estudantes do ensino médio de escolas públicas (46,4%) e privadas (53,6%), sendo a maioria do sexo feminino (54,9%). Os participantes responderam à Escala de Preferência Musical, Escala de Atitudes frente ao Uso de Maconha e Escala de Condutas Anti-sociais e Delitivas, além de perguntas de caráter sociodemográfico. Os resultados indicaram que a preferência por estilos musicais anticonvencionais (heavy metal e rap) se correlacionou diretamente com as atitudes favoráveis frente ao uso de maconha e com os comportamentos anti-sociais e delitivos. Por outro lado, a preferência pelos estilos convencionais (pop music e música religiosa) apresentou um padrão de correlação inverso com essas variáveis. Foram observadas diferenças na preferência musical, nas atitudes frente ao uso de maconha e nos comportamentos anti-sociais e delitivos em função do sexo, tendo as mulheres se ajustado mais aos padrões convencionais vigentes. Esses resultados são consistentes com os previamente publicados. Conclui-se, todavia, que existe ainda um longo caminho a se explorar para que se possa oferecer uma explicação definitiva sobre a influência das preferências musicais.
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Muliana, Yosi, and Herlinda Mansyur. "KOREOGRAFI TARI URAKLAH SIMPUAH DI SANGGAR TAK KONDAI NAGARI PASIR TALANG KECAMATAN SUNGAI PAGU KABUPATEN SOLOK SELATAN." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 157. http://dx.doi.org/10.24036/jsu.v9i1.109566.
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This is a descriptive qualitative research using a descriptive analysis method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing instruments and cellphones. The data used where primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results of this study show that the Uraklah Simpuah Dance is cultivated from social condition which is not in accordance with the customs in the village. The situation meant isgetting around done by Minangkabau women. In the form aspect, there is a floor design used in Uraklah Simpuah dance. It is a straight floor design which is lined and curved in a circle. It uses large group composition (unison). The music instrument used in this dance is a drum namely gandang tambua. In addition, it uses the distinctive strains of songs to accompany the dance.The costume worn is a basic black velvet shirt paired with songket and a red to orange head cover. This dance also uses metal plates and resins as the sounds. Thus, it is concluded that the Uraklah Simpuah dance is a traditional dance which already has choreographic aspects so that it can be researched using choreography.Keywords: Choreography, Uraklah Simpuah Dance, Tak Kondai Studio
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Bomfim, Marcela Rebouças, Jorge Antonio Gonzaga Santos, Oldair Vinhas Costa, Xosé Luis Otero, Geraldo da Silva Vilas Boas, Valdinei da Silva Capelão, Edson de Souza dos Santos, and Paulo Gabriel Soledade Nacif. "Genesis, Characterization, and Classification of Mangrove Soils in the Subaé River Basin, Bahia, Brazil." Revista Brasileira de Ciência do Solo 39, no. 5 (October 2015): 1247–60. http://dx.doi.org/10.1590/01000683rbcs20140555.
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ABSTRACT Preservation of mangroves, a very significant ecosystem from a social, economic, and environmental viewpoint, requires knowledge on soil composition, genesis, morphology, and classification. These aspects are of paramount importance to understand the dynamics of sustainability and preservation of this natural resource. In this study mangrove soils in the Subaé river basin were described and classified and inorganic waste concentrations evaluated. Seven pedons of mangrove soil were chosen, five under fluvial influence and two under marine influence and analyzed for morphology. Samples of horizons and layers were collected for physical and chemical analyses, including heavy metals (Pb, Cd, Mn, Zn, and Fe). The moist soils were suboxidic, with Eh values below 350 mV. The pH level of the pedons under fluvial influence ranged from moderately acid to alkaline, while the pH in pedons under marine influence was around 7.0 throughout the profile. The concentration of cations in the sorting complex for all pedons, independent of fluvial or marine influence, indicated the following order: Na+>Mg2+>Ca2+>K+. Mangrove soils from the Subaé river basin under fluvial and marine influence had different morphological, physical, and chemical characteristics. The highest Pb and Cd concentrations were found in the pedons under fluvial influence, perhaps due to their closeness to the mining company Plumbum, while the concentrations in pedon P7 were lowest, due to greater distance from the factory. For containing at least one metal above the reference levels established by the National Oceanic and Atmospheric Administration (United States Environmental Protection Agency), the pedons were classified as potentially toxic. The soils were classified as Gleissolos Tiomórficos Órticos (sálicos) sódico neofluvissólico in according to the Brazilian Soil Classification System, indicating potential toxicity and very poor drainage, except for pedon P7, which was classified in the same subgroup as the others, but different in that the metal concentrations met acceptable standards.
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Maurya, Anand Prakash, Jina Rajkumari, Amitabha Bhattacharjee, and Piyush Pandey. "Development, spread and persistence of antibiotic resistance genes (ARGs) in the soil microbiomes through co-selection." Reviews on Environmental Health 35, no. 4 (November 18, 2020): 371–78. http://dx.doi.org/10.1515/reveh-2020-0035.
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AbstractBacterial pathogens resistant to multiple antibiotics are emergent threat to the public health which may evolve in the environment due to the co-selection of antibiotic resistance, driven by poly aromatic hydrocarbons (PAHs) and/or heavy metal contaminations. The co-selection of antibiotic resistance (AMR) evolves through the co-resistance or cross-resistance, or co-regulatory mechanisms, present in bacteria. The persistent toxic contaminants impose widespread pressure in both clinical and environmental setting, and may potentially cause the maintenance and spread of antibiotic resistance genes (ARGs). In the past few years, due to exponential increase of AMR, numerous drugs are now no longer effective to treat infectious diseases, especially in cases of bacterial infections. In this mini-review, we have described the role of co-resistance and cross-resistance as main sources for co-selection of ARGs; while other co-regulatory mechanisms are also involved with cross-resistance that regulates multiple ARGs. However, co-factors also support selections, which results in development and evolution of ARGs in absence of antibiotic pressure. Efflux pumps present on the same mobile genetic elements, possibly due to the function of Class 1 integrons (Int1), may increase the presence of ARGs into the environment, which further is promptly changed as per environmental conditions. This review also signifies that mutation plays important role in the expansion of ARGs due to presence of diverse types of anthropogenic pollutants, which results in overexpression of efflux pump with higher bacterial fitness cost; and these situations result in acquisition of resistant genes. The future aspects of co-selection with involvement of systems biology, synthetic biology and gene network approaches have also been discussed.
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Harish, G., and M. Shivashankar. "Physiochemical Characterization of Herbo-Metallic NanoMedicine-Abhrak Bhasma by Ayurvedic and Novel Techniques." Advanced Science Letters 24, no. 8 (August 1, 2018): 5907–14. http://dx.doi.org/10.1166/asl.2018.12218.
Full textAbstract:
The Ideal Physicochemical nature of the Bhasma preparation in the Indian System of medicine (ISM) is not as clear required as per the regulatory conditions, hence the analytical studies are one of the significant parts of drug standardization in ISM, such as Siddha, Ayurveda and Unani. The Metallic medicine used in the treatment of disease in human need scientific community for its Authentication, potential development and regulatory aspects. The Present investigation deals with the Physio-chemical evaluation of the ayurvedic medicine Abhrak bhasma by various traditional and novel techniques. In ayurvedic procedure the nature of the bhasmahad been studied by various techniques to determine the quantitative and qualitative level for standardization purpose. In the Present study the Bhasma scrutinized for Physical nature by Varna (Colour), Varitara (Floating), Rekhapurva (furrow filling), Anjana sannibha (softness), Nischandra (Lusterless), Sukshmatva (fineness) and novel techniques such as Nature, Hardness, Solubility, Ash (Acid insoluble), LOD, Assay for determination of percentage silicon dioxide, Heavy metals and arsenic content. The chemical nature is determined by Amla pareeksha (bitter taste), Gatarasatva (absence of taste), Aksharatwa (absence of alkaline taste), Nirdhuma (absence of smoke) and by novel technique such as SEM, Raman spectroscopy, NMR and EDAX. The Abhrak bhasma fulfilled the traditional and novel standardization technique and confirm the presence of Metal oxides of Si, Ca, Fe, Al. NMR studies show the presence of characteristic peak. Therefore the quality of the Abhrak bhasma was customary by both traditional and novel standardization technique.