78 results on '"M, Berger"'
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2. Appendix 1: Heavy Metal Canons
3. Title Page, Copyright
4. 4. Forging Masculinity: Heavy Metal Sounds and Images of Gender
5. Contents
6. Introduction
7. Cover
8. Acknowledgments
9. Select Bibliography
10. 3. Eruptions: Heavy Metal Appropriations of Classical Virtuosity
11. 2. Beyond the Vocals: Toward the Analysis of Popular Musical Discourses
12. Select Discography
13. Notes
14. 1. Metallurgies: Genre, History, and the Construction of Heavy Metal
15. 5. Can I Play with Madness? Mysticism, Horror, and Postmodern Politics
16. Index
17. About the Authors
18. Appendix 2: Heavy Metal Questionnaire
19. Image Plates
20. Foreword to the 2014 Edition
21. Index
22. Cover
23. Frontmatter
24. 4. The Social Life of Stance and the Politics of Expressive Culture
25. Works Cited
26. Notes
27. 3. Stance and Others, Stance and Lives
28. 1. Locating Stance
29. 2. Structures of Stance in Lived Experience
30. Preface: What Phenomenology Can Do for the Study of Expressive Culture
31. Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture
32. Contents
33. Acknowledgments
34. 11. A Critical Dialogue on the Politics of the Metal Underground: Race, Class, and Consequence
35. Glossary
36. 12. Conclusion: The Scope of Ethnomusicology
37. Selected Bibliography
38. Index
39. Notes
40. 9. Conclusions: Perceptual Practice and Social Context
41. 5. The Organization of Attention in Two Jazz Scenes
42. Part Three. Music, Experience, and Society: Death Metal and Deindustrialization in an American City
43. 8. Tonality, Temporality, and the Perceptual Subject (2): Dann Saladin and The Final Silencing
44. 6. The Organization of Attention in the Rock and Metal Scenes
45. 3. Heavy Metal in Akron, Ohio: Winter's Bane and Sin-Eater
46. 10. Death Metal Perspectives: Affect, Purpose, and the Social Life of Music
47. Part Two. The Organization of Musical Experience and the Practice of Perception
48. 7. Tonality, Temporality, and the Intending Subject (I): Chris Ozimek and Turn for the Worse
49. 2. Commercial Hard Rock in Cleveland, Ohio: Dia Pason and Max Panic
50. Part One. The Ethnography of Musical Practice
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