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Heavy metal music, texts, and nation...

Hoad, Catherine.

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Heavy metal music, texts, and nationhood = (re)sounding whiteness /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Heavy metal music, texts, and nationhood/ by Catherine Hoad.
Reminder of title:	(re)sounding whiteness /
Author:	Hoad, Catherine.
Published:	Cham :Springer International Publishing : : 2021.,
Description:	vii, 260 p. :ill., digital ;24 cm.
[NT 15003449]:	1.Introduction -- 2. Sound of White Noise -- 3.Norwegian black and Viking metal scenes -- 4.Territories of Whiteness in Afrikaans metal -- 5. Normophilic Whiteness and Banal Nationalism in Australian extreme metal -- 6.(Re)sounding, (re)sealing: Translocal Terrains of Whiteness across Norway, South Africa and Australia -- 7.Conclusion: Beyond the Pale.
Contained By:	Springer Nature eBook
Subject:	Heavy metal (Music) - Social aspects. -
Online resource:	https://doi.org/10.1007/978-3-030-67619-3
ISBN:	9783030676193

Heavy metal music, texts, and nationhood = (re)sounding whiteness /
Hoad, Catherine.

Heavy metal music, texts, and nationhood(re)sounding whiteness /[electronic resource] :by Catherine Hoad. - Cham :Springer International Publishing :2021. - vii, 260 p. :ill., digital ;24 cm. - Leisure Studies in a Global Era. - Leisure Studies in a Global Era..

1.Introduction -- 2. Sound of White Noise -- 3.Norwegian black and Viking metal scenes -- 4.Territories of Whiteness in Afrikaans metal -- 5. Normophilic Whiteness and Banal Nationalism in Australian extreme metal -- 6.(Re)sounding, (re)sealing: Translocal Terrains of Whiteness across Norway, South Africa and Australia -- 7.Conclusion: Beyond the Pale.

This book addresses how whiteness is represented in heavy metal scenes and practices, both as a site of academic inquiry and force of cultural significance. The author argues that whiteness, and more specifically white masculinity, has been given normative value which obscures the contributions of women and people of colour, and affirms the exclusory understandings of 'belonging' which have featured in the metal scenes of Norway, South Africa, and Australia. Utilizing critical discourse analysis and critical textual analysis of musical texts, promotional material, and participant-based observation ethnographies, it explores how the texts, discourses, and practices produced and articulated by metal scene members and scholars alike have presented heavy metal as a white, masculine pastime, yet also considers the vital work done by scene members to confront expressions of exclusory misogyny and racism when they emerge in metal scenes. The book will be of interest to researchers and scholars in the fields of metal music studies, leisure studies, sociology of culture and sociology of racism. Catherine Hoad is Senior Lecturer in Critical Popular Music Studies, Massey University, Wellington, New Zealand.

ISBN: 9783030676193

Standard No.: 10.1007/978-3-030-67619-3doiSubjects--Topical Terms:

2078870
Heavy metal (Music)
--Social aspects.

LC Class. No.: ML3918.R63 / H63 2021

Dewey Class. No.: 306.48426

Heavy metal music, texts, and nationhood = (re)sounding whiteness /
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505 0 $a 1.Introduction -- 2. Sound of White Noise -- 3.Norwegian black and Viking metal scenes -- 4.Territories of Whiteness in Afrikaans metal -- 5. Normophilic Whiteness and Banal Nationalism in Australian extreme metal -- 6.(Re)sounding, (re)sealing: Translocal Terrains of Whiteness across Norway, South Africa and Australia -- 7.Conclusion: Beyond the Pale.
520 $a This book addresses how whiteness is represented in heavy metal scenes and practices, both as a site of academic inquiry and force of cultural significance. The author argues that whiteness, and more specifically white masculinity, has been given normative value which obscures the contributions of women and people of colour, and affirms the exclusory understandings of 'belonging' which have featured in the metal scenes of Norway, South Africa, and Australia. Utilizing critical discourse analysis and critical textual analysis of musical texts, promotional material, and participant-based observation ethnographies, it explores how the texts, discourses, and practices produced and articulated by metal scene members and scholars alike have presented heavy metal as a white, masculine pastime, yet also considers the vital work done by scene members to confront expressions of exclusory misogyny and racism when they emerge in metal scenes. The book will be of interest to researchers and scholars in the fields of metal music studies, leisure studies, sociology of culture and sociology of racism. Catherine Hoad is Senior Lecturer in Critical Popular Music Studies, Massey University, Wellington, New Zealand.
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