My Patreon, where you can support the channel, get your name in the credits, get all the diagrams I make for these, and give input for my rapid fire riff videos: www.patreon.com/metalmusictheory
Bell Witch's Patreon: [ Ссылка ]
This album: [ Ссылка ]
My music: www.bandcamp.com/floridekstasis
My website, which has all my videos and academic work nicely organized, as well as my transcription of bass and vocals for this whole album: www.calderhannan.com
The online home of my article about Bell Witch (though if you want to read it and don’t have institutional access, send me an email!):
[ Ссылка ]
About Mariusz Lewandowski’s album covers:
[ Ссылка ]
Phil Ewell's article: [ Ссылка ]
As a slight aside about this article, I should mention that a lot of the forces he mentions serve to exclude metal from mainstream music theory discussion (though me and several very smart people who I've learned from are doing our darndest to change this) as well as music by creators of color, if you need another reason why the current state of affairs is less than ideal.
A nice gloss of the nonsense with the Journal of Schenkerian Studies:
[ Ссылка ]
And, finally, a few sources that take seriously the complicated question of how music theory methodology can relate to race and racism (outside of the primarily pragmatic concerns about institutional structures that Ewell gets into):
Agawu, Kofi. 2006. “Structural Analysis or Cultural Analysis? Competing Perspectives on the ‘Standard Pattern’ of West African Rhythm.” /Journal of the American Musicological Society/ 59 (1): 1–46.
Perchard, Tom. 2015. “New Riffs on the Old Mind-Body Blues: ‘Black Rhythm,’ ‘White Logic,’ and Music Theory in the Twenty-First Century.” /Journal of the Society for American Music/9 (3): 321–48.
Scherzinger, Martin. 2010. “Temporal Geometries of an African Music: A Preliminary Sketch,” /Music Theory Online/16 (4).
