Music and violence

There is a tendency to think of music as a harmonious force in the world, a notion that is scrutinized, challenged, and revised in this collection of nine essays bookended by the editors’ introduction and an afterword by J. Martin Daughtry. We come away with a feel for “music’s richness as a medium for understanding violence” (1, editors’ introduction) and with “a more comprehensive understanding of the ways musical voices resonate through, interact with, and support violent acts” (258, Daughtry’s afterword). The nine intervening essays offer a diverse collection of case studies, linked rather loosely by the theme of violence lurking in the vicinity or background of musical production. These essays are helpfully grouped into three parts: Objective and Subjective Violences; Violence and Reconciliation; and Musical Memorializations of Violent Pasts

This essay seeks to illuminate Kleist's Die heilige Cäcilie in light of the New Music and of the historical potential that reverberates through the scene in which four Dutch zealots madly bellow the same oratorio whose opening strains foil their attempt to destroy a church. Routed through song itself, iconoclasm does the work of history, putting the lie to the harmonia mundi, wh ich the raucous singing both proclaims and shatters.

The article concerns the wartime history of Peru and examines both topdown and bottom-up practices of accounting for the internal conflict of 1980-2000, which were initiated in the background of the warfare. The aim of the article is to discuss the connections I observed between the phenomena referred to in the title: return migrations of the inhabitants of the central-southern province, their search for the victims of forced disappearances, as well as the exhumation challenges emerging since Joanna Pietraszczyk-Sękowska the beginning of the war. In other words, the text constitutes an attempt to contextualise the above-mentioned issues given competing versions of memory about political violence in the Andes, with particular focus on their top-down determinants in the Fujimorism era.

Two thirteenth-century vernacular motets copied side by side in the Montpellier Codex tell a story of sin and repentance. In one a shepherd rapes a maiden, while in the other a penitent begs the Virgin Mary to forgive a great sin. The music of these two motets is nearly identical: one is a contrafactum of the other, and represents a conscious narrative continuation of the first. This article offers a close reading of this unusual pair of motets, interpreting their texts and polyphonic musical settings in the context of other motets, the pastourelle song genre, their liturgical tenor, the technique of contrafacture, the chanson pieuse, and the intertextual refrain repertory. The two motets constitute a medieval exploration of the boundary between seduction and rape, and the spiritual consequences of its transgression. Having placed the story told by the motets in the context of medieval attitudes toward rape in both legal and pedagogical spheres, I close by reflecting on the ethics of listening to artistic representations of violence for both medieval and modern audiences.

Since the 1980s there has been a steady increase in the investigation of dance as a site of identity-construction and as a source of non-verbal knowledge. Nevertheless, very little research considers dance as a site of collective memory. This thesis responds to the oversight and argues that dance is a significant site of collective memory-making, especially in the Andes where dance remains central to social, cultural and political life. This thesis examines the embodied expression of dance as collective remembering and forgetting in the Peruvian department of Ayacucho, in the central-southern Andes. While the state, human rights groups and various NGOs continue to struggle over the memorialisation of the recent political violence (1980-2000), debating what should be remembered and how, the people of Ayacucho dance to remember and to forget. Ayacuchanos are now salvaging dances and fiestas that were lost or forgotten during the years of conflict. Although the dances of Ayacucho do not retain overt references to the twenty years of internal conflict, the violence is the backdrop which informs the need to dance. This thesis examines the corporeal expressions of dance to reveal how dance is used to communicate and to remind Ayacuchanos of a pre-violent past and thus, to forget the recent violence. It uses embodied research techniques to reveal the dance as a deep embodiment of the broader concerns of the people of Ayacucho. It argues that dance plays a significant role in the collective memory-making practices of Ayacuchanos as they search for a history that makes sense of what happened. Declaration This thesis contains no material which has been accepted for the award to the candidate of any other degree or diploma. To the best of my knowledge it contains no material previously published or written by another person except where due reference is made in the text. This text has been proofread and copy-edited by Mary-Jo O'Rourke, accredited Editor with the Institute of Professional Editors, 28 March 2014. The editing detected and corrected errors and inconsistencies in the text including accepted spelling, punctuation, grammar and usage and ensured accuracy and completeness of references. It did not change the substantive content of the thesis.

During the Northern Ireland conflict (1968-1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how 'The Ballad of Billy McFadzean' is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.

This volume, focused on how women participate in, suffer from, and are subtly implicated in warfare raises the still larger questions of how and when women enter history, memory, and representation. The individual essays, dealing with 19th and mostly 20th century German literature, social history, art history, and cinema embody all the complexities and ambiguities of the title "Conquering Women." Women as the mothers of current and future generations of soldiers; women as combatants and as rape victims; women organizing against war; and violence against women as both a weapon of war and as the justification for violent revenge are all represented in this collection of original essays by rising new scholars of feminist theory and German cultural studies.

In this study, we examine what influences public attitudes toward torture and whether the public's attitude affects or is affected by shifts in presidential policy on torture. We employed ten surveys over five years that looked at approval of torture, as well as two surveys that asked questions about specific methods. We find that public support for torture has risen mildly, but a resilient ambivalence best describes the public's attitude. The public was not affected by the change in government from an administration that strongly supported enhanced interrogation techniques to one that opposed them, and labeled them torture. Public opinion also seemed unaffected by the increased criticism of torture generally. Large majorities oppose most specific methods of interrogation, while at times a majority supports torture in general. We also find support for torture and specific methods is affected most strongly by partisanship and ideology.

The Moga police registered an FIR against Punjabi singer Sippy Gill in March 2020 for allegedly promoting violence and weapons in his track 'Gundagardi'. Punjab's Aam Aadmi Party (AAP) government on Sunday ordered a complete ban on public display of weapons and songs glorifying violence. In a communication to the Director General of Police, Commissioners of Police, District Magistrates and Senior Superintendents of Police, the Punjab Home Department also directed a review of all firearm licences issued in the state so far within three months. The Punjab government has been under Opposition pressure over "worsening" law and order. Songs celebrating the gun culture are very popular in Punjab, and concerns have been raised earlier too over their influence on society. Thus, the AAP government is not the first to initiate action against them. Here is a brief history of songs glorifying violence in Punjab, and the steps announced to curb them.

Desde tiempos prehispanicos Cajamarca ha sido una importante zona agropecuaria. Pero en las decadas recientes se ha convertido en una zona de agudas convulsiones sociales. Durante el gobierno anticonstitucional de Alberto Fujimori (1990-2002), el estado permitio el ingreso de trasnacionales mineras para la extraccion de oro a gran escala. Estas han danado considerablemente el eco-sistema, la salud y el bienestar de la poblacion local, creando descontento social y protestas. En ese contexto, el estado y la mineria han impulsado una satanizacion de Cajamarca como un espacio cultural atrasado, reacio a las inversiones y al desarrollo. El presente articulo explora el rol que la musica viene jugando en la representacion de las protestas contra la mineria y las actividades musicales y etnomusicologicas se complementan para contrarrestar una imagen demonizada por quienes defienden la inversion minera.

This project started ten years ago, almost to the day, when I wandered through Ayacucho's central plaza on the late afternoon prior to the Peruvian Truth Commission's arrival the next day to submit their Final Report. Colorful carpets (alfombras) made by schoolchildren and local groups from flower petals, chalk, and other materials surrounded the plaza, posterboards displayed images of the conflict and visitors' comments about them, in the corner stood an enormous stage in a style of a wooden triptych retablo. Nearby, an exhibition displayed some of the entries for an art contest on memories of the internal conflict. On this day, and those that followed, I was struck by how visually rich the conflict was and its aftermath as Peruvians engaged with their recent fractured past. As an historian, I wondered what stories and memories emerged from these representations. A few of us were pondering similar questions at the time, Olga González, Jonathan Ritter, María Eugenia (Makena) Ulfe, and Víctor Vich, among others. Soon it became clear that the range and array needed a cooperative and collective approach to begin to understand the myriad of cultural responses to the conflict. This edited volume is the result. However, the work is far from complete. A whole new generation of Peruvians and Peruvianists are continuing to ask about the cultural impact and means of broaching Peru's conflict. The intellectual origins of this book also trace back to a workshop held on Robben Island, organized by the University of Wisconsin-Madison's Legacies of Authoritarianism (loa) Research Circle. With its infamous history as a former leper colony, holding spot for immigrants, and later apartheid prison, the island has since transformed into a memory museum and education center. Here in June 2000, activists, artists, practitioners, former and future truth commissioners, academics, journalists, and students from around the world came together to reflect on the dark heritage of authoritarian rule. Over the course of those few x | acknowledgments days, both art as a medium for truth-telling and the creative practices necessary for transition away from authoritarian regimes came to the fore. One result of our conversations was a book that tried to visually lay out the possibilities of artistic engagement with difficult pasts, The Art of Truth-Telling about Authoritarian Rule. I thank Leigh A. Payne, Ksenija Bilbija, and Jo Ellen Fair for this experience, and Louis Bickford as well for bringing me into the larger project. Another root of this book lay deeply in the Social Sciences Research Council (ssrc) training and research project led by the faculty scholars Elizabeth Jelin, Carlos Iván Degregori, Eric Hershberg, Steve J. Stern, among others. While I was only indirectly involved in this ssrc project (via the loa Research Circle) and only one contributor to this book, Ponciano del Pino, had an official role in it, it created a whole generation of Latin and North American scholars dedicated to studying the aftermath of dictatorships in Peru and the Southern Cone. This ssrc project inflects this book, and many of us have benefited from the energy and dynamism that continues to be felt in the region. Many, many people have contributed to this book in conversation and public presentations (in particular at a panel on this topic held at Latin American Studies Association meeting in Montreal in 2007 and at the 2008 conference in Lima coorganized by the iep and idehpucp five years after the Peruvian Truth and Reconciliation Commission). Just to name only some people who have participated in discussions leading to this book:

The construction of collective memory with regard to Conflicto Armado Interno (Internal Armed Conflict CAI)-violence that occurred in Per u between 1980 and 2000-is still a challenge that produces disputes and tension. It has been studied mostly by social scientists, from the point of view of 'memory' studies. Despite the great explanatory power of Psychology in understanding these type of processes, its contribution has mainly focused on mental health. Education has been the least researched area, despite the role the Truth and Reconciliation Committee attributed to education in schools and universities, in constructing memories about war. In this context, we reflect on the role of Psychology on constructing collective memory in educational settings. Starting from Hallbachs classic theory of collective memory, to contributions from cognitive psychology and post-traumatic growth studies, we analyze two experiences in educational contexts with the purpose of proposing some guidelines for research and intervention.

Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings suggest that while loudness normalisation may help de-escalate the loudness wars, listener preference for hyper-compressed music may be more complex than simply a competitive advantage relating to loudness bias.

Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings sugges...

Desde tiempos prehispanicos Cajamarca ha sido una importante zona agropecuaria. Pero en las decadas recientes se ha convertido en una zona de agudas convulsiones sociales. Durante el gobierno anticonstitucional de Alberto Fujimori (1990-2002), el estado permitio el ingreso de trasnacionales mineras para la extraccion de oro a gran escala. Estas han danado considerablemente el eco-sistema, la salud y el bienestar de la poblacion local, creando descontento social y protestas. En ese contexto, el estado y la mineria han impulsado una satanizacion de Cajamarca como un espacio cultural atrasado, reacio a las inversiones y al desarrollo. El presente articulo explora el rol que la musica viene jugando en la representacion de las protestas contra la mineria y las actividades musicales y etnomusicologicas se complementan para contrarrestar una imagen demonizada por quienes defienden la inversion minera.

Music torture is an important interdisciplinary issue in need of great research, particularly in the wake of the events of 11 September 2001. It is an issue that ties into the broader context of torture, a topic of heated debate in the US-led "War on Terror". Arising from this debate is the concept of "torture-lite", a term that has emerged within political, social and academic discourse. Although using music as torture is not a new phenomenon, its importance as a research topic is heightened within the current political and social climate sensitive to the ethics of torture. Such sensitivities have resulted in certain interrogation methods, one of which is music torture, being loosely categorised as torture-lite. However, this categorisation is fraught with misconceived ideas on the relationship between sound and body, and mitigates the destructive potential of music torture. Thus, I am arguing that music torture is not torture-lite, as the term "torture-lite" trivialises the severity of music torture and favours the continuation of its use. procedures as "torture-lite": methods that are considered "lighter" in punishment and, therefore, a sub-category of torture. It is now popularly accepted that music torture is considered as a torture-lite method of interrogation, one that is, consequently, more "acceptable" within the debate on the ethical nature of torture, and within the terrorstricken context of safeguarding national security. To conveniently categorise music torture as torture-lite is an assumptive generalisation of what music is, an assumption that ignores the potential of sound and its effects on a physiological and psychological level. In other words, the impact of sound on the human body cannot be undermined. This can be best understood through the destructive impact of excessive sound on the auditory complex. Short, explosive sounds that exceed 140dB can sever the connection between the Organ of Corti structure with the basilar membrane of the ear, causing immediate, permanent hearing loss. 3 Similarly, exposure to noise at "relatively high intensity levels (e.g. 85dB or higher) over an extended period of time" causes a pathological metabolic change in the cilia hair cells of the ear, which "will lead to the impairment of internal amplification of the travelling waves of the cochlea". 4 Ultimately, continuous exposure to excessive, intense sound can cause "diminished intellectual capacity, accelerated respiration and heartbeat, hypertension, slowed digestion, neurosis, [and] altered diction". 5 However, it is the impact of excessive sound on the human psyche wherein lies the destructive potential of music as a method of torture. It is the dimension of sound, and music being part of the larger landscape of sound, which brings "into the field of power the dimension of unsound, of frequencies just outside the periphery of human audibility, infrasound and ultrasound, as well as the nonstandard use of popular music, not as a source of pleasure, but for irritation, manipulation, pain, and torture." The symbolic use of sound as a form of territorial delineation has been implemented in the deterrence of loitering in public spaces by certain countries. One can also imagine how such symbolism can be translated from the use of music as a form of religious and political insult to a detainee in a 3

Music torture is an important interdisciplinary issue in need of great research, particularly in the wake of the events of 11 September 2001. It is an issue that ties into the broader context of torture, a topic of heated debate in the US-led "War on Terror". Arising from this debate is the concept of "torture-lite", a term that has emerged within political, social and academic discourse. Although using music as torture is not a new phenomenon, its importance as a research topic is heightened within the current political and social climate sensitive to the ethics of torture. Such sensitivities have resulted in certain interrogation methods, one of which is music torture, being loosely categorised as torture-lite. However, this categorisation is fraught with misconceived ideas on the relationship between sound and body, and mitigates the destructive potential of music torture. Thus, I am arguing that music torture is not torture-lite, as the term "torture-lite" trivialises the severity of music torture and favours the continuation of its use.

Desde tiempos prehispanicos Cajamarca ha sido una importante zona agropecuaria. Pero en las decadas recientes se ha convertido en una zona de agudas convulsiones sociales. Durante el gobierno anticonstitucional de Alberto Fujimori (1990-2002), el estado permitio el ingreso de trasnacionales mineras para la extraccion de oro a gran escala. Estas han danado considerablemente el eco-sistema, la salud y el bienestar de la poblacion local, creando descontento social y protestas. En ese contexto, el estado y la mineria han impulsado una satanizacion de Cajamarca como un espacio cultural atrasado, reacio a las inversiones y al desarrollo. El presente articulo explora el rol que la musica viene jugando en la representacion de las protestas contra la mineria y las actividades musicales y etnomusicologicas se complementan para contrarrestar una imagen demonizada por quienes defienden la inversion minera.

Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings sugges...

Transposition for their support throughout the writing and publication process. Special acknowledgment goes to the musical voices that populate this essay: first and foremost, Yōsuke Yamashita, but also Kiyoshi Awazu, Cole Porter, Ella Fitzgerald, and the many music practitioners and communities mentioned within these pages. The footnotes and list of works cited form a partial acknowledgment of the many scholars I'm grateful to be in conversation with. Given the expansive scope of the essay's theme, it also seems appropriate to acknowledge my debts to the mindbogglingly diverse collection of creatures, plants, habitats, machines, and other enigmatic entities that exist within the most anthropocentric and essentializing of all terms: "nonhuman." "We need to understand the body, not as an organism or entity in itself, but as a system, or series of open-ended systems, functioning within other huge systems it cannot control through which it can access and acquire its abilities and Did Music Cause the End of the World?

In this article, I develop and redirect Julian Henriques’s model of sonic dominance through examination of accounts of acoustic violence and torture involving headphones. Specifically, I show how auditory experience has been weaponized as an intracorporeal phenomenon, with headphones effecting a sense of sounds invading the interior phenomenological space of the head. By analysing reported cases of sonic violence and torture involving headphones through a composite theoretical lens drawn from the fields of music, sound and body studies, I argue that in saturating the head’s perceived interior with sound, perpetrators of violence perform sonic dominance across two interrelated levels: the subjugation of interiorized auditory space via the notion of flooding, in which attention is directed towards the experience of the body as a vessel for sound; and the resulting manipulation of phenomenological head–mind linkages, with emphasis on the head as a ‘space’ for both sound and thought.

Based on first-person accounts of interrogators and former detainees as well as unclassified military documents, this article outlines the variety of ways that "loud music" has been used in the detention camps of the United States' "global war on terror." A survey of practices

This article explores agency as an ability to act and exert power creatively when failure implies literal death. It draws on interviews with an ex-narco and rappers who willingly accept narco-commissions in 2010s Tamaulipas, Mexico, a context where precarity and necropolitical logics prevail. It asserts that many rappers exert power creatively, despite the risks. Rappers shape narco-aesthetics by determining the lyrical and sonic elements of songs; draw on experiences of narco-life to contribute to narco-ethics; and mould narco-masculinities by encouraging listeners to stay firm. It proposes that prevalent discursive Us–Them dichotomies facilitate Othering and stigmatisation of actors in the narco-world, and serve to accentuate narco-power.

Le 22 juin 2019, des hommes en armes menés par un opposant politique font irruption dans la salle de conseil du gouvernement régional Amhara de la République fédérale éthiopienne, tuant plusieurs personnes au cours de ce qui est vite désigné comme un «coup d’Etat manqué». En toile de fond de cet attentat résonnent deux genres musicaux-poétiques, qärärto et fukära. Réduits depuis le début des années 1990 à la sphère des vendettas et conflits villageois, ces genres sont de retour depuis quelques années sur le devant de la scène. Cheminant entre villes et campagnes sous forme audio, vidéo et écrite, ils accompagnent les soulèvements dans les territoires contestés et la construction d’un sentiment d’appartenance ethnique. Cet article pose la question de leur efficacité et des logiques de leur circulation, qui s’ancre dans la longue histoire des luttes de pouvoir régionales. Le récit des semaines qui suivent cet attentat « fratricide » (Amhara contre Amhara) laisse entrevoir les enjeux décisifs de cette circulation: pourquoi agir et avec qui? Comment se décide-t-on en guerre? Et quelle version en donner pour l’histoire?

Extraits audio/vidéo consultables ici : http://www.adem.ch/ce33

During the Northern Ireland conflict (1968-1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how 'The Ballad of Billy McFadzean' is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.

La "Prise de la place" est un rituel qui consiste en l’appropriation de la place centrale de la ville de Cotacachi par les communautés kichwa avoisinantes. Cette appropriation se fait par l’exécution de déplacements sonores, musiqués et dansés qui se caractérisent par une génération de force (fuerza) affectant émotionnellement les praticiens et l’assistance. Dans cet article, l’auteure montre que cette production de force constitue une forme d’affrontement entre communautés rivales qui précède et entraîne parfois des affrontements physiques violents. L’étude de la qualité subversive de ces performances amène également l’auteure à questionner la façon dont ce rituel s’inscrit dans des rapports de forces historiques plus larges et à prendre en compte les liens que ce dernier
entretient avec les mouvements indigènes en Equateur.

https://www.tandfonline.com/doi/full/10.1080/20551940.2020.1746545

Accounts of human trafficking suggest music’s uniquely insidious role for victims forcibly trafficked into strip club-based sex work, wherein music is ubiquitous. In sociological fieldwork, sex workers and trafficking victims testify to various effects of musical sound: against their will, the onset of music commands bodies to perform erotic dance, and songs’ formal and rhythmic features compel forms of movement. In situations of strip club-based trafficking, events of musicalsound therefore amount to coercion – itself defined as a form of sexual violence by the World Health Organization. Comprehending structures of trafficking victims’ abjection requires communicative,semiotic understandings of coercion’s mechanisms, and must resist conflating violence andphysical materiality. Building on J. L. Austin’s theorization of how verbal utterances perform certain kinds of semiotic actions, I argue that musical sound can behave like certain assaultive and coercive speech acts: acts of signaling that command sexual performances from trafficking victims within gross power asymmetries. A discourse analysis of the public forum online “The Ultimate Strip Club List” (TUSCL), which hosts discussions amongst both sex workers and patrons of strip clubs, suggests situations where the entanglement of sound and materiality loses explanatory and emancipatory power to critique music’s injurious capacities.

This essay explores the late engagement of music research with the long-standing yet overlooked association between music, violence and terror. In mapping this new field, it seeks to understand this latency as a disciplinary trauma. It examines music’s integral role in new technologies of terror emerging during the Cold War, the cultural biases that have turned it into an elusive means of torture, and the effects stemming from the overshadowing of its damaging potential. Focusing on the notion of witnessing, it highlights the need for more nuanced soundscapes of detention that explore the entanglement of negative and positive uses of music as they are imposed from above and reclaimed from below. The essay was published in the special volume of "Transposition' titled Sound, Music, Violence,  edited by Luis Velasco-Pufleau.

In this paper I identify and evaluate numerous reasons why torture became common practice during the state counterterrorism campaign in Peru between 1980 and 2000 despite international and domestic legal obligations to protect human rights. I describe common structural conditions, organizational factors, and individual-level explanations often associated with torture practices. I then identify seven logics and motivations behind torture use in counterterrorism campaigns. I describe and analyze actual torture use in Peru using quantitative incident-level data and I provide descriptive statistics concerning variation in the frequency and methods of torture. Finally, I examine specific incidents of torture to illustrate and assess the different logics and motivations for torture. I draw heavily from testimonies collected by Peru's Truth and Reconciliation Commission. I also rely on personal interviews carried out during fieldwork in the Junín and Ayacucho regions of Peru. I find that aggregate torture incidents generally coincide with political developments and shifts in violence levels and that the various state security forces used torture differently. A review of testimonies regarding specific incidents of torture suggests that multiple logics motivate state security forces even for a single incident of torture, complicating academic efforts to formulate a parsimonious causal explanation.

The Routledge International Handbook of Perpetrator Studies traces the growth of an important interdisciplinary field, its foundations, key debates and core concerns, as well as highlighting current and emerging issues and approaches and pointing to new directions for enquiry. With a focus on the perpetrators of mass killings, political violence and genocide, the handbook is concerned with a range of issues relating to the figure of the perpetrator, from questions of definition, typology, and conceptual analysis, to the study of motivations and group dynamics to questions of guilt and responsibility, as well as representation and memory politics. Offering an overview of the field, its essential concepts and approaches, this foundational volume presents contemporary perspectives on longstanding debates and recent contributions to the field that significantly expand the theoretical, temporal, political, and geographical discussion of perpetrators and their representation through literature, film, and art. It points to emerging areas and future trends in the field, thus providing scholars with ideas or encouragement for future research activity. As such, It will appeal to scholars across a range of disciplines, including sociology, anthropology, criminology, philosophy, memory studies, psychology, political science, literary studies, film studies, law, cultural studies and visual art.

This is an entry published in the SAGE Encyclopedia of Music and Culture, edited by Janet Sturman, and addresses the following topics: commemorating war through music, wartime music culture, music as a weapon of war and violence, and negotiating peace and healing through music .

Theorists and musicologists have asked what particular musical works mean, what particular musical objects represent, what they narrate or disclose, and how those meanings got there. Recently, some thinkers have jettisoned music-language parallels in favor of investigating music’s ineffability, its sensuous effects, and the materialities of its performances. However, both routes of inquiry, whether sympathetic to the music-language analogy or not, rest on assumptions about the concept of meaning itself. Both typically ground the music-language analogy in the semantic aspects of language meaning—how language repressents, refers to, or discloses the world. If meaning and semantic representation are conflated, music’s efficacy—which exceeds its representational modalities—becomes, dissatisfyingly, the other of its meanings.

This project challenges the status of representation in conceptions of the music-language analogy, developing an alternative foundation for understanding musical meaning from philosopher J. L. Austin’s concept of “performative utterances.” Austin and other thinkers in a tradition now called “ordinary language philosophy” rejected the view that language meaning is chiefly a matter of how it represents states of affairs or states of mind—its constative dimension. The performative dimension of language, however, names the ways words and sentences are used to accomplish semiotic actions and produce effects. This concept grounds language meaning in the efficacy of language use in social praxis. In Chapter 1, I develop an analogous theory of musical meaning, grounded in the semiotic actions and effects produced by music as utterance. Music is often said to be, if anything, expressive; but expression—strictly speaking, the mapping of inner content to outer signifying form—is a weak conceptual basis for what we think of when describe music as expressive. Instead, conceiving of music’s meaningfulness in terms of its efficacy as sonic utterance supplies the condition of possibility for musical expression, reference, and disclosure while also eliminating the false dichotomy between music’s meanings and its effects.

In Chapters 2 through 4, drawing on fieldwork at European festivals of new music including the Darmstadt Summer Courses and Donaueschinger Musiktage, I explore works by four living composers and sound artists: Michael Beil, Peter Ablinger, Stefan Prins, and Ashley Fure. These works exemplify what I call an aesthetics of efficacy, and their meanings centrally involve the performance of communicative actions such as: the incitement of particular modes of listening, the construction of narrative identities, and the enactment of changed attitudes through musical sound and story. For instance, Ashley Fure’s The Force of Things: An Opera for Objects (2016) is a musical engagement with the problems of the Anthropocene. Through the lens of performative utterance, I characterize it as an ecocritical intervention. Fure’s work creates an abstract narrative that seeks to bring out a sense of the vibrancy and animacy of the non-human objects that star in the piece: vibrating speaker cones, percussion instruments, and elements of the mise-en-scène. Fure aims to incite listeners to leave the concert space with stronger senses of empathy and productive anxiety towards the vibrational events of the Anthropocene, including fracking-induced earthquakes or the calving of glaciers into warming oceans. The encouragement of empathies and incitement of anxieties towards the planetary ecosystem are highly salient aspects of the piece’s meaning, and these are, fundamentally, semiotic actions performed by musical sound.

To fully probe performative utterance and understand its value for musical study, we must expand beyond the study of art music to investigate music in contemporary social life. Like scholars who have used Austin’s work to investigate the injurious efficacy of hate speech, I turn to examine the ethico-political stakes of the performative utterance concept, theorizing music’s potential to become injurious utterance. In Chapter 5, I critique tendencies to frame discussions concerning music as violence in materialist terms, and expose some shortcomings of this materialist, vibrational model. In Chapter 6, I conduct an observational cyber-ethnography of web forums for adult entertainers and their patrons, showing how both groups discuss strip club music’s capacity to elicit erotic dance and facilitate forms of sex work that take place in adult entertainment establishments. I argue that, for victims trafficked into strip clubs, music’s efficacy surpasses its prompting and facilitating functions, becoming the semiotic enactment of sexual violence. Music functions contextually to induce behaviors that promote precarity and rob victims of sexual agency, prompting striptease and lap dances as well as the forced solicitation of commercial sex within grossly uneven power differentials. The final chapters offer a corrective to the admittedly attractive view that music is inherently personally and socially therapeutic, arguing that such thinking is ideological and politically inefficacious.

How do aesthetic practices contribute to the social labors of memory in the aftermath of violence? How do they emerge, in what context and for which public? What kind of disturbances can these works bring to more established narratives? These are some of the questions explored by Art from a fractured past: Memory and Truth-Telling in Post-Shining Path Peru edited by Cynthia Milton (Canada Research Chair on Latin American History at University of Montreal).

Olga Neuwirth’s American Lulu reinterprets Alban Berg’s Lulu against the backdrop of the American civil rights movement. White European characters are recast as African Americans, and the drama is interspersed with spoken excerpts from the writings of Martin Luther King. Even more radical, perhaps, are the gender politics of Neuwirth’s revision—and, specifically, its approach to the character of Countess Geschwitz, Lulu’s steadfast companion and would-be lesbian lover. In Berg’s opera, Geschwitz’s unrequited love can easily seem peripheral to the larger plot. Neuwirth, however, seizes on this relationship. Geschwitz—now “Eleanor,” a Blues singer—emerges as the hero, choosing a path of moral good (and evading her original fate at the hands of Jack the Ripper), while Lulu herself remains mired in a sexualized subservience to men. American Lulu premiered at Berlin’s Komische Oper in 2012, where it was dubbed a “Jazzy BlackPower Bergwerk”. Subsequent performances have taken place at the Bregenz Festival, Edinburgh International Festival, and London’s Young Vic, yet it has also been met with mixed reviews, leaving some listeners baffled by the meaning of its transformations.

The purpose of the present research is to focus on one facet of media portrayals of torture, namely how different approaches to framing the use of torture influence readers' attitudes toward torture. Experiment 1 examined the influence of effectiveness framing on attitudes toward torture, and Experiment 2 examined framing in terms of in-group/outgroup biases. Findings from Experiment 1 demonstrated that participants had more favorable attitudes toward torture when torture was portrayed to be effective than when portrayed to be ineffective. Findings from Experiment 2 showed that when interrogators were framed as out-group members and detainees as in-group members, respondents showed less favorable attitudes toward torture than when the in-group/out-group designations of interrogators and detainees were reversed. Implications of these findings with regard to the General Aggression Model and mass media influences on attitudes toward torture are examined.

On August 14, 1985, during the armed conflict between the Communist Party of Peru, known as Shining Path, and the Peruvian state, an army patrol entered the town of Accomarca, in the Andean region of Ayacucho, and assassinated 69 peasants, presumed sympathizers of the insurgents. The majority of the survivors were displaced to the city of Lima, where they created an organization of victims and joined the Asociación de Hijos del Distrito Accomarca. Since 2011, the survivors and relatives of the victims have been remembering the massacre and transmitting their memories to their children through a Carnival performance of music and dance. Carnival is a constructive space for the production of other forms of memory and for the pursuit of justice and reparations through par-ticipatory choreography and musical performance.

El 14 de agosto de 1985—-durante el conflicto armado entre el Partido Comunista de Perú, conocido como Sendero Luminoso, y el Estado peruano—una patrulla del ejército entró en el pueblo de Accomarca, en la región andina de Ayacucho, y asesinó a 69 campesi-nos, presuntos simpatizantes de los insurgentes. La mayoría de los sobrevivientes fueron desplazados a la ciudad de Lima, en donde crearon una organización de víctimas y se unieron a la Asociación de Hijos del Distrito Accomarca. Desde 2011, los sobrevivientes y los familiares de las víctimas han estado recordando la masacre y transmitiendo sus memorias a sus hijos a través de un espectáculo carnavalesco de música y baile. El carna-val es un espacio constructivo para la producción de otras formas de la memoria y para la búsqueda de la justicia y la reparación por medio de una coreografía participativa y una representación musical.

It is common practice for music productions to be mastered with the aim of increasing the perceived loudness for the listener, allowing one record to stand out from another by delivering an immediate impact and intensity. Since the advent of the Compact Disc in 1980, music has increased in RMS level by up to 20dB. This results in many commercial releases being compressed to a dynamic range of 2-3 dB. Initial findings of this study have determined that amplitude compression adversely affects the audio signal with the introduction of audible artifacts such as sudden gain changes, modulation of the noise floor and signal distortion, all of which appear to be related to the onset of listener fatigue.

The notion that compressed music performs more effectively in automobiles as a consequence of the background noise present has been widely accepted, and particularly relevant to classical music that traditionally encompasses a very large dynamic range. The environmental noise can act as a masking agent that can interrupt the listening experience when sections of the music fall below the noise level. Similarly, it has been assumed that the hyper-compression of contemporary popular music fulfills a similar function when using ear bud headphones in noisy environments. This study examines this assumption and can find no evidence to support the practice. It is suggested that contemporary music most likely does not have a sufficiently large enough dynamic range regardless to support its use in this instance.

Musical practices permeate the experiences of American troops fighting in the current Iraq war. Music serves many overlapping and sometimes contradictory roles in troops' day-today lives, such as providing ways to pass the time, socialize, relax, escape, motivate, process, mourn, remember, forget, and to express a wide range of emotions: pride, fear, joy, boredom, loss, anger. Similar to editors Susan Crafts, Daniel Cavicchi, and Charles Keil of My Music, I consider " musical practices " as all the ways that people engage with music, from playing, recording, and listening, to rejecting it. 1 In the volume's introduction, George Lipsitz writes: Musical practices do not 'start' when we pick up an instrument or when we pay attention to what is happening in a given song. We enter a world of music already in progress around us. No less than in Africa, we encounter music everywhere—at the schools and the symphony halls, in the churches and the taverns, on the radio and television. Our musical practices do not blend life and art as thoroughly as they do in some parts of Africa, but they nonetheless function as nodes in a larger network, as complicated and diverse as ways for people to reaffirm old identities and to forge new ones. 2 Christopher Small offers the term " musicking " to emphasize that " music is not primarily a thing or a collection of things, but an activity in which we engage. " He defines the word to include performance, composition, listening, and dancing. 3 This article is about musicking, specifically, the practice of listening to music. Some members of the American military compose and perform music while deployed to Iraq; almost all listen to music and listen to music a lot, suggesting that this daily engagement with music is an important part of troops' experiences of war. New technological developments enable American troops to listen to music throughout days and nights during both leisure and work time activities, allowing for the ongoing blending of life and art, or as Eric, a white Army medic in his late 20s whom I interviewed on February 26, 2007, put it, " music was huge over there! " Examining troops' musical practice of listening sheds light on the complicated and diverse " ways for people to reaffirm old identities and forge new ones " within the especially demanding context of war. 4 Identity is an interesting issue in the armed forces because so much emphasis is placed by both those in the upper echelons and those in lower ranks on shared identity. By " identity, " I refer to both the ways This research has been partially funded by the University of Oregon's Office of Research. I owe my gratitude to my colleagues Jonathan Pieslak, Martin Daughtry, and Suzanne Cusick for their compelling explorations of the soundscapes of the Iraq war. Special thanks to Jonathan and Martin for " taking our show on the road " and presenting multiple panels on our overlapping research at the

Musical practices permeate the experiences of American troops fighting in the current Iraq war. Music serves many overlapping and sometimes contradictory roles in troops' day-today lives, such as providing ways to pass the time, socialize, relax, escape, motivate, process, mourn, remember, forget, and to express a wide range of emotions: pride, fear, joy, boredom, loss, anger. Similar to editors Susan Crafts, Daniel Cavicchi, and Charles Keil of My Music, I consider " musical practices " as all the ways that people engage with music, from playing, recording, and listening, to rejecting it. 1 In the volume's introduction, George Lipsitz writes: Musical practices do not 'start' when we pick up an instrument or when we pay attention to what is happening in a given song. We enter a world of music already in progress around us. No less than in Africa, we encounter music everywhere—at the schools and the symphony halls, in the churches and the taverns, on the radio and television. Our musical practices do not blend life and art as thoroughly as they do in some parts of Africa, but they nonetheless function as nodes in a larger network, as complicated and diverse as ways for people to reaffirm old identities and to forge new ones. 2 Christopher Small offers the term " musicking " to emphasize that " music is not primarily a thing or a collection of things, but an activity in which we engage. " He defines the word to include performance, composition, listening, and dancing. 3 This article is about musicking, specifically, the practice of listening to music. Some members of the American military compose and perform music while deployed to Iraq; almost all listen to music and listen to music a lot, suggesting that this daily engagement with music is an important part of troops' experiences of war. New technological developments enable American troops to listen to music throughout days and nights during both leisure and work time activities, allowing for the ongoing blending of life and art, or as Eric, a white Army medic in his late 20s whom I interviewed on February 26, 2007, put it, " music was huge over there! " Examining troops' musical practice of listening sheds light on the complicated and diverse " ways for people to reaffirm old identities and forge new ones " within the especially demanding context of war. 4 Identity is an interesting issue in the armed forces because so much emphasis is placed by both those in the upper echelons and those in lower ranks on shared identity. By " identity, " I refer to both the ways This research has been partially funded by the University of Oregon's Office of Research. I owe my gratitude to my colleagues Jonathan Pieslak, Martin Daughtry, and Suzanne Cusick for their compelling explorations of the soundscapes of the Iraq war. Special thanks to Jonathan and Martin for " taking our show on the road " and presenting multiple panels on our overlapping research at the

This article examines how American troops use music to navigate complex associations of place during deployment. Since 2005, I have been conducting interviews with veterans of the United States military who served in the conflicts in Iraq and Afghanistan, exploring their memories of musical engagement, specifically listening to music, during their deployments. In these interviews, they described their musical listening in relationship to place, sometimes associating a particular type of musical engagement with a specific physical setting, linking songs to memories of locales, or alternately describing using music to psychologically remove themselves from an environment. Examining relationships between musical listening and place with a focus on the memories of veterans who were deployed to the Iraq war yields insight both into the critical role that music has for many contemporary troops involved in the physically and psychologically demanding context of war and to scholarly under-standings of how music can operate in complicated processes of location and dislocation.

Mit populärer Musik lässt sich die ganze Bandbreite menschlicher Emotionen ausdrücken – einschließlich aggressiver Affekte wie Wut und Zorn. Dabei werden die Emotionen häufig bestimmten Genres oder musikalischen Merkmalen zugeordnet – und mit Vorstellungen von Geschlecht verknüpft. Punk, Heavy Metal oder Hip Hop werden so oft als aggressiv und männlich wahrgenommen. Der vorliegende siebte Band des Jahrbuchs Musik und Gender, herausgegeben von Florian Heesch (Siegen) und Barbara Hornberger (Hildesheim), setzt sich mit unterschiedlichen Aspekten von Aggression und Gender in populärer Musik auseinander. Die Autorinnen und Autoren stammen aus verschiedenen Disziplinen – neben der Musikwissenschaft aus der Ethnologie, Kulturwissenschaft, Kommunikationswissenschaft, Religionswissenschaft und der Sozialen Arbeit. Mit dieser Perspektivenvielfalt beleuchten ihre Beiträge Konstruktionen von Aggression und Gender in der Musik im Hinblick auf Inszenierungen, Medien und Praktiken.

The United States arguably practiced torture during its global war on terrorism. In turn, torture has played a prominent role in various works of popular culture, including The Dark Knight film about Batman and the Joker, the television series 24 and the film Zero Dark Thirty, which provided a fictionalized account of the targeted killing of Osama bin Laden. Some critics argue that these popular depictions have helped to normalize and justify torture. Yet, various elites have also condemned the scenes of torture and challenged the legitimacy of the practice as depicted in these popular accounts. For example, the CIA remarkably denounced the Zero Dark Thirty storyline about the role of torture in the bin Laden case. This paper explores how ideas and images from popular culture can frame serious public debate about security and human rights issues. Specifically, it investigates whether pop cultural films or television programs
promote inclusive and open discussion about important issues like torture. Alternatively, do these films and programs help create particular and powerful narratives that minimize debate? This paper briefly identifies depictions of torture in a few popular cultural products and then investigates both the elite reaction to them and the broader cultural meaning.