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Although the use of music for extramusical purposes has been a part of American culture for some time, the phenomenon remained largely unknown to the general public until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice through: police and community leaders’ use of classical music in crime deterrence and punishment; the use of rap lyrics as prosecutorial evidence; allegations of music as incitement to violence; and the role of music in U.S. prisons and in detention centers in Guantanamo, Iraq, and Afghanistan. In the course of her study, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the Romantic ideals underlying our view of music?
A critical examination of the ways in which music is understood and exploited in American law enforcement and justice
Covering some of the most hotly contested topics in crime and criminal justice, including proposed sentencing and prison reforms, controversial developments like Stand Your Ground laws, and Supreme Court decisions, this work supplies essential background, current data, and a range of viewpoints on these important issues. Should people be able to use lethal force before retreating? What are the arguments for and against executing mentally ill inmates? Should police always need warrants to search individuals or their property? How can we best hold accountable white collar offenders? Why do men perpetrate crime at higher rates than women? This two-volume set grapples with the answers to these complex questions and many more, enabling readers to better understand current crime/punishment issues within the context of America's ever-evolving culture, economy, and politics. This multidisciplinary reference work offers a current and thorough compilation of the most important and hotly contested topics related to crime and criminal justice. Organized alphabetically, each entry presents scholarly research and authoritative sources to inform readers about the subject.
This book considers the intersection of music, politics and identity, focusing on music (genres) across the world as a form of political expression and protest, positive identity formations, and also how the criminalisation, censuring, policing and prosecution of musicians and fans can occur. All-encompassing in this book is analyses of the unique contribution of music to various aspects of human activity through an international, multi-disciplinary approach. The book will serve as a starting point for scholars in those areas where there has been an uncertain approach to this subject, while those from disciplines with a more established canon of music analysis will be informed about what each perspective can offer. The approach is international and multi-disciplinary, with the contributing authors focusing on a range of countries and the differing social and cultural impact of music for both musicians and fans. Academic disciplines can provide some explanations, but the importance of the contribution of practitioners is vital for a fully rounded understanding of the impact of music. Therefore, this book takes the reader on a journey, beginning with theoretical and philosophical perspectives on music and society, proceeding to an analysis of laws and policies, and concluding with the use of music by educational practitioners and the people with whom they work. This book will appeal to students and scholars in subjects such as sociology, criminology, cultural studies, and across the wider social sciences. It will also be of interest to practitioners in youth justice or those with other involvement in the criminal justice system.
While increasing attention has been directed to the legal and criminological aspects of situational crime prevention, focused ethical discussion of the measures involved has been notable by its absence. Situational crime prevention measures are being used increasingly in various forms in cities all around the world. This book addresses the complex ethical challenges related to preventive exclusion that have only been addressed in a limited way in the academic literature. This volume brings together world-leading experts in ethics and penal theory to answer controversial questions about the ethics of preventing crime by exclusion. Situational crime prevention measures—such as gated communities, hostile design, or annoying music or noise—intended to exclude some or all people from an area to prevent crime present important ethical questions. Is the use of exclusionary measures antithetical to the attainment of social justice or to addressing the root causes of crime? If such measures result merely in the displacement of crime, does this mean they are without value, or morally questionable? What are the conceptual relationships between exclusionary measures, civic trust, and moral agency? Do some or all exclusionary measures fail to respect potential offenders as rational agents? When, if ever, is the use of exclusion to prevent crime discriminatory? And do such measures have a morally problematic expressive dimension? This book is invaluable for scholars with an interest in crime prevention, criminal law, and criminal justice. The practical implications will also appeal to practitioners in the criminal justice system involved in the implementation and administration of preventive exclusion.
This unique volume explores the relationship between music and crime in its various forms and expressions, bringing together two areas rarely discussed in the same contexts and combining them through the tools offered by cultural criminology. Contributors discuss a range of topics, from how songs and artists draw on criminality as inspiration to how musical expression fulfills unexpected functions such as building deviant subcultures, encouraging social movements, or carrying messages of protest. Comprised of contributions from an international cohort of scholars, the book is categorized into five parts: The Criminalization of Music; Music and Violence; Organised Crime and Music; Music, Genocide, and Crimes Against Humanity and Music as Resistance. Spanning a range of cultures and time periods, Crime and Music will be of interest to researchers in critical and cultural criminology, the history of music, anthropology, ethnology, and sociology.
Insulting Music explores insult in and around music and demonstrates that insult is a key dimension of Western musical experience and practice. There is insult in the music we hear, how we express our musical preferences, as well as our reactions to settings and sites of music and music making. More than that, when music and insult overlap, the effects can both promote social justice or undermine it, foster connection or break it apart. The coming together of music and insult shapes our sense of self and view of other people, underlining and constructing difference, often in terms of race and gender. In the last decade, music’s power dynamics have become an increasingly important concern for music scholars, critics, and fans. Studying musicians such as Frank Zappa, Nickleback, Taylor Swift, and the Insane Clown Posse, and musical phenomena such as musician jokes, the use of music to torture people, and the playing of music in restaurants, this book shows the various and contradictory ways insults are used to negotiate those existing dynamics in and around music.
Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda's most well-known and popular figures - the country's minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal's 'sonic imagination'. How did the Tribunal conceive of Bikindi's songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi's was a 'musical trial', as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the 'judicial soundscape'. Through the lens of the Bikindi trial, the book's most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence.
Changes our picture of how music and politics interact through a rigorous and wide-ranging reappraisal of the field.
A global history of Jewish music from the biblical era to the present day, with chapters by leading international scholars.