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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, but
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.
Music may not be an obvious area for a criminologist's attention,
but there are many areas appropriate for analysis in the
relationship between sound, music, rights and harm. The Use and
Abuse of Music: Criminal Records explores how music is utilised to
include, exclude, dominate and silence. Analysing the connection
between music and crime from an expressly critical criminological
perspective, the book is divided into three main parts. Firstly,
focusing on the concept of 'harmful' or deviant music, genres such
as UK drill music and heavy metal are examined to highlight the
connections between certain genres and criminalisation. Moving away
from specifics of genre, the second section considers the use of
music in war and conflict. Finally, the book reflects on the
censorship and silencing of subcultures and individuals through
music, highlighting the inequalities surrounding who is permitted
to make noise which is often exemplified by racist, sexist and
prejudicial actions. This illuminating exploration of the deviant
and transgressive nature of music is ideal for researchers,
scholars and students working within the fields of criminology,
sociology and musicology.
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