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Louise Gray considers the troubling history of music and violence, from gangsta rap to Rwanda

Hiding Behind the Keyboard: Uncovering Covert Communication Methods with Forensic AnalysisïŽexposes the latest electronic covert communication techniques used by cybercriminals, along with the needed investigative methods for identifying them. The book shows how to use the Internet for legitimate covert communication, while giving investigators the information they need for detecting cybercriminals who attempt to hide their true identity. Intended for practitioners and investigators, the book offers concrete examples on how to communicate securely, serving as an ideal reference for those who truly need protection, as well as those who investigate cybercriminals

"The music industry is going through a period of immense change brought about in part by the digital revolution. What is the role of music in the age of computers and the internet? How has the music industry been transformed by the economic and technological upheavals of recent years, and how is it likely to change in the future? This is the first major study of the music industry in the new millennium. Wikström provides an international overview of the music industry and its future prospects in the world of global entertainment. They illuminate the workings of the music industry, and capture the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public. The Music Industry will become a standard work on the music industry at the beginning of the 21st century. It will be of great interest to students and scholars of media and communication studies, cultural studies, popular music, sociology and economics. It will also be of great value to professionals in the music industry, policy makers, and to anyone interested in the future of music." -- Book cover

Foreword, focussing on the nature of 'power compromises' in relation to Josephine Baker Billie Holiday and Ella Fitzgerald.

Music played a prominent role in the rise of Nazi culture in Germany and was used extensively in propaganda and indoctrination of the entire country; the Nazi party brought music and politics together and sought to shape their ideal culture by elevating their ideas of pure music to the highest status and outlawing what they defined as inferior. This study addresses Hitler's specific views on music and explores several of the factors and individuals that contributed to his views. His views were directly inferred into the core of the Nazi party. Hitler himself was an artist and felt that art and music were a vital part of life and culture. He was deeply influenced by Wagner's views as well as his music, and Hitler saw many parallels between Wagner's conception of Germany and the stories which the composer used in his operas. This study also explores how the Nazis used music to spread their propaganda, what was considered to be "pure" music, and the impact which the idea of "pure" art had on Jewish musicians and composers. The party made significant use of music to strengthen their political events and indoctrinate the individual citizen. Not only was the actual music used to portray Nazi ideology, but Nazi doctrine played a significant role in the fate of Jewish composers and performers. Many Jewish musicians lost their jobs and found themselves banned from mainstream cultural and musical organizations. Arnold Schoenberg is the prime example of the effect of the Nazi ideology on the music and perception of a Jewish composer, while Wagner is the perfect example of the response to a composer who met the Nazi criteria of pure Aryanism. This study attempts to examine these historical facts in an effort to promote a better understanding of the cultural aspects of the Third Reich in the hopes that the informed individual will ensure that such views will never again permeate government and society.

International audience ; Keyboard instruments preserved in French museums are in various states of conservation. Some came into public collections in the second half of the 19th century being part of decorative art collections (they are often in quite an "historic" state). Some were previously in musician's hands, and they then show signs of use, maintenance, and adaptation to specific "tastes". Whilst in the museum, they also get several "stratifications of restoration", each generation having a peculiar deontology, different techniques and different results. This paper present facsimiles and reconstitution of instruments in playing order of great historical and musical importance; facsimiles of instruments modified in the course of their life or highly damaged; facsimiles of unique instruments in a very "original" state and finally facsimiles for museographic purposes. As conclusion, we give some considerations regarding the "reception" of these policies among administrators and musicians, taking into account the public and the media. ; Les instruments à clavier historiques conservés dans les musées français présentent un état de conservation très variable. Certains sont entrés dans les collections publiques dans la deuxième moitié du XIXe siècle alors qu'ils appartenaient à des ensembles d'objets d'art (ils sont en général dans un état très "original"). D'autres ont été auparavant entre les mains des musiciens et présentent alors des traces d'usure, de jeu, d'entretien, d'adaptation à l'évolution du goût. Une fois dans les musées, ils ont aussi subi différentes interventions de restauration, chaque génération ayant eu sa propre déontologie, ses techniques et ses résultats. Cette étude présente différents types de fac-similés : des fac-similés et reconstitutions d'instruments en état de jeu d'une grande importance historique et musicale ; des fac-similés d'instruments modifiés au cours de leur période d'utilisation et très endommagés ; des fac-similés d'instruments uniques et dans un état très "original" ; des ...