Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-22T02:02:20.892Z Has data issue: false hasContentIssue false

Music Transforming Conflict

Published online by Cambridge University Press:  20 October 2020

Summary

Teach the world to sing, and all will be in perfect harmony - or so the songs tell us. Music is widely believed to unify and bring peace, but the focus on music as a vehicle for fostering empathy and reconciliation between opposing groups threatens to overly simplify our narratives of how interpersonal conflict might be transformed. This Element offers a critique of empathy's ethical imperative of radical openness and positions the acknowledgement of moral responsibility as a fundamental component of music's capacity to transform conflict. Through case studies of music and conflict transformation in Australia and Canada, Music Transforming Conflict assesses the complementary roles of musically mediated empathy and guilt in post-conflict societies and argues that a consideration of musical and moral implication as part of studies on music and conflict offers a powerful tool for understanding music's potential to contribute to societal change.
Get access
Type
Element
Information
Online ISBN: 9781108891363
Publisher: Cambridge University Press
Print publication: 12 November 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adams, I. (1967). The Lonely Death of Chanie Wenjack. Maclean’s, February 1967, 30–1, 38–49, 42–3. www.macleans.ca/society/the-lonely-death-of-chanie-wenjack/ (accessed 7 January 2020).Google Scholar
Ahmed, S. (2004). The Cultural Politics of Emotion. Edinburgh: Edinburgh University Press.Google Scholar
Ansdell, G. (2014). How Music Helps in Music Therapy and in Everyday Life. Farnham: Ashgate.Google Scholar
Araujó, S. (2006). Conflict and Violence as Theoretical Tools in Present-Day Ethnomusicology: Notes on a Dialogic Ethnography of Sound Practices in Rio de Janeiro. Ethnomusicology, 50(2), 287313.CrossRefGoogle Scholar
Arendt, H. (1958). The Human Condition. Chicago, IL: The University of Chicago Press.Google Scholar
Arendt, H. (1963). On Revolution. New York: Viking.Google Scholar
Augoustinos, M., and LeCouteur, A. (2004). On Whether to Apologize to Indigenous Australians: The Denial of White Guilt. In Branscombe, N. R. and Doosje, B., eds., Collective Guilt: International Perspectives. Cambridge: Cambridge University Press, pp. 236–61.Google Scholar
Baker, G. (2018). El Sistema, ‘The Venezuelan Musical Miracle’: The Construction of a Global Myth. Latin American Musical Review, 39(2), 160–93.Google Scholar
Barkan, E. (2000). The Guilt of Nations. New York: Norton.Google Scholar
Barney, K. (2012). Sing Loud, Break Through the Silence. Perfect Beat, 13(1), 6994.Google Scholar
Baron-Cohen, S. (2011). Zero Degrees of Empathy: A New Theory of Human Cruelty. London: Allen Lane.Google Scholar
Barrow, L. G. (2011). Guilt by Association: The Effect of Attitudes towards Fascism in the Critical Assessment of the Music of Ottorino Respighi. International Review of the Aesthetics and Sociology of Music, 42(1), 7995.Google Scholar
Bateson, G. (1972). Steps to an Ecology of Mind. London: Intertext Books.Google Scholar
Beckles Willson, R. (2009). The Parallax Worlds of the West–Eastern Divan Orchestra. Journal of the Royal Musical Association, 134(2), 319–47.Google Scholar
Beckles Willson, R. (2013). Orientalism and Musical Mission: Palestine and the West. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Behrendt, H., and Ben-Ari, R. (2012). The Positive Side of Negative Emotions: The Role of Guilt and Shame in Coping with Interpersonal Conflict. Journal of Conflict Resolution, 56(6), 1116–38.CrossRefGoogle Scholar
Benedict, R. (1946). The Chrysanthemum and the Sword: Patterns of Japanese Culture. Boston, MA: Houghton Mifflin.Google Scholar
Bergh, A., and Sloboda, J. A. (2010). Music and Art in Conflict Transformation: A Review. Music and Arts in Action, 2(2), 317.Google Scholar
Bergh, A. (2007). I’d Like to Teach the World to Sing: Music and Conflict Transformation. Musica Scientiae, Special Issue, 141–57.CrossRefGoogle Scholar
Bergh, A. (2011). Emotions in Motion: Transforming Conflict and Music. In Deliège, I. and Davidson, J. W., eds., Music and the Mind: Essays in Honour of John Sloboda. New York: Oxford University Press, pp. 363–78.Google Scholar
Branscombe, N. R., and Doosje, B., eds. (2004). Collective Guilt: International Perspectives. Cambridge: Cambridge University Press.Google Scholar
Brinner, B. (2009). Playing Across a Divide. Oxford: Oxford University Press.Google Scholar
Bronfman, A. (2016). Isles of Noise: Sonic Media in the Caribbean. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Butler, J. (2004). Precarious Life: The Powers of Mourning and Violence. London: Verso.Google Scholar
Butler, J. (2010). Frames of War: When is Life Grievable? London: Verso.Google Scholar
CBC News. (2018). Downie-Wenjack Fund Received $5M in 2018 Federal Budget. 27 February 2018. https://bit.ly/318MFvZ (accessed 7 January 2020).Google Scholar
Clark, R. S. (2011). History of Efforts to Codify Crimes Against Humanity. In Sadat, L. N., ed., Forging a Convention for Crimes Against Humanity. Cambridge: Cambridge University Press, pp. 827.Google Scholar
Clarke, E. (2019). Empathy and the Ecology of Musical Consciousness. In Herbert, R., Clarke, D., and Clarke, E., eds., Music and Consciousness 2: Worlds, Practices, Modalities. New York: Oxford University Press, pp. 7192.Google Scholar
Clarke, E., DeNora, T., and Vuoskoski, J. (2015a). Music, Empathy, and Cultural Understanding: Final Report. Arts and Humanities Research Council.https://bit.ly/2Q8S6oEGoogle Scholar
Clarke, E., DeNora, T., and Vuoskoski, J. (2015b). Music, Empathy, and Cultural Understanding. Physics of Life Reviews, 15, 6188.Google Scholar
Clough, P. ed. (2007). The Affective Turn: Theorizing the Social. Durham, NC: Duke University Press.Google Scholar
Coghlan, A. (2014). Prom 46 – Review. The Independent. 21 August. https://bit.ly/3h6KoqO (accessed 7 January 2020).Google Scholar
Connerton, P. (2012). The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press.Google Scholar
Cook, N. (1998). Music: A Very Short Introduction. Oxford: Oxford University Press.Google Scholar
Cook, N. (2013). Beyond the Score. New York: Oxford University Press.Google Scholar
Corn, A. (2011). Treaty Now: Popular Music and the Indigenous Struggle for Justice in Contemporary Australia. In Peddie, I., ed., Popular Music and Human Rights, Volume II: World Music. Farnham: Ashgate, pp. 1726.Google Scholar
Cross, I. (1999). Is Music the Most Important Thing We Ever Did? Music, Development, and Evolution. In Yi, S. W., ed., Music, Mind and Science. Seoul: Seoul University Press, pp. 1039.Google Scholar
Cross, I. (2012). Music as a Social and Cognitive Process. In Rebuschat, P. et al., eds., Language and Music as Cognitive Systems. Oxford: Oxford University Press, pp. 315–28.Google Scholar
Cusick, S. G. (2006). Music as Torture/Music as Weapon. TRANS: Revista Transcultural de Música, 10, n.p.Google Scholar
Danewid, I. (2017). White Innocence in the Black Mediterranean: Hospitality and the Erasure of History. Third World Quarterly, 38(7), 1674–89.Google Scholar
de Waal, F. (2008). Putting the Altruism Back Into Altruism: The Evolution of Empathy. Annual Review of Psychology, 59(1), 279300.CrossRefGoogle ScholarPubMed
de Waal, F. (2009). The Age of Empathy: Nature’s Lessons for a Kinder Society. New York: Three Rivers Press.Google Scholar
DeNora, T. (1999). Music as Technology of the Self. Poetics, 27, 3156.Google Scholar
Deutsch, F., and Madle, R. A. (1975). Empathy: Historic and Current Conceptualizations, Measurement, and a Cognitive Theoretical Perspective. Human Development, 18(4), 267–87.Google Scholar
Dieckmann, S., and Davidson, J. W., eds. (2019). Peace, Empathy and Conciliation through Music. International Journal of Community Music, Special Issue, 12(3), 293400.CrossRefGoogle Scholar
Downie, G. (2016). Secret Path: For Chanie Wenjack. CD. Wiener Art. Arts & Crafts Productions.Google Scholar
Downie, G., and Lemire, J. (2016). Secret Path. New York: Simon & Schuster.Google Scholar
Downie, M., dir. (2016). The Secret Path. eOne Television and the Canadian Broadcasting Company. https://secretpath.caGoogle Scholar
Empathy for Peace. (2019). Empathy: An Invaluable Natural Resource for Peace. White Paper, September 2019. https://bit.ly/323ac0I (accessed 7 January 2020).Google Scholar
Fanon, F. (1965). This is the Voice of Algeria. In A Dying Colonialism, translated by Haakon Chevalier. New York: Grove Press, pp. 6998.Google Scholar
Frith, S. (1996). Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press.Google Scholar
Galtung, J. (2001). After Violence: Reconciliation, Reconstruction, and Resolution. In Abu-Nimer, M., ed., Reconciliation, Justice and Coexistence. Lanham, MD: Lexington Books, pp. 323.Google Scholar
Gergen, K. J. (2009). Relational Being: Beyond Self and Community. New York: Oxford University.Google Scholar
Gordy, E. (2013). Guilt, Responsibility and Denial: The Past at Stake in Post-Milosevic Serbia. Philadelphia, PA: University of Pennsylvania Press.Google Scholar
Grant, M. J., Möllemann, R., Morlandstö, I., Münz, S. C., and Nuxoll, C. (2010). Music and Conflict: Interdisciplinary Perspectives. Interdisciplinary Science Reviews, 35(2), 183–98.Google Scholar
Gray, A.-M. (2008). Music as a Tool of Reconciliation in South Africa. In Urbain, O., ed., Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. London: I.B. Tauris & Co., pp. 6377.Google Scholar
Gregg, M., and Siegworth, G., eds. (2010). The Affect Theory Reader. Durham, NC: Duke University Press.Google Scholar
Greitemeyer, T. (2009). Effects of Songs with Prosocial Lyrics on Prosocial Thoughts, Affect, and Behaviour. Journal of Experimental Social Psychology, 45(1), 186–90.Google Scholar
Hall, G. (2015). West–Eastern Divan Orchestra. The Guardian. 19 August. https://bit.ly/3l2Unjw (accessed 7 January 2020).Google Scholar
Hall, P., ed. (2018). The Oxford Handbook of Music Censorship. New York: Oxford University Press.Google Scholar
Harrison, K., Mackinlay, E., and Pettan, S., eds. (2010). Applied Ethnomusicology: Historical and Contemporary Approaches. Newcastle-upon-Tyne: Cambridge Scholars Publishing.Google Scholar
Hartman, S. V. (1997). Scenes of Subjection: Terror, Slavery and Self-Making in Nineteenth-Century America. New York: Oxford University Press.Google Scholar
Haskell, E. (2015). The Role of Applied Ethnomusicology in Post-Conflict and Post-Catastrophe Communities. In Pettan, S. and Titon, J. T., eds., The Oxford Handbook of Applied Ethnomusicology. New York: Oxford University Press, pp. 197225.Google Scholar
Herndon, M. (2000). Epilogue. In Moisala, P. and Diamond, B., eds., Music and Gender. Urbana, IL: University of Illinois Press, pp. 347–59.Google Scholar
Hirsch, A. K., ed. (2012). Theorizing Post-Conflict Reconciliation: Agonism, Restitution and Repair. London: Routledge.Google Scholar
Hoffman, M. (2000). Empathy and Moral Development: Implications for Caring and Justice. Cambridge: Cambridge University Press.Google Scholar
HREOC [Human Rights and Equal Opportunity Commission]. (1997). Bringing Them Home: Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families. https://bit.ly/2EiQg1w (accessed 7 January 2020).Google Scholar
HREOC [Human Rights and Equal Opportunity Commission]. (2002). Bringing Them Home: Community Guide. PDF archived at https://bit.ly/32a302Q (accessed 7 January 2020).Google Scholar
ICTM [International Council for Traditional Music]. (2007). ICTM Study Group on Applied Ethnomusicology. http://ictmusic.org/group/applied-ethnomusicology (accessed 1 July 2020).Google Scholar
Ignatieff, M. (2002). Introduction. In Levi, P., Moments of Reprieve, translated by Ruth Feldman. London: Penguin, pp. 37.Google Scholar
Johnson, B., and Cloonan, M. (2008). Dark Side of the Tune: Popular Music and Violence. Aldershot: Ashgate.Google Scholar
Jones, M. R., and Boltz, M. (1989). Dynamic Attending and Responses to Time. Psychological Review, 96(3), 459–91.Google Scholar
Keil, C., and Feld, S. (1984). Music Grooves. Chicago, IL: University of Chicago Press.Google Scholar
Kivy, P. (2009a). Empty Pleasure to the Ear. In Antithetical Arts: On the Ancient Quarrel between Literature and Music. Oxford: Oxford University Press, pp. 235–62.Google Scholar
Kivy, P. (2009b). Musical Morality. In Antithetical Arts: On the Ancient Quarrel between Literature and Music. Oxford: Oxford University Press, pp. 216–34.CrossRefGoogle Scholar
Koch, G., and Crowe, A. (2013). Song, Land, and Ceremony: Interpreting the Place of Songs as Evidence for Australian Aboriginal and Torres Strait Islander Land Claims. Collaborative Anthropologies, 6, 373–98.Google Scholar
Koentges, C. (2016). The Lonely End of the Rink. Slate. 17 August. https://bit.ly/2Q3Gp2o (accessed 7 January 2020).Google Scholar
Krueger, J. (2019). Music as Affective Scaffolding. In Herbert, R., Clarke, D., and Clarke, E., eds., Music and Consciousness 2: Worlds, Practices, Modalities. New York: Oxford University Press, pp. 5570.Google Scholar
Laurence, F. (2008). Music and Empathy. In Urbain, O., ed., Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. London: I.B. Tauris & Co., pp. 1325.Google Scholar
Lederach, J. P. (2003). The Little Book of Conflict Transformation. Intercourse, PA: Good Books.Google Scholar
Levinas, E. (1969). Totality and Infinity: An Essay on Exteriority. Translated by Alphonso Lingis. Pittsburgh, PA: Duquesne University Press.Google Scholar
Levinson, J. (2015a). Popular Music as Moral Microcosm: Life Lessons from Jazz Standards. In Musical Concerns: Essays in Philosophy of Music. New York: Oxford University Press, pp. 115–30.Google Scholar
Levinson, J. (2015b). Shame in General and Shame in Music. In Musical Concerns: Essays in Philosophy of Music. New York: Oxford University Press, pp. 8898.Google Scholar
Leys, R. (2007). From Guilt to Shame: Auschwitz and After. Princeton, NJ: Princeton University Press.Google Scholar
Lickel, B., Schmader, T., and Barquissau, M. (2004). The Evocation of Moral Emotions in Intergroup Contexts: The Distinction between Collective Guilt and Collective Shame. In R. Branscombe, N. and Doosje, B., eds., Collective Guilt: International Perspectives. Cambridge: Cambridge University Press, pp. 3555.Google Scholar
Lu, C. (2008). Shame, Guilt, and Reconciliation After War. European Journal of Social Theory, 11(3), 367–83.Google Scholar
Macfarlane, H. (2018). The Resurrection of ‘Charlie’ Wenjack. Canadian Literature 236, 92110, 182.Google Scholar
Margalit, A. (2002). The Ethics of Memory. Cambridge, MA: Harvard University Press.Google Scholar
Martin, D. (2016). The Secret Path. Interview with Mike Downie. CTV Television. 18 October.Google Scholar
Martin, K. (2013). Modernism and the Rhythms of Sympathy: Vernon Lee, Virginia Woolf, D.H Lawrence. Oxford: Oxford University Press.Google Scholar
McCann, M. (1995). Music and Politics in Ireland: the Specificity of the Folk Revival in Belfast. British Journal of Ethnomusicology, 4, 5175.Google Scholar
McCoy, J. (2009). Making Violence Ordinary: Radio, Music, and the Rwandan Genocide. African Music, 8(3), 8596.Google Scholar
McGarty, C., and Bliuc, A.-M. (2004). Refining the Meaning of the ‘Collective’ in Collective Guilt: Harm, Guilt, and Apology in Australia. In Branscombe, N. R. and Doosje, B., eds., Collective Guilt: International Perspectives. Cambridge: Cambridge University Press, pp. 112–29.Google Scholar
McMurray, P. 2019. Witnessing Race in the New Digital Cinema. In Cook, N., Ingalls, M., and Trippett, D., eds., The Cambridge Companion to Music in Digital Culture. Cambridge: Cambridge University Press, pp. 124–46.Google Scholar
Ngai, S. (2012). Our Aesthetic Categories: Zany, Cute, Interesting. Cambridge, MA: Harvard University Press.Google Scholar
Nyznik, J. (2017). Teacher’s Lesson Plan Goes National. Peterborough Examiner, 1 November, A3.Google Scholar
Obama, B. (2006). Commencement Address. Northwestern University. 19 June. www.northwestern.edu/newscenter/stories/2006/06/barack.html (accessed 7 January 2020).Google Scholar
Obama, M. (2020). Speech. Democratic National Convention. 17 August. https://wapo.st/2E6Z4rT (accessed 20 August 2020).Google Scholar
O’Connell, J. M. (2010). Introduction. In O’Connell, J. M. and Castelo-Branco, S., eds., Music and Conflict. Urbana, IL: University of Illinois Press, pp. 114.Google Scholar
Oxley, J. C. (2011). The Moral Dimensions of Empathy: Limits and Applications in Ethical Theory and Practice. Basingstoke: Palgrave Macmillan.Google Scholar
Parker, J. E. K. (2015). Acoustic Jurisprudence. New York: Oxford University Press.Google Scholar
Party, D. (2009). Placer Culpable: Shame and Nostalgia in the 1990s Chilean Balada Revival. Revista de Música Latonamericana, 30(1), 6998, 114.Google Scholar
Pedwell, C. (2014). Affective Relations: The Transnational Politics of Empathy. Basingstoke: Palgrave Macmillan.Google Scholar
Pettan, S., and Titon, J. T., eds. (2015). The Oxford Handbook of Applied Ethnomusicology. New York: Oxford University Press.Google Scholar
Phillips-Hutton, A., and Nielsen, N. (In press). Ethics. In McAuley, T., Nielsen, N., Levinson, J., and Phillips-Hutton, A., eds., The Oxford Handbook of Western Music and Philosophy. New York: Oxford University Press, pp. 283–306.Google Scholar
Pilger, J. (2014). Another Stolen Generation. The Guardian. 21 March. https://bit.ly/328C3MS (accessed 7 January 2020).Google Scholar
Pilzer, J. D. (2012). Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese ‘Comfort Women’. New York: Oxford University Press.Google Scholar
Pilzer, J. D. (2014). Music and Dance in the Japanese Military ‘Comfort Women’ System: A Case Study in the Performing Arts, War, and Sexual Violence. Women and Music: A Journal of Gender and Culture, 18(1), 123.Google Scholar
Pinto García, M. E. (2014). Music and Reconciliation in Colombia: Opportunities and Limitations of Songs Composed by Victims. Music and Arts in Action, 4(2), 2451.Google Scholar
Pruitt, L. (2011). Music, Youth, and Peacebuilding in Northern Ireland. Global Change, Peace and Security, 23(2), 207–22.Google Scholar
Putnam, D. A. (1987). Why Instrumental Music Has No Shame. The British Journal of Aesthetics, 27(1), 5561.Google Scholar
Rabinowich, T.-C., Cross, I., and Burnard, P. (2013). Long-term Musical Group Interaction has a Positive Influence on Empathy in Children. Psychology of Music, 41(4), 484–98.Google Scholar
Ramsbotham, O., Woodhouse, T., and Miall, H. (2011). Contemporary Conflict Resolution, 3rd ed. Cambridge: Polity Press.Google Scholar
Rayner, B. (2016). Not a Soul left Untouched at Roy Thomson Hall by Gord Downie’s Secret Path. The Star. 21 October. https://bit.ly/3kYegb8 (accessed 7 January 2020).Google Scholar
Read, P. (2006). The Stolen Generations: The Removal of Aboriginal Children in New South Wales 1883–1969. 4th ed. New South Wales Department of Aboriginal Affairs. https://bit.ly/3aHBU7k (accessed 7 January 2020).Google Scholar
Rice, T. (2017). Ethnomusicology in Times of Trouble. In Modeling Ethnomusicology. New York: Oxford University Press, pp. 233–54.Google Scholar
Rickwood, J. (2013). We are Australian: An Ethnographic Investigation of the Convergence of Community Music and Reconciliation. PhD thesis, Australian National University.Google Scholar
Rieff, D. (2016). In Praise of Forgetting. New Haven, CT: Yale University Press.Google Scholar
Ritter, J. (2014). The ‘Voice of the Victims’: Testimonial Songs in Rural Ayacucho. In Milton, C. E., ed., Art from a Fractured Past: Memory and Truth-Telling in Post-Shining Path Peru. Durham, NC: Duke University Press, pp. 217–53.Google Scholar
Robertson, C. (2008). Music and Conflict Transformation in Bosnia: Constructing and Reconstructing the Normal. Music and the Arts in Action, 2(2), 3855.Google Scholar
Rosen, J. W. (2014). Dissident ‘Choirboy’: Rwandan Gospel Star on Trial. Al-Jazeera America. 11 December. https://bit.ly/2Emebx5 (accessed 20 August 2020).Google Scholar
Rothberg, M. (2019). The Implicated Subject: Beyond Victims and Perpetrators. Stanford, CA: Stanford University Press.Google Scholar
Saarikallio, S. (2010). Music as Emotional Self-Regulation throughout Adulthood. Psychology of Music, 39(3), 307–27.Google Scholar
Sandole, D. J. (1998). A Comprehensive Mapping of Conflict and Conflict Resolution Research: A Three Pillar Approach. Peace and Conflict Studies, 5(2), 130.Google Scholar
Scruton, R. (2014). Music and Morality. Disputatio: Philosophical Research Bulletin, 4, 3348.Google Scholar
Sedgwick, E. K. (2003). Touching Feeling: Affect, Pedagogy, Performativity. Durham, NC: Duke University Press.Google Scholar
Seeds of Peace. (2006). Sharon Stone Supports Seeds of Peace. 31 October. www.seedsofpeace.org/sharon-stone-supports-seeds-of-peace/ (accessed 7 January 2020).Google Scholar
Skyllstad, K. (1995). Society in Harmony: A Polyaesthetic School-Program for Interracial Understanding. History of European Ideas, 20(1), 8997.Google Scholar
Skyllstad, K. (2000). Creating a Culture of Peace: The Performing Arts in Interethnic Negotiations. Intercultural Communication, 4, n.p. https://immi.se/intercultural/nr4/skyllstad.htmGoogle Scholar
Skyllstad, K. (2008). Managing Conflicts through Music: Educational Perspectives. In Urbain, O., ed., Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. London: I.B. Tauris & Co., pp. 172–86.Google Scholar
Small, C. (1998). Musicking: The Meanings of Performance and Listening. Middletown, CT: Wesleyan University Press.Google Scholar
Softic, B. (2011). The Music of Srebrenica after the War. Nar. Umjet, 48(1), 161–81.Google Scholar
Sprigge, M. (2019). Dresden’s Musical Ruins. Journal of the Royal Musical Association, 144(1), 83121.Google Scholar
Stein, E. (1989) On the Problem of Empathy. Translated by Stein, Waltraut. 3rd ed. Washington, DC: ICS Publications.Google Scholar
Stige, B., Ansdell, G., Elefant, C., and Pavlicevic, M. (2010). Where Music Helps: Community Music Therapy in Action and Reflection. Aldershot: Ashgate.Google Scholar
Stirling, C. (2018). Sound, Affect, Politics. In Bull, M., ed., The Routledge Companion to Sound Studies. New York: Routledge, pp. 5467.Google Scholar
Stokes, M. (2006). Adam Smith and the Dark Nightingale: On Twentieth-Century Sentimentalism. Twentieth-Century Music, 3(2), 201–19.Google Scholar
Stokes, M. (2010). Republic of Love: Cultural Intimacy in Turkish Popular Music. Chicago, IL: The University of Chicago Press.Google Scholar
Sugarman, J. (2010). Kosova Calls for Peace: Song, Myth and War in an Age of Global Media. In O’Connell, J. M. and Castelo-Branco, S., eds., Music and Conflict. Champaign, IL: University of Illinois Press, pp. 1745.Google Scholar
Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar
The Observer. (2006). Barenboim’s Harmonious Message Goes Beyond Classical Music. 30 April. https://bit.ly/2FEDKdF (accessed 7 January 2020).Google Scholar
Thompson, E. (2001). Empathy and Consciousness. Journal of Consciousness Studies, 8(5–7), 132.Google Scholar
Tobin, M. (2007). School Bans ‘Sorry Song’. The World Today, Australian Broadcasting Corporation. 11 July. www.abc.net.au/worldtoday/content/2007/s1975739.htm (accessed 7 January 2020).Google Scholar
Tomkins, S. (1995). Shame and its Sisters: A Silvan Tomkins Reader. Sedgewick, E. K. and Frank, A., eds. Durham, NC: Duke University Press.Google Scholar
TRC of Canada. (2015a). Canada’s Residential Schools: The History, Part 2, 1939 to 2000, vol. 1. Montreal: McGill-Queen’s University Press.Google Scholar
TRC of Canada. (2015b). Honouring the Truth, Reconciling for the Future: Summary of the Final Report of the Truth and Reconciliation Commission of Canada. https://bit.ly/2YiqTnY (accessed 20 August 2020).Google Scholar
Turino, T. (2008). Music as Social Life: The Politics of Participation. Chicago, IL: University of Chicago Press.Google Scholar
Turner, V. (1969). The Ritual Process. Chicago, IL: Aldine.Google Scholar
United Nations. (2010). United Nations Approach to Transitional Justice, Guidance Notes of the Secretary-General. https://bit.ly/3hoJYMR (accessed 7 January 2020).Google Scholar
United Nations. (2016). West–Eastern Divan Orchestra Designated United Nations Global Advocate for Cultural Understanding. www.un.org/press/en/2016/pi2154.doc.htm (accessed 1 July 2020).Google Scholar
Urbain, O. (2008). Introduction. In Urbain, O., ed., Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. London: I.B. Tauris & Co., pp. 19.Google Scholar
Villa-Vicencio, C. (1999). Living in the Wake of the Truth and Reconciliation Commission: A Retroactive Reflection. Law, Democracy and Development, 3(2), 195208.Google Scholar
Warren, J. (2014). Music and Ethical Responsibility. Cambridge: Cambridge University Press.Google Scholar
Watt, D. (2007). Toward a Neuroscience of Empathy: Integrating Affective and Cognitive Perspectives. Neuropsychoanalysis, 9(2), 119–40.Google Scholar
Weschler, L. (1989). Afterword. In Weschler, L., ed., State Crimes: Punishment or Pardon. Queenstown, MD: Justice and Society Program of the Aspen Institute, pp. 8993.Google Scholar
Wheeler, B. (2016). Gord Downie’s Secret Path Delivers on Its Heavy Ambition. The Globe and Mail. 18 October.Google Scholar
Williams, B. (1993). Shame and Necessity. Berkeley, CA: University of California Press.Google Scholar
Williams, B. (2006). Ethics and the Limits of Philosophy. London: Routledge.Google Scholar
Young, M. (2014). Australia in the Grip of a New ‘Stolen Generation’. News. 2 August. https://bit.ly/3gjjLOp (accessed 7 January 2020).Google Scholar
Zelizer, C. (2003). The Role of Artistic Processes in Peace-Building in Bosnia-Herzegovina. Peace and Conflict Studies, 10(2), 6275.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Music Transforming Conflict
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Music Transforming Conflict
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Music Transforming Conflict
Available formats
×