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preserving Tunisian musical heritage. The movement contributed to the emergence of an eminent cultural life, which witnessed the purpose of the element of music in the daily mood; music, therefore, became part of society. In order to shed some light on the role played by music in Tunisian cul- ture in this specific historical period, this essay engages with a review of his- torical studies and points out the impacts of politics on the Tunisian musical life as well as turning points that changed music practices. Methodologically, the instrument of ethnomusicology as Immanuel Brockhaus lebt in Bern und Berlin. Weitere Informationen unter: Martin Cloonan is Professor of Popular Music Politics at the University of Glasgow. He also chairs Freemuse – the World Forum on Music and Censorship. Martin has published numerous articles and books focussing on the political economy of the music industries and issues of freedom of ex- pression. His latest book, Players’ Work Time: A History of the British Mu- sicians’ Union (co-written with John Williamson) was published by Man- chester University Press in 2016

. Italienischer Futurismus 1909-1918, Hannover, 318-333. Amin, Ash/Nigel Thrift 2002: Cities. Reimagining the Urban, Cambridge. Amphoux, Pascal 1994: »Die Zeit der Stille. Urbanität und Sozialität«, in: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH (Hg.): Welt auf töner- nen Füssen. Die Töne und das Hören, Göttingen, 86-99. Appadurai, Arjun 1986: »Introduction. Commodities and the Politics of Value«, in: Arjun Appadurai (Hg.): The Social Life of Things. Commodities in Cultural Perspective, Cambridge, 3-63. Appadurai, Arjun 1998: »Globale ethnische Räume

means Asia and the imagined West are never mutually exclusive but embodied in and entangled with each other. Chen also envisions a new view of Asia in practice, that means, by interrogating Asia as a way of living and a way of epistemological reconstruction. In sum, Asia as method is far from circumscribed within a fixed geographical or cultural domain; it is thus opposite to the old “area study” of Asia, which was a political economic term derived from the Cold War ideology (many area studies after the war were initiated and financially supported with

to preserve the tranquility of the ceremony (160). His bewilderment by the political leader’s disrespectful behavior and the emcees’ reminder implied what was emphasized in Osma’s declaration concerning the appearance of whirling dervishes on the Eurovision stage: the whirling ceremony was treated both by the Prime Minister and the audience more like a show than a ritual. Dervish on the Eurovision Stage | 77 Sertab’s desire to see female whirling dervishes on the ESC stage was based on a secularized image of whirling dervishes detached from their

, physiological, or behavioral“ arousal (McMul- len 1996, quoted from Radocy and Boyle 2003, p. 41) having either „stimulating, invigouring“ or „soothing, sedating“ effects (Radocy and Boyle 2003, p. 41). It seems that the many functions of music are an- chored in a rather basic process of forming, creating, establishing, etc., hierarchies of socialisation through music in which elemental personal (psychological, biological, physiological) as well as interpersonal (social, political, but also economical as well as a plethora of pragmatical) de- terminants are involved

, religious, corporate, media and en- tertainment organizations, where festivals are held for exhibitive as well as competitive reasons. A unique characteristic of the proliferated festival is its ability to not only open up space for diverse music concepts in terms of creativity and performance but also enhance artistic, social, economic and political negotiation and interaction. The Kenya Music Festival (KMF) is such an instance that provides an all-inclusive platform where music from many cultures of the world is per- formed. Apart from its diverse musical (re

Music and Society for his article »State of the Nation: ›Englishness‹, Pop and Politics in the Mid-1990's«. • E-Mail: Jörg Fachner (*1962), Senior Research Fellow am Lehrstuhl für Qualitative For- schung in der Medizin, Medizinische Fakultät der Universität Witten/ Herdecke, studierte Sozial-, Erziehungs- und Musikwissenschaften an den Universitäten Wuppertal und Dortmund. 2001 Promotion an der Universität Witten/Herdecke. Editor der Onlinezeitschrift Music Therapy Today. For- schungsschwerpunkte: Musikphysiologie, und -psychologie

and blending cultural reality of musical tastes in our societies. Intercultural. This represents loose contacts and exchange between cultures, and includes simple forms of fusion. It is very popular in North-western Europe, particularly in music in schools, and steered largely by musical interest and awareness, although one may suspect that political correctness plays a role as well. Transcultural. This refers to an in-depth exchange of approaches and ideas. At first glance, it might sound a bit too idealistic. But it is actually possible to imagine – and

"The Blood of my Ancestors" - Nostalgia in White-Supremacist Hate Rock KIRSTEN DYCK Music has been an attractive tool for American political activists of various stripes over the course of the past century. It can offer a variety of community-building opportunities to performers and fans alike. Recently, the white-supremacist movement has capitalized on the unitying possibilities of political music, developing a thriving and increasingly profitable underground music scene. As authors such as Abby Ferber have noted, developments in internet tech- nology