Titlebook: Crime and Music; Dina Siegel,Frank Bovenkerk Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe

吹牛者

Entartete Musik: Perpetrators and Victimsement with neither the methods used nor the nature of the victims. Though, all Jewish music was anyway prohibited, “modern” music was not per se, nor elements of jazz. Finally, it is important to accept that the music itself was never a victim but those who created or recreated it were. Neither can

小教堂

Crime at the Opera House sexual jealousy, revenge. Despite the apparent exaggeration, absurdities and urge to entertain, in the end opera still approaches the true emotional connotations of death, terror, and debauchery. Every perpetrator or victim of crime must know this world from the inside. Opera reveals something abou

騎師

印第安人

MIRE

addition

companion

“Keeping It (Hyper)Real”: A Musical History of Rap’s Quest Beyond Authenticityked up to lyrical formulas of the genre. “Keeping it real” remains of the utmost importance for rappers, street-oriented persons, and other audiences alike. The Internet, and social media in particular, has further complicated the relation between “art” and “l(fā)ife.” This chapter shows that the import

embolus

ANTE

神化怪物

cal genres.A multidisciplinary work that will be of interest.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 criminolo