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

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書目名稱Crime and Music影響因子(影響力)




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書目名稱Crime and Music被引頻次學(xué)科排名




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FLING

NEW, Novi Beograd 1948 – 1986 – 2006zing the functions of music in terms of ., styles and genres and by reconstructing the biographies of great composers, performers and orchestras (Burkholder et al. 1988). They were joined by sociologists trying to gain insight into the sociopolitical significance of music, including great thinkers s

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Hans-Joachim Roth,Tim Wolfgartenement 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

dialect

NEW, Novi Beograd 1948 – 1986 – 2006 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

似少年

NEW, Novi Beograd 1948 – 1986 – 2006eres offering creative and self-reflexive responses to social realities. Considering the evolution of murder ballads from seventeenth-century Europe to a staple in American pop and rap, the sonic politics of murder ballads deserve more attention within and beyond the realm of music history.

Gene408

Gene408

hemoglobin

Wertentwicklung im Jugendalter,age style and a cultural experience. The zealous opposition unleashed against rebetika from the 1930s until even the 1970s constitutes a perfect exercise for tracing the construction of a “moral panic” aiming to entrench and fortify Greekness against perceived perilous influences. The subsequent tur

Laconic

Wertedimensionen im Jugendalter,ked 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

Aboveboard