he article presents analysis of the national and international media discourse associated to the trilingual entry of Israel to the 2009 Eurovision Song Contest. It focuses on how musical performance discourse reflects and influences national and ethnic identity in the country. It also shows the political battle raged in actions and words accompanying the entry of the song.

Talks about Saida Sultan and Danna International transgender pop and the polysemiotics of sex, nation and ethnicity on the Israeli-Egyptian border.

The article presents an analysis on the relationship between cultural identity and Diaspora. An examination on Tony Gatlif's film "Latchi Drom" is presented, followed by discussion on Stuart Hall's notion of cultural play and music to evoke the instability and permanent unsettlement that characterizes Diaspora cultural identities.

The article discusses the plight of the European ethnic group called the Roma or the Gypsies as illustrated in popular culture and by the entertainment media. The Gypsies is prejudiced in several European states due to the existence of restrictive laws which results to the exclusion of the ethnic group from society. Moreover, the media portrayals of the Roma have significantly affected the image of the group.

The study of music in war and music for peace has received surprisingly little
attention in ethnomusicology. While a number of important publications
do exist, these usually concern specific conflicts whose parameters are defined
by particular geographical conditions and historical circumstances. As Samuel
Araújo (2006:289) states, the study of conflict from a theoretical perspective
has largely been neglected in ethnomusicology. In contrast to other cognate
disciplines (such as anthropology and folklore) where a disciplinary interest in
an applied dimension is well established, ethnomusicologists have only recently
begun to embrace seriously the issue of musical advocacy.

In this article I view "ethnic cleansing" in terms of the structural logic advanced by Mary Douglas (1966) and manifested in the constitutions of the republics of the former Yugoslavia. These constitutions reify and objectify "culture" in ways that provide the conceptual, ideological, political, and legal justifications for processes of exclusion, from the denial of citizenship to expulsion and murder. The analysis is grounded in the texts of the constitutions read against local Yugoslav understandings of their terms, in the bureaucratic practices of granting and denying citizenship on an ethnic basis, and in the geography of the wars in the former Yugoslavia. [Serbia, Croatia, Bosnia-Hercegovina, nationalism, ethnicity, law, genocide]

The article offers an analysis on the variety of ways that loud music has been used in the detention camps. It states that surveys at several detention camps in the U.S., Afghanistan, Baghdad, and Iraq reveals that loud music is commonly used as an openly acknowledged component of harsh interrogation. Accordingly, the approach is known as "futility" techniques and its purpose is to persuade a detainee that resistance to interrogation is futile.

Listening to War is an original if deeply idiosyncratic book. It is in some ways a breakthrough achievement in sound studies, providing among other things a model for how ethnographic interrogations of contemporary political events might be carried out. Its focus is on ‘wartime Iraq’, a term that the author takes to mean Iraqi cities during a period from the US-led invasion on 20 March 2003 until roughly December 2011, when the last foreign combat troops left the country.

This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these "do-it-yourself" scenes represent, at least potentially, a "return of the aura" to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially "religious" grounding of "committed" art at the intersection of intense creativity and conflict across the Arab world.

The article offers information on the Egyptian protest culture during a protest against Muhammad Husni Mubarak, former President of Egypt, that took place at the Tahrir Square in Egypt from January 24, 2011 to February 11, 2011. It mentions that the nationalist and protest music was sung by musicians and other protesters during the protest. It describes the anti-imperial struggle of the people through music. It also informs about the role of Rami 'Isam, a rock singer from Mansoura, Egypt, during the protest. It further focuses on the classical revolutionary music which was performed by artists at the time of the revolution.