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| Srl | Item |
| 1 |
ID:
172050
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| Summary/Abstract |
This article examines the rise of the Islamic State (IS) through its anashid (a cappella), analyzing their lyrics and their musical attributes such as sonic elements, pitch, and harmony, among others. It focuses on key themes that define the group's lyrics and traces the evolution of anashid production and use—an evolution that began with the IS borrowing existing jihad-themed anashid to articulate its message and accompany its video messaging, and led to a far more developed and sophisticated sonic identity in the form of internally produced, group-specific anashid. The IS's claims to legitimacy as the caliphate are sounded out in the group's anashid. The recurring appearance of propaganda in the form of anashid and videos builds a strong case for the genre's significance among the highly complex factors catalyzing an individual's involvement in carrying out violence, especially among recent attacks within Western countries in the name of IS.
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| 2 |
ID:
157208
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| Summary/Abstract |
When the animals in George Orwell’s Animal Farm concluded that their misery could be ‘summed up in a single word’, namely ‘Man’, and became resolved to ‘Remove Man from the scene’, it was a song that propelled them to revolution.1 Old Major the boar, the most highly regarded among the animals, addressed his comrades with a philosophical speech about the ‘tyranny of human beings’, going on to tell them of a dream he had had about life after the disappearance of Man. In particular, he recalled a song from the dream, ‘Beasts of England’, the lyrics of which contained ‘joyful tidings’ of a ‘golden future time’ when ‘tyrant man shall be o’erthrown’ and the fields ‘shall be trod by beasts alone’.2 The song ‘threw the animals into the wildest excitement’, much more so than Old Major’s speech had done, and before long ‘the whole farm burst out into Beasts of England in tremendous unison’.3 In short, the song forged a common bond among the animals, transcending their differences and imbuing Old Major’s plan to eradicate Man with a potency and resonance that his rhetoric had clearly lacked.
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| 3 |
ID:
178665
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| Summary/Abstract |
This article examines how Da‘esh utilizes anashid (“Islamic songs” or “recitation”) as soundtrack elements within its video messaging, focusing primarily on a sample set of 755 videos released in 2015. The authors also present the development of an automatic content recognition (ACR) tool that enabled them to engage this large data set. The article then explores the possibilities of ACR for the identification of terrorist audio and video, utilizing the conclusions drawn from the trends of audio usage in Da‘esh video messaging to support the validity and promise of such an approach.
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