Question

Write a one page summary on the “Music as Torture / Music as Weapon”, Trans: Revista Transcultural de Musica, 10 (2006). by Cusick

Answer 1

Theoretical

One of the most alarming parts of melodic or musical culture in the post-Cold War United States is the orderly utilization of music as a weapon of war. First coming to standard consideration in 1989, when US troops blastd boisterous music with an end goal to instigate Panamanian president Manuel Norriega's give up, the utilization of "acoustic assault" has become standard practice on the war zones of Iraq, and explicitly melodic barrage has joined tactile hardship and sexual embarrassment as among the non-deadly implies by which detainees from Abu Ghraib to Guantanamo might be forced to yield their insider facts without abusing US law.

The general concept that music could be an instrument of torment goes up against us with a novel—and upsetting—point of view on contemporary musicality in the United States. Would could it be that we in the United States may think about ourselves by pondering this point of view? What does our administration's utilization of music in the "war on fear" let us know (and our foes) about ourselves?

This paper is a first endeavor to comprehend the military and social rationales on which the contemporary utilization of music as a weapon in torment and war is based. After quickly following the advancement of acoustic weapons in the late twentieth century, and their arrangement at the second clash of Falluja in November, 2004, I condense what can be thought about the hypothesis and practice of utilizing music to torment prisoners in Afghanistan, Iraq and Guantanamo. I ponder a few parts recently twentieth century melodic culture in the regular citizen US that resound with the US security network's origination of music as a weapon, and study the manner in which melodic torment is talked about in the virtual world known as the blogosphere. At long last, I sketch a few inquiries for further research and examination.