Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi

 
9780198735809: Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi

Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda's most well-known and popular figures - the country's minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide.

Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal's 'sonic imagination'. How did the Tribunal conceive of Bikindi's songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi?

The other half of the book is addressed to how such concerns played out in court. Bikindi's was a 'musical trial', as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the 'judicial soundscape'.

Through the lens of the Bikindi trial, the book's most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence.

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About the Author:

James E. K. Parker is a Lecturer in Law at Melbourne Law School, where he is the director of a research programme on "Law, Sound, and the International" at the Institute for International Law and the Humanities. James is also a music critic and radio broadcaster.

Review:

'In this lucid and readable book, Parker offers a rigorous and original argument for the significance of sound in law. Focusing on a well-chosen case of international law, Parker draws attention to law's sonic imagination and shows how trials themselves are soundscapes. His acoustic jurisprudence allows one to listen to law in fresh ways.' Professor Marianne Constable, UC Berkeley, author of Our Word is Our Bond: How Legal Speech Acts.

'This book, beautifully written and carefully argued, is a significant contribution to the developing field of law and music. Parker's singular case study on music and genocide sets the stage for a comprehensive agenda on the relevance of sound studies to law and legal theory. His sophisticated understanding of musical traditions and practices gives his work a delicacy and breadth that few others in this field can match. His rich understanding of the most important questions in contemporary legal theory and jurisprudence persuasively drive his analysis towards deeper and broader reflections. Acoustic jurisprudence, an orientation towards law and the practice of judgment attuned to questions of sound and listening, opens our ears to the complex polyphony of the cultural, aesthetic and phenomenological dimensions of law.' Professor Desmond Manderson, Australian National University, author of Kangaroo Courts and the Rule of Law.

'The roles of sound within the operation of law are significant. Andyet, few have given this topic serious consideration. This book is awelcome and important contribution to our understanding of music, sound, and noise in jurisprudence.' Lily E Hirsch, author of Music in American Crime Prevention and Punishment.

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Book Description Oxford University Press, United Kingdom, 2015. Hardback. Book Condition: New. Language: English . Brand New Book. Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda s most well-known and popular figures - the country s minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal s sonic imagination . How did the Tribunal conceive of Bikindi s songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi s was a musical trial , as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the judicial soundscape . Through the lens of the Bikindi trial, the book s most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence. Bookseller Inventory # AOP9780198735809

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Book Description Oxford University Press, United Kingdom, 2015. Hardback. Book Condition: New. Language: English . Brand New Book. Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda s most well-known and popular figures - the country s minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal s sonic imagination . How did the Tribunal conceive of Bikindi s songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi s was a musical trial , as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the judicial soundscape . Through the lens of the Bikindi trial, the book s most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence. Bookseller Inventory # AOP9780198735809

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Book Description Oxford University Press, United Kingdom, 2015. Hardback. Book Condition: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda s most well-known and popular figures - the country s minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal s sonic imagination . How did the Tribunal conceive of Bikindi s songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi s was a musical trial , as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the judicial soundscape . Through the lens of the Bikindi trial, the book s most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence. Bookseller Inventory # BTE9780198735809

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Book Description Oxford University Press. Hardback. Book Condition: new. BRAND NEW, Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi, James E. K. Parker, Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda's most well-known and popular figures - the country's minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal's 'sonic imagination'. How did the Tribunal conceive of Bikindi's songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi's was a 'musical trial', as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the 'judicial soundscape'. Through the lens of the Bikindi trial, the book's most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence. Bookseller Inventory # B9780198735809

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