First off, thanks to David and Sam for merging these threads, and now some additional material you may find of interest. Having spent some time in W. Africa, many parts of it are a musical culture, much like the cultures of many island nations (Slapout gave an example for Jamaica), and at least parts of SE Asia like the Philippines and the hill tribes in Indochina. This first link points to the relevance of that for SWJ practitioners. It is a pleasant change of venue from most of the websites that only discuss how music is used (largely ineffectively) to support interrogations.

http://thinkafricapress.com/mali/mus...li-andy-morgan

Review – Music, Culture & Conflict in Mali

Music is the glue that holds Mali together, the bridge that connects its past with its present, the ink with which its history is written. Without it, Mali as we know it would not exist.
Today, Mali has one of the world’s richest and most vivid music scenes, and it is not surprising that there was an outpouring of outrage and despair last year when the Islamist militants, who swept across the north of the country, banned music in the territories they held. The rebel groups have since been driven off by French forces and kept away by UN peacekeepers, but it was the Islamists’ campaign against music that forms the backdrop to Andy Morgan’s impressive new book Music, Culture & Conflict in Mali.
They kindly provided a link to the e-version of the book. If the Army is serious about exploring the human domain and how to influence it, this appears to be one dimension of it that should be studied.

http://freemuse.org/graphics/Publica...flict_MALI.pdf

This German University has an ongoing study project regarding music and its relationship to conflict that some may want to pursue.

https://www.uni-goettingen.de/en/84354.html

The Free Floater junior research group “Music, Conflict and the State” promotes and conducts research into the role(s) of music in promoting, facilitating and perpetuating violent responses to conflicts between social groups and communities, including inter- and intrastate wars.
Current focuses of our work include:


##The use of music to advocate or incite hatred and violence

##The use of children as musicians in military and paramilitary organisations, and the role of music in the life of child soldiers

##Music and missionary work in the context of colonialism and colonial wars

##The use of music in connection with torture and other forms of cruel, inhuman and degrading treatment and punishment.