“…In the latter category, there are many more publications that tackle the issue of music and war in its symbolic guise. While the publications concerning music and power (see, for example, Averill 1997), music and resistance (see, for example, Pratt 1990), music and protest (see, for example, Bauman 1979), music and propaganda (see, for example, Perris 1985), and music and gender (see, for example, Ceribašič 2000) are now accepted as seminal contributions, the musical enactment of war has more recently generated important research especially in the realms of music in competitions (see, for example, Avorgbedor 2001) and music as battles (see, for example, Bakan 1998). In this matter, dance scholars have contributed important overviews of embodied conflict (see, for example, Gilman 2009).…”