This chapter discusses serialism’s varied formal and sociopolitical meanings and implications – its aesthetics and, to a lesser degree, its mechanics – in the USSR, by examining the central figures in Soviet serialism, among them Andrey Volkonsky, Arvo Pärt, Alfred Schnittke, Edison Denisov, and Valentin Sylvestrov. It also points to representative compositions, performances, publications, and recordings. This chapter is particularly concerned with the aural culture of serialism in the post-war USSR as well as with thinking about serialism as both performative presence and material artifact. Other topics covered include the place of Soviet serialism in the cultural Cold War as well as the censorship and control of serialism in the USSR.

East Asia had incorporated Western music well before dodecaphony was introduced. Its foray into atonality and dodecaphony is unsurprising. Japan, as the first country to fully embrace Westernisation, played a major role. Developments of dodecaphony in China and Korea were connected to Japan through an active network of ideas, print media, and movement of people in the region. Despite their shared resources, however, wars and politics determined whether or not (and when) composers in different East Asian countries had the liberty to explore dodecaphony. China was close to developing dodecaphonic compositions before being stopped after the founding of Communist China in 1949. The post-Mao introduction of dodecaphony, led by Luo Zhongrong, was a late ‘arrival’. Japanese composers’ initial enthusiasm for dodecaphony did not gain in significance. Yoritsune Matsudaira and Joji Yuasa were representative. In Korea, led by Isang Yun and Sukhi Kang, serialism was employed thoughtfully by several generations of composers throughout their creative output.

According to standard accounts, twentieth-century music in Latin America was dominated by ‘folkloristic nationalism’. As this chapter demonstrates, however, there has been a number of lively serialist movements that, after gaining a foothold in Buenos Aires in the 1930s, gradually coalesced to achieve a modicum of mainstream and institutional acceptance across much of the region by the 1960s. This story not only provides an important facet of Latin America’s music history, but it also touches on crucial issues beyond that, such as the way artistic innovations are disseminated; the role of migration and national, regional, and international networks, such as the International Society for Contemporary Music (ISCM); the varying connections between aesthetic ideas and ideological and political principles; and debates about progress and tradition, national culture and universalism. The history of serialism in Latin America thus to an extent mirrors that in other regions but adds some specific elements.

While the ‘post-serial’ has been a resilient critical category over more than half a century, its status remains problematised by ongoing debates around the nature and limits of the serial itself. In particular, as insight grows into European serial practice after World War II, so does the case for understanding serialism as a more capacious concept than hitherto, embracing not only technique but also aesthetic and – a category regarded as taboo by certain of its practitioners – style. The generalisations that serialism underwent in the 1950s led less to a rigidly deterministic model of ‘total’ serialism than to a proliferation of the concept in many directions. Its seemingly endless possibilities of permutation led it (surprisingly to some) towards the statistical and the aleatory, while its notion of the ‘parameter’ went at times beyond the conventional categories of pitch and rhythm to embrace the manipulation of text, action and gesture. If relatively few composers now profess an overt allegiance to serialism, fewer still can entirely avoid the explicit reflections on material and process that it stimulated.

The European Union Agency for Law Enforcement Cooperation (Europol) is competent to support action by the EU Member States’ law enforcement authorities and strengthen their cooperation in the fight against cross-border crime. Europol is not a ‘European FBI’ as it does not have executive powers. Nevertheless, its contribution to the activities of national police authorities is increasingly appreciated by practitioners, especially since the Agency is in an ideal position to process and exchange enormous amounts of personal data that are relevant for criminal investigations. This chapter examines Europol’s history, structure, competence and powers, as well as its relations with partners and the rules on its accountability. It also focuses on the crucial role that Europol plays in shaping EU criminal justice thanks to its Serious and Organised Crime Threat Assessments, which set in motion a process at the European level by which the EU periodically identifies its priorities for the fight against serious international crime (the Policy Cycle-EMPACT). This chapter also analyses the forthcoming revision of Europol’s legal framework, which aims to ensure that the Agency can efficiently perform its tasks in an ever-changing security landscape.

A milestone of the European integration process, the European Public Prosecutor Office (EPPO) has been established in 2017 through the enhanced cooperation mechanism and has become operative in 2021. Following a biphasic idea of criminal proceedings, the investigative and prosecutorial powers related to crimes affecting the European financial interests. are exercised by EPPO at the EU level, while adjudicatory powers are exerted by national courts at the domestic level – this justifies the EPPO’s multi-layered system which is, moreover, characterized by a verticalization of judicial cooperation in criminal matters. While the material scope of the EPPO is narrowed both to the so-called ‘PIF’ offences and broader ‘ancillary offences’, only an interplay between European and domestic levels may ensure the effectiveness of the whole procedure. Yet, the applicable national law in case, cross-border investigation issues, evidence rules and defence rights are very sensitive issues that still rest unresolved as the EPPO Regulation did not deal clearly with those matters. Despite the numerous issues, the establishment of the EPPO might pave the way to a deeper cooperation in criminal matters among the EU and Member States, through a pragmatic approach which would show its results in the coming years.

Serialism is often canonically pinned to a few mid-century acoustic pieces, but this textbook definition is unnecessarily narrow. Would it be possible to consider computer music, EDM, and hip hop as serial, in some way? This essay argues that a ‘serial attitude’ emerges in the dialectic between analogue and digital ways of musicking. Electronic technologies – from generators to drum machines – crucially mediate such attitudes and behaviours. In sum, serial attitudes shape and are shaped by technological affordances. Case studies include the analogue electronic studio of the WDR, early computer music laboratories at Utrecht, Bell Labs, and Columbia-Princeton, and the vernacular musics of Yellow Magic Orchestra and Afrika Bambaataa. I explore resonances between these disparate scenes, while also arguing for their particularity. This essay rethinks serialism as a practice imbricated with technology, extending beyond the narrow confines of high-art academic institutions.

Milton Babbitt is accepted as one of the earliest adopters of integral serialism, a label that has been applied to a number of European composers including Pierre Boulez, Karlheinz Stockhausen, Luige Nono, and Jean Barraqué. What sets Babbitt apart from this group encompasses both his compositional techniques and his roots as an American musician. Through extensions of twelve-tone techniques pioneered by Arnold Schoenberg and Anton Webern, Babbitt explored the possibilities of this new approach to pitch structure not so much to recapture historical modes of music making but to build a way of making music derived from a set of first principles emerging from using relationships amongst aggregates of the twelve pitch-classes. He also developed ways of thinking about temporal relationships that adapted his insights into pitch relationships in order to create a compositional world in which to be creative. The chapter traces this development over the span of his career.

With the principle of mutual recognition, the EU facilitates effective and efficient law enforcement cooperation among its Member States. Foreign judicial decisions are treated like domestic decisions, while differences in the national criminal justice systems are maintained. Prolonged examinations are no longer necessary and “safe havens” for criminals are closed. The basis of this cooperation, however, is mutual trust in the rule of law. The author uses, inter alia, the current example of Encrochat to show concrete possibilities for application. There, the French criminal authorities achieved a considerable cross-border investigative success by decrypting crypto-mobile devices of that company, which were frequently used by criminals. Through the recognition and execution of European Investigation Orders in France, those findings could also be used in other Member States and considerable prosecution successes achieved. However, the scope and variety of such measures can lead to problems: Only corresponding measures can be recognised. Violations of the Charter of Fundamental Rights EU must not be enforced. Inhumane treatment of detainees may prevent the enforcement of a European Arrest Warrant in individual cases. The loss of trust in the rule of law in some Member States, the EUs reaction to this danger and the control function of CJEU decisions are currently determining legal policy.

This chapter deals with the history of serialism in Central and Eastern Europe. Starting from the Polish perspective, it examines the successive stages of the response to the serial ideas in such countries as Bulgaria, Czechoslovakia, Romania, Hungary, Yugoslavia (Serbia, Croatia, and Slovenia), and the Baltic states (Lithuania, Latvia, and Estonia). The chapter draws attention to the social and political contexts of serialism’s development throughout particular periods (up to the outbreak of World War II, during the time of pressure from the totalitarian systems, and after the ‘thaw’ that emerged in the mid-1950s). It considers both the opportunities available to composers working in the so-called Eastern Bloc under the conditions of state socialism and those who worked in exile. Using examples of substantial works and influential figures, the relationship between original serial ideas and individual strategies for their transformative reception is also discussed.

The chapter traces the development of police cooperation in Europe from the Napoleonic period to the Second World War and beyond. It shows that police cooperation was shaped to a considerable extent by individual initiatives and also by bilateralism, the latter still having an impact today. Even after the founding of the EU, regional interests or initiatives are decisive. In particular, the Convention implementing the Schengen Agreement, still very important for everyday police cooperation, goes back to an initiative of individual member states. Going beyond bilateral interests and police mentalities, it seems that the very nature of police work is less influenceable by common denominators such as the principle of mutual recognition. Thus, it is not surprising that, for example, the Directive on the European Investigation Order provides, with regard to cross-border covert personal investigations, a provision that does not go beyond its predecessor provisions. The article concludes with a stocktaking of the data exchange of Europes police forces, based in particular on the Schengen Information System. Considering the technical inclination of today’s police practice, the exchange of information will certainly have a decisive effect on any future developments.

The influence of serialism owes largely to its aesthetics, to the ideas behind the music. This chapter presents and examines those ideas. The chapter begins with a brief definition of terms and then analyses specific examples of serial aesthetics in detail. The examples introduce central themes that recur across a diversity of sources in the literature on serial music. These themes include narratives of historical progress, the significance of politics, contemporaneous science and technology, paradigms of experimentation, the ideal of organicism, and models for listening. Following the explication of these themes, the chapter concludes by considering the legacy of serialism and its relevance today.

This chapter defines serialism in terms of dodecaphonic technique, beginning with a discussion of the role of analysis in relationship to performance. Whilst Webern’s Variations op. 27 have been the subject of exhaustive analysis by other commentators, the present discussion takes a somewhat different approach, considering the interpretive insights gained by a study of sketch material. The composer’s drafts are examined in relation to the published score for their potential to enrich the performer’s perceptions. The second part of the chapter traces the movement to integral serialism in the post-war period, and the challenges of ‘pointillist’ scores with their profusion of agogic and dynamic marks, which leave seemingly little scope for interpretation in the traditional sense. The contributions of Boulez and Stockhausen to the piano repertoire are considered, and a discussion of the role of the interpreter in indeterminate scores of the period occupies the final section of the chapter.

Churchill is often ranked as one of the most hated figures in Irish history but he was also one of the most influential politicians in shaping relations both within and between Britain and Ireland. Churchill played a formative role in the ‘Irish Question’. At the beginning of his career he was a Unionist, inheriting his father’s sympathy for Ulster, but converted to Home Rule. The chapter contrasts the impact of social reforms in helping Irish pensioners with the role of Irish suffragettes in defeating Churchill at Manchester in 1908. It looks at how he tried to navigate between the Unionists and nationalists in the Edwardian era, before showing how the war (including Irish losses at Gallipoli) led to rebellion. Thereafter, Churchill pursued a dual strategy of repression and negotiation and played a key role in the Anglo-Irish Treaty and the subsequent events surrounding partition. His belligerence has tended to overshadow the multi-faceted ways he dealt with and thought about the Irish.