War remains a grim fixture of the human landscape, and because of its tremendous and ongoing impact on the lives of millions of people, has always attracted the attention of careful, rigorous, and empathetic moral philosophers. And while war is synonymous with death and ruin, very few people are willing to surrender to moral nihilism about war-the view that all really is fair. At the center of debates about war remains the most important question that faces usduring battle: whom are we allowed to kill?This volume collects in one place the most influential and groundbreaking philosophical work being done on the question of killing in war, offering a "who's who" of contemporary scholars debating the foundational ethical questions surrounding liability to harm. In ten essays, it expands upon and provides new and updated analyses that have yet to be captured in a single work. Essays explore questions such as: Are some soldiers more deserving of death than others? Should states allow soldiers toconscientiously object (to opt out of war) on a case-by-case basis? Can a theory of rights best explain when it is permissible to kill in war? When are we allowed to violently resist oppression that is itself nonviolent? Is there anything wrong with targeting people with autonomous weapons?As a convenient and authoritative collection of such discussions, this volume is uniquely suited for university-level teaching and as a reference for ethicists, policymakers, stakeholders, and any student of the morality of killing in war.One of today's most widely acclaimed composers, Arvo Part broke into the soundscape of the Cold War West with Tabula Rasa in 1977, a work that introduced his signature tintinnabuli style to listeners throughout the world. In the first book dedicated to this pathbreaking composition, author Kevin C. Karnes tells the story of Tabula Rasa as one of Part and of Europe itself, traced over the course of a quarter-century that sawmomentous transitions in European culture and politics, history and memory. Beginning at the site of the work's creation in the Estonian SSR, and drawing extensively upon a range of previously unexamined archival materials, Karnes recounts Part's discovery of tintinnabuli amidst his experiments with the music of the Western and Sovietavant-gardes. He examines Tabula Rasa in relation to modernist conceptions of musical structure, the ascetic practice of Orthodox Christianity, postwar experiences of electronic music, and the polystylistic approaches to composition that have become emblematic of the Soviet 1970s. Tracing the export of Tabula Rasa to the West and Part's emigration in 1980, the book reveals intersections of critical commentary with visions of the "end of history" that attended the collapseof European communism to suggest that it was in this confluence of listening, discovery, and geopolitical reordering that enduring lines of conversation about Part and his music took shape.