By definition, international law, once agreed upon and consented to, applies to all parties equally. It is perhaps the one area of law where cross-country comparison seems inappropriate, because all parties are governed by the same rules. However, as this book explains, states sometimes adhere to similar, and at other times, adopt different interpretations of the same international norms and standards. International legal rules are not a monolithic whole, but are thebasis for ongoing contestation in which states set forth competing interpretations. International norms are interpreted and redefined by national executives, legislatures, and judiciaries. These varying and evolving interpretations can, in turn, change and impact the international rules themselves.These similarities and differences make for an important, but thus far, largely unexamined object of comparison. This is the premise for this book, and for what the editors call "comparative international law." This book achieves three objectives. The first is to show that international law is not a monolith. The second is to map the cross-country similarities and differences in international legal norms in different fields of international law, as well as their application and interpretation with regards to geographic differences. The third is to make a first and preliminary attempt to explain these differences. It is organized into three broad thematic sections, exploring: conceptual matters,domestic institutions and comparative international law, and comparing approaches across issue-areas. The chapters are authored by contributors who include leading international law and comparative law scholars with diverse backgrounds, experience, and perspectives.Nowadays we listen to music whenever and wherever we like. Never before has the scope of what is available been so great and varied. The mass media and Internet have given us unlimited paths into the world of music.Just like music is varied and endless, so are our reactions to music. The very same piece of music can generate completely different reactions in different people, and a person can react quite differently to the same piece of music on different occasions.Sometimes the reactions become more intense and profound than usual and leave powerful impressions in our memories. In this book several hundred people - women and men, young and old, musicians and non-musicians - talk about such strong experiences with music and what they have come to mean for them. The experiences extend across almost all of the twentieth century and have occurred in highly varying and often unexpected situations. The music absorbs the listeners and shuts out everything else.It evokes strong emotions and a lot of other reactions, from purely physical responses to experiences of existential and spiritual character. Every account is unique, moving, and bears witness to strong commitment.The experience may lead to the release of pent-up feelings, liberation and inner cleansing, and work as therapy. One can feel confirmed and understood, gain increased self-confidence, and acquire another view of oneself and of life in general. There is also the possibility of a new view of music and what it can mean for well-being, health, and quality of life. There are many similarities with strong experiences in other areas, such as nature, love, religion, literature, art, and dance.Strong Experiences with Music is a ground-breaking new book. It draws on over two decades of research and accounts from almost 1,000 participants. It addresses itself to all who have an interest in music and what music can mean. It should be possible to read without special previous knowledge, the technical language of music and psychology is kept at a minimum. Experts in the fields of music psychology music education, and musicology may find supplementary information in specialanalyses and notes to be consulted at will.

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