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Appendix 6 - International Music Council

Appendix 6 - International Music Council

Appendix 6 - International Music

Appendices The Protection and Promotion of Musical Diversity CONSULTANTS’ REPORTS 191

  • Page 2 and 3: Appendix 6 The Protection and Promo
  • Page 4 and 5: • Un allégement fiscal qui se tr
  • Page 6 and 7: - New media. Are there parallel req
  • Page 8 and 9: • Cite examples of similar promul
  • Page 10 and 11: • Les obstacles auxquels sont sou
  • Page 12 and 13: décennies entières pour y découv
  • Page 14 and 15: o create a national observatory who
  • Page 16 and 17: Algeria emerges from an unprecedent
  • Page 18 and 19: MOROCCO: Arguments for sustaining m
  • Page 20 and 21: The Tetuan Lute Festival is aimed a
  • Page 22 and 23: Thus, Arab-Muslim art and Arab lang
  • Page 24 and 25: . Oujda) with the aim of protecting
  • Page 26 and 27: study for possible publication or d
  • Page 28 and 29: Situation and Responses: A Survey o
  • Page 30 and 31: Min istry of Culture (the Pumi Peop
  • Page 32 and 33: include singing and music appreciat
  • Page 34 and 35: program within 5 years. To start up
  • Page 36 and 37: MUSICAL DIVERSITY PROJECT -- INDONE
  • Page 38 and 39: • Cite examples of the use of mus
  • Page 40 and 41: develop programs for his/her own ad
  • Page 42 and 43: 1985 been responsible for collectin
  • Page 44 and 45: genre of hybrid music “campursari
  • Page 46 and 47: • On an analysis of the situation
  • Page 48 and 49: im portantly the “conceptual stat
  • Page 50 and 51: MUSICAL DIVERSITY QUESTIONAIRE: SIN
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    There is also a concerted effort to

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    diversity - in the sense of the sim

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    These suggestions are intended only

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    Recent situation of Vietnamese nati

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    iii. The musical genres performed t

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    VCD in our recently established DAT

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    The artists, especially those who a

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    vi. The festivals of traditional mu

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    iii. As I have said, in the conditi

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    13. Pham Dinh Ho: “Vu trung tuy b

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    MUSIC DIVERSITY QUESTIONNAIRE: AUST

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    Australian governments do provide c

  • Page 76 and 77:

    Diversity is served inasmuch as a s

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    commerce in music: trade in music d

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    • Cite examples of government pro

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    players in the commercial industry.

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    quite specifically limited by the A

  • Page 86 and 87:

    cultural agreements can be negotiat

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    However, the writer has had an indi

  • Page 90 and 91:

    NEW ZEALAND UNESCO: PROJECT INTERNA

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    “Creating Heat: Tumata Kia Whita!

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    Types of new media projects include

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    six songs an hour. Most of the Paci

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    - Agencies like Creative New Zealan

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    Zealand work. The artists’ presen

  • Page 102 and 103:

    Te Waka Toi has five programmes tha

  • Page 104 and 105:

    • Music Managers Forum http://imm

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    Musical Diversity in Europe A Repor

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    3. THE LINKS BETWEEN MUSICAL DIVERS

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    6.5 NETWORKS.......................

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    musics, of course. But it has been

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    The general tendency in all Europea

  • Page 116 and 117:

    many cultural events, in particular

  • Page 118 and 119:

    E.g. Athens only has three major in

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    1 The link between human rights and

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    e exhibited publicly in retail, and

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    The links between musical diversity

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    Ministry of Foreign Affairs, the Mi

  • Page 128 and 129:

    merging of different institutions l

  • Page 130 and 131:

    SWEDEN As Sweden is the third bigge

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    migrational background as well as s

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    http://www.unitedagainstmalaria.org

  • Page 136 and 137:

    dramatic event for them, and many p

  • Page 138 and 139:

    toleranz.de/nn_580606/SharedDocs/Pu

  • Page 140 and 141:

    imposed by the state, section 6 ask

  • Page 142 and 143:

    http://www.soundorsilence.nl/CapGem

  • Page 144 and 145:

    Promotion of National Culture/Ident

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    The open channel is under the finan

  • Page 148 and 149:

    Conclusions on Musical Diversity Th

  • Page 150 and 151:

    Bulgarians - that are conducted in

  • Page 152 and 153:

    EXAMPLE 10: COMMUNITY RADIOS IN EUR

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    The following list provides example

  • Page 156 and 157:

    and eContentPlus (http://www.econte

  • Page 158 and 159:

    In this context it has to be stress

  • Page 160 and 161:

    The University of Macedonia in Thes

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    Secondary schools Secondary schools

  • Page 164 and 165:

    Cultural subsidies are given to sev

  • Page 166 and 167:

    provision of facilities for exhibit

  • Page 168 and 169:

    Subsidies through Funds There are f

  • Page 170 and 171:

    4.5 Copyright In 1996 WIPO adopted

  • Page 172 and 173:

    Bundesministerium der Justiz (2006)

  • Page 174 and 175:

    well. There are scientific and othe

  • Page 176 and 177:

    6 The manner in which musical diver

  • Page 178 and 179:

    6.2 Festivals/Music contests 6.2.1

  • Page 180 and 181:

    SKIF (Saint-Petersburg, Russia) Ser

  • Page 182 and 183:

    interest to national roots, the maj

  • Page 184 and 185:

    in rural southern Romania to connoi

  • Page 186 and 187:

    The outcomes of networks in the mus

  • Page 188 and 189:

    Wallonie, Festival d'Été de Bruxe

  • Page 190 and 191:

    on particular forms of sound and ex

  • Page 192 and 193:

    diversity. This is all the more wor

  • Page 194 and 195:

    The European Community will make no

  • Page 196 and 197:

    Organisation, implemented the “ k

  • Page 198 and 199:

    Karneval der Kulturen (Carnival of

  • Page 200 and 201:

    2. Promotion of networks and civil

  • Page 202 and 203:

    „Many nations promote immaterial

  • Page 204 and 205:

    can satisfy their need for informat

  • Page 206 and 207:

    RESEARCH MUSICAL DIVERSITY LATIN AM

  • Page 208 and 209:

    • Cite examples of the use of mus

  • Page 210 and 211:

    tango, jazz, rock, ballads, and mus

  • Page 212 and 213:

    Argentina: The musician Miguel Ange

  • Page 214 and 215:

    increase its production and diffusi

  • Page 216 and 217:

    - E-commerce. Are there parallel re

  • Page 218 and 219:

    e given to citizens of the particul

  • Page 220 and 221:

    Classical - Distribution Range 2.8:

  • Page 222 and 223:

    e) Thirty three countries in the wo

  • Page 224 and 225:

    § Bolivia: The Cochabamba Departme

  • Page 226 and 227:

    “To negotiate” actually means t

  • Page 228 and 229:

    This will follow from the previous

  • Page 230 and 231:

    identity in actual societies, and o

  • Page 232 and 233:

    Questionnaire on music diversity: C

  • Page 234 and 235:

    musical works. Particular attention

  • Page 236 and 237:

    Report on musical diversity in the

  • Page 238 and 239:

    under police monitoring. Cultural e

  • Page 240 and 241:

    artist musician WERRA-SON to stop t

  • Page 242 and 243:

    Being understood that the general t

  • Page 244 and 245:

    IMC MUSICAL DIVERSITY PROJECT: SOUT

  • Page 246 and 247:

    15. Both the capacity and the poten

  • Page 248 and 249:

    II. The links between musical diver

  • Page 250 and 251:

    industries and manufacturing - and

  • Page 252 and 253:

    for tourists”. (A whole list of s

  • Page 254 and 255:

    III. The links between musical dive

  • Page 256 and 257:

    “Media” is specified as meaning

  • Page 258 and 259:

    *for LO1 'Uses ululation, vocalic l

  • Page 260 and 261:

    infrastructure accessible to all. T

  • Page 262 and 263:

    74. In the past, publicly-funded cu

  • Page 264 and 265:

    V. The tendency to favour a uniform

  • Page 266 and 267:

    elation to the point of community i

  • Page 268 and 269:

    would be better prepared for tertia

  • Page 270 and 271:

    Returning to PASMAE, one of its mos

  • Page 272 and 273:

    OECD (Organization for Economic Co-

  • Page 274 and 275:

    2006. In addition, tracks from its

  • Page 276 and 277:

    CO-OPERATION BETWEEN PALISSANDER AN

  • Page 278 and 279:

    TEXT FROM SIYAHAMBA INLAY This CD,

  • Page 280 and 281:

    Humanities of the University of Pre

  • Page 282 and 283:

    The Prayer of St Francis A. Pote, a

  • Page 284 and 285:

    Dellville Wood The 1 st South Afric

  • Page 286 and 287:

    Addendum 2 SOUTH AFRICAN MUSIC INDU

  • Page 288 and 289:

    The Arts and Culture Trust is a pri

  • Page 290 and 291:

    The MIDI Trust aligns itself with n

  • Page 292 and 293:

    RISA is a voluntary, non-profit mak

  • Page 294 and 295:

    • To establish a focused media ca

  • Page 296 and 297:

    • Retail stores are supplied with

  • Page 298 and 299:

    traditional and indigenous music of

  • Page 300 and 301:

    Addendum 3 MITT Recommendations LEG

  • Page 302 and 303:

    PIRACY The revenue lost by the indu

  • Page 304 and 305:

    • The organisations comprising th

  • Page 306 and 307:

    The MITT recommends that where arti

  • Page 308 and 309:

    The MITT recommends that DACST offe

  • Page 310 and 311:

    Recommendation 26: The MITT recomme

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    The hearings of the MITT highlighte

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    (2) The Board must, when deciding w

  • Page 316 and 317:

    4.1 The holder of a sound broadcast

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    and that such South African music i

  • Page 320 and 321:

    Addendum 7 PAN AFRICAN SOCIETY FOR

  • Page 322 and 323:

    ♦ Are any locally available music

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    eceives intensive practical trainin

  • Page 326 and 327:

    Addendum 9 MELODI YA MAMELODI “DO

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    • Working against discrimination

  • Page 330 and 331:

    What does one do when 40 to 50 lear

  • Page 332 and 333:

    In the more advantaged schools, awa

  • Page 334 and 335:

    esult - they can read music! My col

  • Page 336 and 337:

    Mamelodi is now filled with laughte

  • Page 338 and 339:

    Adopt an Artist The Ristorante Ritr

  • Page 340 and 341:

    prepared all the scores for the con

  • Page 342 and 343:

    Through the “Incubator” Scheme,

  • Page 344 and 345:

    This scheme, initiated in 2002, has

  • Page 346 and 347:

    All “Incubators” receive regula

  • Page 348 and 349:

    with the chorus masters to ensure a

  • Page 350 and 351:

    friend and collaborator, promptly r

  • Page 352 and 353:

    Addendum 13 South African composers

  • Page 354 and 355:

    Sacred Choir Music (Missa de Meridi

  • Page 356 and 357:

    • Buchuland (Pretoria 1998). •

  • Page 358 and 359:

    Standard Bank National Arts Festiva

  • Page 360:

    “I find it unsettling that the ph

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