Appendix 6 - International Music Council

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• Music Managers Forum http://immf.net/ • Independent Music New Zealand www.indies.co .nz • The Recording Industry Association of New Zealand Inc (RIANZ) www.rianz.org.nz/rianz/h omepage.asp 294
Appendix 14 The Protection and Promotion of Musical Diversity EUROPE Polina Proutskova (coordinator) Mirjam Gericke Maurice Mengel Deniza Popova With contributions from Ardian Ahmenaja, ethnomusicologist, Albania Gergana Baeva, political scientist, Bulgaria Marin Maria-Bălaşa, Bucharest François Bensignor, IRMA, France Christoph Borkowsky Akbar, WOMEX, German Sounds Luc Charles-Dominique, France Edi Clijsters, Belgium Adrian Farrell, Ireland Aris Fioretos, Sweden Morag J. Grant, Schottland Gösta Grassman, Sweden Martin Greve, Turkey Hilde Holbæk-Hanssen, Norway Roger Hotermans, Belgium Daniel Koglin, Greece Drago Kunej, Slovenia Grozdana Marosevic, Croatia Prof. Dr. Franz Niermann, European Association for Music in Schools Jens G. Papenburg, Germany Ole Reitov, Dänemark Johannes Theurer, Radio MultiKulti Berlin Sergej Starostin, Russia Raimund Vogels, Germany 295
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Appendices The Protection and Promo
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The complementarity or reciprocity
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• La diversité musicale n’a,
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musical genre it is concerned with.
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• Cite examples where they are in
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- right to fund national broadcaste
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a) Apart from ANART (National Agenc
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Algérie, il ne reste plus que sept
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Appendix 7 The Protection and Promo
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and Algerian) ra’i which goes wel
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their source in the centuries-old t
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Rabab” ceremonies to charities fi
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- Morocco is one of the countries w
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Muqam of Xinjiang” and the “Mon
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and opinion in the world that the C
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Trade Fair, 21 foreign investment p
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that this is because the dance prod
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We have no sample. 18. The standard
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- Subsidy. Are there regulations th
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• follow whatever the people do.
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and values in music. Some people in
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- the right to regulate in favour o
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Appendix 10 The Protection and Prom
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• Cite examples of the use of mus
Page 53 and 54: equire that all applicants for subs
Page 55 and 56: Andrew Lum, Singaporean composer ba
Page 57 and 58: Appendix 11 The Protection and Prom
Page 59 and 60: cultural characteristics: all those
Page 61 and 62: aggressors. At that situation, all
Page 63 and 64: the demands and rhythm of modern so
Page 65 and 66: RESPONSE: No such requirements we h
Page 67 and 68: the festival organizers endeavour t
Page 69 and 70: sleep. After the events that our fo
Page 73 and 74: have a Bill of Rights, so there is
Page 75 and 76: • Cite examples of the use of mus
Page 77 and 78: music. Much of the television progr
Page 79 and 80: works in more subtle ways. For more
Page 81 and 82: musics into the open. Many musician
Page 83 and 84: in some way becomes ‘our’ music
Page 85 and 86: There is such diversity in Australi
Page 87 and 88: such domination, in many countries
Page 91 and 92: - Government agency, New Zealand Tr
Page 93 and 94: Zealand’s cultural diversity, inc
Page 95 and 96: - project benefits art in New Zeala
Page 97 and 98: 7. diversity - in the sense of the
Page 99 and 100: necessary to accord more favourable
Page 101 and 102: Appendix One (Additional informatio
Page 103: Appendix Two (Website Links) • Cr
Page 107 and 108: SPAIN..............................
Page 109 and 110: 4.3 EDUCATION .....................
Page 111 and 112: Polina Introduction Musical Diversi
Page 113 and 114: society aiming long-term perspectiv
Page 115 and 116: music practice that is still "alive
Page 117 and 118: this promotes essentialist and nati
Page 119 and 120: derivates, which are often understo
Page 121 and 122: y the infusion of central European
Page 123 and 124: The still continuing oppression of
Page 125 and 126: Chancellery and main institutions i
Page 127 and 128: increasing on cultural projects. Th
Page 129 and 130: http://www.musicfrom.nl/popnaardeto
Page 131 and 132: throughout the world. The Music Exp
Page 133 and 134: CHARITY CONCERTS, CROATIA During th
Page 135 and 136: peace building. The tour includes,
Page 137 and 138: Music Fund is an initiative of Belg
Page 139 and 140: Ukraine Some musicians supported th
Page 141 and 142: Public and private services are gen
Page 143 and 144: 333
Page 145 and 146: 2002-2006 management agreement betw
Page 147 and 148: identically worded Interstate Agree
Page 149 and 150: licensing. The SEM shall guarantee
Page 151 and 152: State TV and radio have a fundament
Page 153 and 154: On "the Other" hand, another interv
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esources restricts usability and ex
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In many countries there are explici
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EXAMPLE 3: BULGARIA Music is a subj
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Concerts in Schools Rikskonsertene
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References to other sections This s
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Belgium's government to set up part
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Government provides a subsidy curre
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public. The idea was changed into a
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controversial point in the governme
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CONCLUSION: MUSICAL DIVERSITY AND C
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Cultural and musical disbalances of
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Thus neither Denmark nor Sweden has
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"bastard". This identity of being a
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WOMAD was originally inspired by Pe
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artists are the children or grandch
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coloured by local traditions. All o
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- contacting associations and insti
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6.10 Research about music and music
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political problems. It can easily a
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and venues could not survive withou
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for copyrights and to distribute mo
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effective deliverers of activity. I
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music workers, as well as the promo
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Musical Practice (making music) is
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that is unique in Europe and that c
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MUSIC DIVERSITY QUESTIONNAIRE 1. Th
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§ In pursuit of the objective of i
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consumers of piracy. Blanco y Negro
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http://es.wikipedia.org/wiki/Venezu
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Peoples Commissioner said that amon
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In a new elementary education refor
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The following diagram shows the pyr
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Argentina Bolivia Brasil Chile Colo
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§ Venezuela: Musical Mind is an in
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Paraguay: Diego Sánchez Haase y Lu
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include the attitudes of younger ge
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5. Governmental projects, civil org
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interest. Funds collected served mo
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INTRODUCTION This report is the res
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operators. Consequently, this resul
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The traditional music still lacks v
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consultants on the IMC musical dive
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In far more general terms, albeit w
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• Contracts - comparison to inter
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• Inadequate and outdated copyrig
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a large number of quality artists,
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IV. The standards regulating musica
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There was a resulting report of Nov
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15. Within an emerging framework of
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65. Discussions are taking place wi
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International airport. Last year au
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VI. The manner in which musical div
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VII. The obstacles or challenges to
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VIII. Bring to light those good pra
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of the Standards Generating Body (S
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Addendum 1 IMC MUSICAL DIVERSITY PR
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2006 - Vuka: reach for a new life O
Page 277 and 278:
LETTER OF RECOMMENDATION BY PROF. M
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Palissander Samspel Peace Programme
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Sikhulekele Ukuthula (We pray for p
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Vereeniging and began a door-to-doo
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Ewo, oh dear! Let us pray for one m
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• To develop information on Amasi
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development of the arts industry in
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Funding criteria: • The NAC striv
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SAMRO has in excess of 3850 compose
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Radio, Television and Print Media O
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Zakheni Music Trust The co-founder
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Contact: Stanley Nkosi Tel: (011) 3
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producers/performers regarding the
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The MITT recommends the implementat
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In this context, the MITT recommend
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• The Ombudsman pays special atte
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Recommendation 23: The MITT recomme
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Recommendation 31: The MITT recomme
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Addendum 4 Media Development and Di
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Addendum 5 SOUTH AFRICAN MUSIC REGU
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Addendum 6 Act SOUTH AFRICAN MUSIC
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5.2 The logs, statistical forms and
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♦ Have local musical arts artiste
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Addendum 8 MUSIKHANE COMMUNITY PROJ
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The general aim of Musikhane is to
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• Voice The Gauteng Department of
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• In September two of the Grade 1
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With only one electronic piano on w
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instruments and it was soon only th
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In Melodi ya Mamelodi we generate n
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Addendum 10 An Investment for the F
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THE BLACK TIE INCUBATOR SCHEME 1. B
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- Under the watchful eyes and posit
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Young singers from diverse cultural
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15. BEING AN “INCUBATOR” MEANS
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professional chorus master, was eng
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Addendum 11 Sweet Voice Masters It
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Addendum 12 Alphabetical list of fu
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o Invocation from the Hills o Dance
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eceived tuition in composition from
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symphony ca 1h40 min., (2+3+3+;4321
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Huber and others. He also attended
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Appendix 6 - International Music Council

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