Appendix 6 - International Music Council

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Musical Diversity in Europe A Report for the International Music Council Polina Proutskova, Mirjam Gericke, Maurice Mengel, Deniza Popova 04/21/06 INTRODUCTION ...................................................................................... 301 The Notion of Musical Diversity ............................................................ 301 Europe – general situation............................................................. ...... 302 Main results ...................................................................................... 302 ACKNOWLEDGEMENTS ............................................................................ 303 0. GENERAL SITUATION OF MUSICAL DIVERSITY IN EUROPE................. 303 ALBANIA .......................................................................................... 304 AUSTRIA.......................................................................................... 304 BELGIUM..... BULGARIA ... ..................................................................................... 304 ..................................................................................... 305 CROATIA.......................................................................................... 305 CZECH REPUBLIC ........................... ..................................................... 305 EU ........... ..................................................................................... 306 FRANCE ....... GERMANY... .................................................................................... 307 . ..................................................................................... 307 G REECE..... ...................................................................................... 307 IRELAND ............................... LITHUANIA ......................... NETHERLANDS ......... ........................................................... 308 .............................................................. 308 .......................................................................... 308 RUSSIA / UKRAINE / BELARUS................. ................................................ 308 SLOVAKIA ........... SLOVENIA ............................................................................. 309 ........................................................................................ 309 SWEDEN:................................... ...................................................... 309 T URKEY ........ ................................................................................... 309 1 THE LINK BETWEEN HUMAN RIGHTS AND MUSICAL DIVERSITY .......... 310 Human Rights and protection of musical diversity............................................ 310 ALBANIA ... B ........... ....................................................................................... 310 ALKAN ................................................. BELARUS .......... ............................... 310 ............................................................................... 311 FRANCE ... .... ... ................................................................................. 311 GERMANY....................................................... .................................. 311 GREECE........................................................................................... 312 296
SPAIN............................................................................................. 312 SWEDEN .................................................................... ...................... 312 TURKEY ........................................................................................... 312 U KRAINE........................................................................... ............... 313 UNITED KINGDOM ............................................................................... 313 2.THE LINKS BETWEEN MUSICAL DIVERSITY AND ECONOMIC DEVELOPMENT AND THE FIGH T AGAINST POVERTY................................ 314 2.1 MUSIC ASSISTING IN NON-MUSICAL DEVELOPMENT .................................. 314 2.2 GOVERNMENT OR AGENCY ACTION TO DEVELOP THE MUSIC INDUSTRY OR ASPECTS OF IT .............................................................................................. 314 Albania ..................................................................................................... 314 Austria...................................................................................................... 314 Bulgaria .................................................................................................... 315 Croatia ..................................................................................................... 315 EU ........................................................................................................... 315 France ...................................................................................................... 316 Germany................................................................................................... 316 Greece...................................................................................................... 317 Ireland ..................................................................................................... 317 Netherlands............................................................................................... 317 Norway ..................................................................................................... 319 Russia ...................................................................................................... 319 Slovenia.................................................................................................... 319 Sweden .................................................................................................... 320 Turkey...................................................................................................... 320 Ukraine..................................................................................................... 320 United Kingdom ......................................................................................... 320 2.3 USE OF MUSIC TO ALLEVIATE POVERTY OR THE CONDITIONS CONTRIBUTING TO POVERTY (P Hip Hop Mobil, Germany.............................................................................. 321 Opinion Sur Rue, France.............................................................................. 322 Kinetica Bloco, United Kingdom .................................................................... 322 Charity Concerts, Croatia............................................................................. 323 Party against Poverty, Europe ...................................................................... 323 Downloadday, Netherlands .......................................................................... 323 Rhythm Is It, Germany ............................................................................... 323 United Against Malaria, Switzerland .............................................................. 323 Professionele zorgpodia in oost-Nederland en Zeeland, Nederland ..................... 324 (Professional performances in foster or nursing homes in East-Netherlands) ....... 324 "Wat zou je doen" ("What should you do"), Netherlands................................... 324 Plan Netherlands Rap4Rights Initiative, Netherlands ........................................ 324 Live 8, G8 nations and South Africa............................................................... 325 297 ROJECTS)
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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
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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 and 104: Appendix Two (Website Links) • Cr
Page 105: Appendix 14 The Protection and Prom
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
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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
Page 155 and 156: 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
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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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