Appendix 6 - International Music Council

More documents

Recommendations

Info

3. THE LINKS BETWEEN MUSICAL DIVERSITY AND THE PROMOTION OF PEACE ..................................................................................................... 325 General..................................................................................................... 325 ALBANIA .......................................................................................... 325 AUSTRIA.......................................................................................... 326 BELGIUM........................................................................... ............... 326 Festival Ten Vrede in Diksmuide, Flanders...................................................... 326 Musique Espérance ..................................................................................... 326 Music Fund ................................................................................................ 326 CROATIA.......................................................................................... 327 FRANCE ........................................................................................... Hip-Hop and violence .................................................................................. 327 GERMANY......................................................................................... 327 West-Eastern Divan Orchestra...................................................................... 327 Kreuzberger Musikalische Aktion................................................................... 327 Sachsen: Neonazis austanzen ...................................................................... 328 Karneval der Kulturen, Berlin ....................................................................... 328 IRELAND (REPUBLIC OF)........................................................................ Ash and U2 ............................................................................................... 328 NETHERLANDS ................................................................................... SLOVENIA ........................................................................................ UKRAINE.......................................................................................... 329 4. THE STANDARDS REGULATING MUSICAL DIVERSITY .......................... 329 Introduction to Section 4 ............................................................................. 329 4.1 MEDIA 1: BROADCASTING ................................................................ 330 Broadcasting Structures in Albania................................................................ 334 Broadcasting Structures in Belgium............................................................... 334 Broadcasting Structures in Germany ............................................................. 336 Broadcasting Structures in the Czech Republic................................................ 338 Broadcasting Structures in Bulgaria............................................................... 338 Political (In)dependence: Censorship in Belarus .............................................. 340 Political (In)dependence: Protest in Italy........................................................ 340 Structure in Turkey and Situation of Minorities................................................ 340 Broadcasting in Russia ................................................................................ 340 Community Radios in Europe and Public Programs for Communities ................... 342 Conclusions: Broadcasting and Musical Diversity ............................................. 342 4.2 MEDIA 2: DIGITAL SERVICES AND THE INTERNET ..................................... 343 Belgium .................................................................................................... 344 Austrian Initiative for Digital Cultural Heritage ................................................ 344 eContentPlus ............................................................................................. 344 IST........................................................................................................... 345 Conclusion: New Technologies and Musical Diversity........................................ 345 327 328 328 328 298
4.3 EDUCATION ................................................................................. 346 Albania ..................................................................................................... 348 Chemin de traverse in Belgium..................................................................... 348 Bulgaria .................................................................................................... 349 Music Education in Germany ........................................................................ 349 Music Schools in Greece .............................................................................. 349 Latvia ....................................................................................................... 350 Rikskonsertene: Norwegian School Projects.................................................... 350 Great Britain.............................................................................................. 351 Conclusion: Musical Diversity and Education in Europe..................................... 352 4.4 SUBSIDY .................................................................................... 352 Albania ..................................................................................................... 354 Example 2: Belgium.................................................................................... 354 Example 3: Germany .................................................................................. 355 Lithuania................................................................................................... 357 Netherlands............................................................................................... 358 Slovakia.................................................................................................... 359 Conclusions: Subsidy and Musical Diversity .................................................... 359 4.5 COPYRIGHT ................................................................................. 360 Germany................................................................................................... 360 France ...................................................................................................... 361 Belgium .................................................................................................... 362 Bulgaria .................................................................................................... 362 Russia ...................................................................................................... 362 Musical Diversity and Copyright .................................................................... 363 4.6 OTHERS ..................................................................................... 363 5. THE TENDENCY TO FAVOUR A UNIFORM AND NON-PLURALISTIC INTERPRETATION OF THE NOTION OF IDENTITY HINDERING THE MANIFOLD AND FREE EXPRESSION OF CULTURAL DIVERSITY ................ 364 6. THE MANNER IN WHICH MUSICAL DIVERSITY IS ADDRESSED BY MUSIC WORKERS AND EXPRESSED IN VARIOUS FORMS OF MUSICAL CREATION; THE RELATIONSHIP TO IDENTITY ........................................ 366 6.1 BROADCASTERS ............................................................................ 366 Western Europe ................................................................................. 366 France.............................................................................................. 367 Germany .......................................................................................... 367 Netherlands ...................................................................................... 367 6.2 FESTIVALS/MUSIC CONTESTS............................................................. 368 6. 2.1 Festivals ................................................................................... 368 6. 2.2 Music Prizes/Contests ................................................................. 370 6.3 IDENTITY .................................................................................... 371 6.4 THE PHENOMENON OF “WORLD MUSIC”.................................................. 374 299
Page 1 and 2:
Appendices The Protection and Promo
Page 3 and 4:
The complementarity or reciprocity
Page 5 and 6:
• La diversité musicale n’a,
Page 7 and 8:
musical genre it is concerned with.
Page 9 and 10:
• Cite examples where they are in
Page 11 and 12:
- right to fund national broadcaste
Page 13 and 14:
a) Apart from ANART (National Agenc
Page 15 and 16:
Algérie, il ne reste plus que sept
Page 17 and 18:
Appendix 7 The Protection and Promo
Page 19 and 20:
and Algerian) ra’i which goes wel
Page 21 and 22:
their source in the centuries-old t
Page 23 and 24:
Rabab” ceremonies to charities fi
Page 25 and 26:
- Morocco is one of the countries w
Page 27 and 28:
Page 29 and 30:
Muqam of Xinjiang” and the “Mon
Page 31 and 32:
and opinion in the world that the C
Page 33 and 34:
Trade Fair, 21 foreign investment p
Page 35 and 36:
Page 37 and 38:
that this is because the dance prod
Page 39 and 40:
We have no sample. 18. The standard
Page 41 and 42:
- Subsidy. Are there regulations th
Page 43 and 44:
• follow whatever the people do.
Page 45 and 46:
and values in music. Some people in
Page 47 and 48:
- the right to regulate in favour o
Page 49 and 50:
Appendix 10 The Protection and Prom
Page 51 and 52:
• 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 and 104: Appendix Two (Website Links) • Cr
Page 107: SPAIN..............................
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
Page 155 and 156: esources restricts usability and ex
Page 157 and 158: In many countries there are explici
Page 159 and 160:
EXAMPLE 3: BULGARIA Music is a subj
Page 161 and 162:
Concerts in Schools Rikskonsertene
Page 163 and 164:
References to other sections This s
Page 165 and 166:
Belgium's government to set up part
Page 167 and 168:
Government provides a subsidy curre
Page 169 and 170:
public. The idea was changed into a
Page 171 and 172:
controversial point in the governme
Page 173 and 174:
CONCLUSION: MUSICAL DIVERSITY AND C
Page 175 and 176:
Cultural and musical disbalances of
Page 177 and 178:
Thus neither Denmark nor Sweden has
Page 179 and 180:
"bastard". This identity of being a
Page 181 and 182:
WOMAD was originally inspired by Pe
Page 183 and 184:
artists are the children or grandch
Page 185 and 186:
coloured by local traditions. All o
Page 187 and 188:
- contacting associations and insti
Page 189 and 190:
6.10 Research about music and music
Page 191 and 192:
political problems. It can easily a
Page 193 and 194:
and venues could not survive withou
Page 195 and 196:
for copyrights and to distribute mo
Page 197 and 198:
effective deliverers of activity. I
Page 199 and 200:
music workers, as well as the promo
Page 201 and 202:
Musical Practice (making music) is
Page 203 and 204:
that is unique in Europe and that c
Page 205 and 206:
Page 207 and 208:
MUSIC DIVERSITY QUESTIONNAIRE 1. Th
Page 209 and 210:
§ In pursuit of the objective of i
Page 211 and 212:
consumers of piracy. Blanco y Negro
Page 213 and 214:
http://es.wikipedia.org/wiki/Venezu
Page 215 and 216:
Peoples Commissioner said that amon
Page 217 and 218:
In a new elementary education refor
Page 219 and 220:
The following diagram shows the pyr
Page 221 and 222:
Argentina Bolivia Brasil Chile Colo
Page 223 and 224:
§ Venezuela: Musical Mind is an in
Page 225 and 226:
Paraguay: Diego Sánchez Haase y Lu
Page 227 and 228:
include the attitudes of younger ge
Page 229 and 230:
5. Governmental projects, civil org
Page 231 and 232:
Page 233 and 234:
interest. Funds collected served mo
Page 235 and 236:
Page 237 and 238:
INTRODUCTION This report is the res
Page 239 and 240:
operators. Consequently, this resul
Page 241 and 242:
The traditional music still lacks v
Page 243 and 244:
Page 245 and 246:
consultants on the IMC musical dive
Page 247 and 248:
In far more general terms, albeit w
Page 249 and 250:
• Contracts - comparison to inter
Page 251 and 252:
• Inadequate and outdated copyrig
Page 253 and 254:
a large number of quality artists,
Page 255 and 256:
IV. The standards regulating musica
Page 257 and 258:
There was a resulting report of Nov
Page 259 and 260:
15. Within an emerging framework of
Page 261 and 262:
65. Discussions are taking place wi
Page 263 and 264:
International airport. Last year au
Page 265 and 266:
VI. The manner in which musical div
Page 267 and 268:
VII. The obstacles or challenges to
Page 269 and 270:
VIII. Bring to light those good pra
Page 271 and 272:
of the Standards Generating Body (S
Page 273 and 274:
Addendum 1 IMC MUSICAL DIVERSITY PR
Page 275 and 276:
2006 - Vuka: reach for a new life O
Page 277 and 278:
LETTER OF RECOMMENDATION BY PROF. M
Page 279 and 280:
Palissander Samspel Peace Programme
Page 281 and 282:
Sikhulekele Ukuthula (We pray for p
Page 283 and 284:
Vereeniging and began a door-to-doo
Page 285 and 286:
Ewo, oh dear! Let us pray for one m
Page 287 and 288:
• To develop information on Amasi
Page 289 and 290:
development of the arts industry in
Page 291 and 292:
Funding criteria: • The NAC striv
Page 293 and 294:
SAMRO has in excess of 3850 compose
Page 295 and 296:
Radio, Television and Print Media O
Page 297 and 298:
Zakheni Music Trust The co-founder
Page 299 and 300:
Contact: Stanley Nkosi Tel: (011) 3
Page 301 and 302:
producers/performers regarding the
Page 303 and 304:
The MITT recommends the implementat
Page 305 and 306:
In this context, the MITT recommend
Page 307 and 308:
• The Ombudsman pays special atte
Page 309 and 310:
Recommendation 23: The MITT recomme
Page 311 and 312:
Recommendation 31: The MITT recomme
Page 313 and 314:
Addendum 4 Media Development and Di
Page 315 and 316:
Addendum 5 SOUTH AFRICAN MUSIC REGU
Page 317 and 318:
Addendum 6 Act SOUTH AFRICAN MUSIC
Page 319 and 320:
5.2 The logs, statistical forms and
Page 321 and 322:
♦ Have local musical arts artiste
Page 323 and 324:
Addendum 8 MUSIKHANE COMMUNITY PROJ
Page 325 and 326:
The general aim of Musikhane is to
Page 327 and 328:
• Voice The Gauteng Department of
Page 329 and 330:
• In September two of the Grade 1
Page 331 and 332:
With only one electronic piano on w
Page 333 and 334:
instruments and it was soon only th
Page 335 and 336:
In Melodi ya Mamelodi we generate n
Page 337 and 338:
Addendum 10 An Investment for the F
Page 339 and 340:
THE BLACK TIE INCUBATOR SCHEME 1. B
Page 341 and 342:
- Under the watchful eyes and posit
Page 343 and 344:
Young singers from diverse cultural
Page 345 and 346:
15. BEING AN “INCUBATOR” MEANS
Page 347 and 348:
professional chorus master, was eng
Page 349 and 350:
Addendum 11 Sweet Voice Masters It
Page 351 and 352:
Addendum 12 Alphabetical list of fu
Page 353 and 354:
o Invocation from the Hills o Dance
Page 355 and 356:
eceived tuition in composition from
Page 357 and 358:
symphony ca 1h40 min., (2+3+3+;4321
Page 359 and 360:
Huber and others. He also attended
show all

Appendix 6 - International Music Council

Create successful ePaper yourself

Delete template?

Save as template?