Appendix 6 - International Music Council

musics, of course. But it has been shown that music and people are two different
spheres just as languages and the people speaking them. Discussions
of musical
diversity often treat the fact of coexistence of musics of different populations and
social groups as an indication for musical diversity. In fact such a situation refers to
diversity, but it is by no means certain, since many groups can make the same uniform
kind of music – at least theoretically.
Europe – general situation
Generally, all states in Europe allow the diversity of musical expression, and a great
diversity of musical forms is observable everywhere in Europe. There are exceptions:
Turkey, where musics of national minorities as well as of some religious groups are
restrained, and Belarus, the last totalitarian state in Europe, where some
repressions against
rock musicians were reported.
The general tendency in all European states
is the strong support of classical music as well
as other kinds of "serious" musics, e.g. contemporary classical music and medieval music.
In many countries jazz has reached the status of "respectability" and is supported by the
state. This sort of consciousness of the importance of classical music is typically European
and dates back to the 19
here are still notice considerable differences between Eastern and Western
urope, we have the clear impression of Eastern Europe (not regarding the CIS for the
m
which
Here,
decen rywhere, but their implementation and
th century. Today in some countries, about 80% of the state
subsidies for music go into the "serious" music sector. Pop and rock music is, in general,
much more seen as an economical factor and thus less financially supported by public
funding. All other non-mainstream music forms like world music, non-European musics,
and musical traditions of minority groups or migrants as well as in some cases jazz are
neither generously supported nor broadly represented. There is also a misbalance in the
support within the genres, e.g. mainstream forms of classical music are better subsidised
than concerts of young contemporary composers.
Also, though t
E
mo ent) clearly heading towards the European Community and using it as their model,
is particularly noticeable in the manner of discourse on structure and legislation.
Western and Eastern Europe "talk about the same things": subsidiarity and
tralization are part of culture policies eve
realization is not on the same level yet.
Main results
1. The
highest (musical) diversity results from a balanced collaboration of the free market,
governmental
regulations and the commitment of the citizen of a functioning civil society.
These three principles complete each other.
Because
culture/music are market values as well as cultural values, they should not be
simply
to the principles of the market.
2. Investments in education and infrastructure are essential for the promotion of musical
diversity
and will produce sustainable results.
Musical
diversity is not sufficiently represented in the European school system. Introducing
different
music forms to children is the best way to create awareness for the subject in the
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