Appendix 6 - International Music Council

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http://www.soundorsilence.nl/CapGemini_SoS_2005.pdf; henceforth referred to as the Capgemini report 2005) Only binding agreements and a quota are compulsory measures. Figure 1: Listing of promotional instruments, content regulations and intended or realized level of airplay (from Capgemini report 2005, p.28). 332
333
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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
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Andrew Lum, Singaporean composer ba
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cultural characteristics: all those
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aggressors. At that situation, all
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the demands and rhythm of modern so
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RESPONSE: No such requirements we h
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the festival organizers endeavour t
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sleep. After the events that our fo
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have a Bill of Rights, so there is
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• Cite examples of the use of mus
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music. Much of the television progr
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works in more subtle ways. For more
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musics into the open. Many musician
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in some way becomes ‘our’ music
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There is such diversity in Australi
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such domination, in many countries
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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 and 106: Appendix 14 The Protection and Prom
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: Public and private services are gen
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
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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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