Appendix 6 - International Music Council

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identity in actual societies, and once they become industrialized “they disturb the production and the nature of the circulation of all cultural expression forms”. So Culture, far from arising from its origins and ferment over time, has become a commercial activity of a powerful industry with no human or spiritual interests, confusing and darkened in Free Trade Agreements´ wording. GRACIELA AGUDELO GABRIELA SOTO LETICIA MONTAÑO With special thanks to: Beatriz Bermudez, Anthropologist, Venezuela. National Councils members of COMTA/IMC 420
Appendix 16 The Protection and Promotion of Musical Diversity Sub-Saharan Africa: CAMEROUN Luc Yatchokeu 421
Page 1 and 2:
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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- Government agency, New Zealand Tr
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Zealand’s cultural diversity, inc
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- project benefits art in New Zeala
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7. diversity - in the sense of the
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necessary to accord more favourable
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Appendix One (Additional informatio
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Appendix Two (Website Links) • Cr
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SPAIN..............................
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4.3 EDUCATION .....................
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Polina Introduction Musical Diversi
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society aiming long-term perspectiv
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music practice that is still "alive
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this promotes essentialist and nati
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derivates, which are often understo
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y the infusion of central European
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The still continuing oppression of
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Chancellery and main institutions i
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increasing on cultural projects. Th
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http://www.musicfrom.nl/popnaardeto
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throughout the world. The Music Exp
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CHARITY CONCERTS, CROATIA During th
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peace building. The tour includes,
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Music Fund is an initiative of Belg
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Ukraine Some musicians supported th
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Public and private services are gen
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333
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2002-2006 management agreement betw
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identically worded Interstate Agree
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licensing. The SEM shall guarantee
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State TV and radio have a fundament
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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
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: Appendix 15 The Protection and Prom
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: 5. Governmental projects, civil org
Page 233 and 234: interest. Funds collected served mo
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 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
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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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