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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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Appendix 8 The Protection and Promo
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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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Appendix 9 The Protection and Promo
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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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Appendix 11 The Protection and Prom
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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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Appendix 12 The Protection and Prom
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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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Appendix 13 The Protection and Prom
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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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Appendix 14 The Protection and Prom
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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
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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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Appendix 15 The Protection and Prom
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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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Appendix 16 The Protection and Prom
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interest. Funds collected served mo
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Appendix 17 The Protection and Prom
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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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Appendix 18 The Protection and Prom
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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
- 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
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- Page 291 and 292: Funding criteria: • The NAC striv
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- Page 295 and 296: Radio, Television and Print Media O
- Page 297 and 298: Zakheni Music Trust The co-founder
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- Page 301 and 302: producers/performers regarding the
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- 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: Addendum 4 Media Development and Di
- 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
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- 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
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- 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
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