Appendix 6 - International Music Council

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Addendum 9 MELODI YA MAMELODI “DOING HOPE THROUGH MUSIC” C. MCLACHLAN, E. MEYER, G. DIESEL & L. PRUNEAU (COMPILED AND EDITED BY DR LYNETTE PRUNEAU, HEAD OF DEPARTMENT) INTRODUCTION 1. “Doing hope” – This term was coined by Kaethe Weingarten as a way of creating hope instead of despair. “Doing hope” in a community faced with poverty, hunger, violence, AIDS, illnesses and hopelessness is by no means an easy task - how do you teach a hungry, sick, cold, weak child? In an attempt to address these problems we started “doing hope through music”. By giving the children the chance to learn a music instrument, some of the despair has been eased and turned into “hope”. Music became the bridge between different cultures, communities and languages, forming a “community of care”. By “doing hope through music” and by caring, we are binding the different communities and disciplines together in the New South Africa. MELODI YA MAMELODI Mamelodi Secondary School had been selected as a Magnet School by the Gauteng Department of Education. The music school started on a part-time basis in May 2003 and by January 2004 was functioning on a full-time basis with four educators and more than two hundred learners. In 2005 two additional posts were granted by the Gauteng Department of Education and we have now approximately 380 learners. Tuition is given on the following instruments: • Piano • Recorder • Violin • Clarinet • Trumpet 516
• Voice The Gauteng Department of Education provided the school with these instruments: • 9 full-size violins • 9 clarinets • 9 trumpets • 15 harmonicas • 1 electronic piano Now we face the daunting task of dividing these relatively few instruments amongst the two hundred-plus learners that we cater for, but we are extremely grateful to the following sponsors for the contributions that they have made to Melodi ya Mamelodi: AIMS • UNISA Music Foundation (instruments, examination fees and invitations to concerts for our learners) • Waterkloof House Preparatory School (instruments) • Polliacks (instruments) • Notation Music • Musica Instruments • Cornwall Hill College • McCarthy Motors (piano) • Dr Meyer (providing daily food and clothes) • The Embassy of Spain • The Suzuki society in Canada and France • Berit Oogle of Sweden • Other private donors Our main aim is to provide for the basic needs of all of our learners. We support the notion of Ubuntu, “each child is our child”. We have also set our goals much further and we strive towards: • Creating more centres in townships and underprivileged communities where music can be taught and hope can be created • Creating more sponsored teaching and therapy opportunities to enable people to work with these communities • To link different communities and disciplines together in the New South Africa • Bringing children, and adults together from different communities to make music together 517
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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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- 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
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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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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
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
Page 299 and 300: Contact: Stanley Nkosi Tel: (011) 3
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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
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Page 323 and 324: Addendum 8 MUSIKHANE COMMUNITY PROJ
Page 325: The general aim of Musikhane is to
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
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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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Appendix 6 - International Music Council

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