Appendix 6 - International Music Council

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friend and collaborator, promptly rose to the occasion to teach the students the interpretation and dramatisation. But for all the good intentions and dreams, there is still one undeniable obstacle in their way. Funding. But now the Vocal Excellence Graduate School has reached the point where it is a fruit ripe for the picking, ready for the right investor to claim their share. It’s a great initiative, one that has very firm goals that will no doubt reach with as much success as all it’s past endeavours. All of which hangs on the condition that they find the funding to take it further, to keep it going. But no matter what the obstacle- be it illness, funding, fire, sleet or rain- this is one group that will get to the top, and do so singing. Felix Quinn, 20/1/06 540
Addendum 12 Alphabetical list of further South African statutes relevant to arts and culture, not referred to in the report Broadcasting Act No 4 of 1999 Copyright Amendment Act No 9 of 2002 Independent Communications Authority of South Africa Act No 13 of 2000 Lotteries Act No 57 of 1997 Performers’ Protection Act No 11 of 1967 Performers’ Protection Amendment Act No 8 of 2002 Skills Development Act No 97 of 1998 Skills Development Levies Act No 9 of 1999. 541
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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
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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
Page 299 and 300: Contact: Stanley Nkosi Tel: (011) 3
Page 301 and 302: producers/performers regarding the
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
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
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
Page 347 and 348: professional chorus master, was eng
Page 349: Addendum 11 Sweet Voice Masters It
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
Page 359 and 360: Huber and others. He also attended
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Appendix 6 - International Music Council

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