Sounds in Europe # 9 by European Music Council

Photo by Markus Koehler

CONTENTS Editorial 4

Music for Europe – Europe for Music Stef Coninx 29

EMC/IMC News 5

8 9

Music and Politics – A Shared Responsibility the European Forum on Music 2014 in Bern Daniel Kellerhals Enhancing Our Reach Cathy Al-Ghabra African Music Development Programme (AMDP) Silja Fischer

Focus: E-Culture 12

14 15 16 18

Aesthetics of the Digital Revolution Listening to a Post-Digital World Peter Rantaša Our Digital Agenda for Europe Alfons Karabuda Crowdfunding as a New Financing Instrument Christian Henner-Fehr Music Streaming Peter Tschmuck Copyright: A Hotter Topic than Ever Current Legislation and Debate in the European Union Burak Özgen

35 36

Distraction or Inspiration? Musical Musings on the Power of Social Media Christopher Glasgow Gaming with Contemporary Music Sina Haberkorn The Online Entry System for the International Accordion Competition Kimmo Mattila Digitisation as Opportunity The Example of the Portuguese Music Information Centre José Grossinho & Jakub Szczypa The IMZ Academy Training for Young Music and Media Professionals Ruth Pfletschinger Music plus One An Orchestral Accompaniment Program Sanna Wager E-Learning and String Teaching Violin and Viola Lessons in Virtual Classrooms Kristian Kolman Teaching Singing Online Susan Yarnall-Monks Let’s Tweetup! The Digital Opera Experience at the Beethovenfest Bonn Friederike von Wittich

EMC/IMC Review Cultural Policy 20 22

European Elections – Why care? Simone Dudt Creative Europe: The Intrinsic Value of Culture and Competitiveness – Finding the Right Balance Helga Trüpel UNESCO Fights for the Role of Culture in Development Shannon Jinadasa

For inspiration 26 27

37 38

2 4 40 43

EMC Review 2013 Julia Osada & Till Skoruppa 5th IMC World Forum on Music – A Bet for the Future of Music Davide Grosso Imprint Editorial Pinboard Acknowledgments

The Music Animation Machine Stephen Malinowski & Etienne Abelin Online Choral Performance: Not Live, Just Different Daphne Wassink

2013–2014 // SOUNDS IN EUROPE

EDITORIAL

MUSIC FOR EUROPE – EUROPE FOR MUSIC It has taken a while for EMC to figure out how to tackle the issue of ‘e-culture’, including many hours of interesting discussions, exchanging articles with various views, etc. Then at last, we realised that the right time for a comprehensive focus on e-culture will probably never come since, by nature, it is a continuously evolving issue that intervenes in almost The first generation of every aspect of our daily lives. The first digital natives – musicians generation of digital natives – musicians and music consumers – and music consumers – are now taking are now taking over over, and it will be their responsibility to set guidelines for a sustainable future for music in the digital era. This will no doubt be one of the elements addressed in the “European Agenda for Music”, a new EMC initiative. The “European Agenda for Music” will bring the entire music sector together, allowing it to speak as one voice. It will be a platform for collaboration and exchange. Initiated by the European Music Council, coordination will remain with EMC. However the Agenda itself is a document shared by everyone involved. All involved must also subscribe to each section of the document. The IMC’s “Five Musical Rights” will form the basis of the document, as well as the project’s long term goals.

The aim of the document is not to develop separate policies for music, but for the sector to put forward its own priorities to improve the situation of music in Europe. What do we want the sector to look like 10 to 15 years from now? i.e. Do we want more people making music, going to concerts, fewer people downloading music illegally? What needs to be done to achieve these things? The European Commission has expressed a desire for more cooperation between the various cultural disciplines. It is important however that the specifics and needs of each individual sector be highlighted, and this can be done with the Agenda. That’s another reason why EMC also took the initiative to invite all the music networks to contribute to a combined statement for the continued support of music in Europe titled: “Music for Europe – Europe for Music!” And lastly, we do of course hope that all our wishes and dreams will be reflected in the new “Creative Europe” Programme (20142020).

Stef Coninx Chairman of the EMC

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2013–2014 // SOUNDS IN EUROPE

Photo by Markus Koehler

EMC/IMC NEWS

MUSIC AND POLITICS – A SHARED RESPONSIBILITY The European Forum on Music 2014 in Bern The subject of the 4th European Forum of Music may appear as a matter of course to some, others perceive it as a conflict or even heresy, and again others as a challenge. It is precisely this debate which the European Music Council (EMC) in partnership with the Swiss Music Council (SMR) and the Yehudi Menuhin Forum in Bern want to provoke, when over 100 participants from areas of music making and creating and from all parts of Europe meet from 19th to 22nd June 2014, in Bern, capital of the Swiss Confederation, for the 4 th European Forum on Music. Professionals and practising musicians have long known, and it is recognised without any doubt, that music and the arts contribute significantly to meaningful development of societies and to peaceful cohesion of people of all origins. Equally and undisputedly recognised is the fact that music addresses the broadest scope of human emotions from softest feelings to destructive aggressions. Still, again and again and with obsessive regularity, culture becomes an issue of political conflict, specifically when it comes down to financing. Switzerland, as the host country, is acting as ‘godmother’ providing a setting for the subjects emphasized at the 4th European Forum on Music. What can Europe learn from the ‘voluntary nation’ (Willensnation)? Switzerland, the ‘confederates’ equal in rights? Can music and culture contribute, in this year of European elections, to strengthening the will for Europe without being abused as a tool for manipulation? The European Union’s “Unity in Diversity” formula, to some extent a contradiction in itself, is used as a fundamental ‘trademark’ by Switzerland and the EU. How does this work ‘in concreto’? What is the accumulated experience of the past? What could it mean in and for the future?

The discussions in Bern will also examine the question of how politics and music could develop joint platforms in order to address ‘hot issues’ and reach common solutions for the problems at hand and by looking ahead. The subject of the Forum will be explored from different angles and points of view, and be debated in a contradictory approach. Artistic, musical, technical, technological, legal, psychological, economical, sociological and political science aspects will be included. As a matter of fact, music itself will be prominently present. The over 100 representatives from more than 15 countries will partake in a multifaceted programme of events, which will transmit significant inputs for their own work and offer opportunities for personal encounters and networking with known and new colleagues and friends from many different realms. Thus new ideas will germ and unexpected projects Ofﬁcial Website of the Forum: in international cooperation may be initiated which www.emc-imc.org/efm could not unfold through remote means, such as e-mail or social media. Of course, the city of Bern will take advantage of this opportunity to present its best features as a host and welcoming city. All those working in music and culture are warmly invited to meet colleagues from 19th to 22nd June 2014 in Bern to discuss, exchange experience, develop new ventures and have a good time together. Details on the Forum will be continuously published on www.emcimc.org/efm. Practical information, participation and registration formalities are also accessible via this site. Welcome to Bern!

Daniel Kellerhals President of the European Orchestra Federation (EOFed) Member of the Bern organising comittee

2013–2014 // SOUNDS IN EUROPE

EMC/IMC NEWS

Der Titel des 4. Europäischen Forums der Musik mag einigen als Selbstverständlichkeit erscheinen, anderen als Konflikt oder gar Häresie, noch anderen als Herausforderung. Genau diese Debatte wollen der Europäische Musikrat zusammen mit dem Schweizerischen Musikrat und dem Yehudi Menuhin Forum Bern auslösen, wenn sich die Teilnehmenden aus allen musikalischen Tätigkeitsbereichen und allen Teilen Europas vom 19. – 22. Juni 2014 in Bern, der Hauptstadt der Schweizerischen Eidgenossenschaft, zum 4. Europäischen Forum der Musik treffen. In Fachkreisen und unter Musikerinnen und Musikern ist hinlänglich und seit langem bekannt und vorbehaltlos anerkannt, dass Musik und die Künste im allgemeinen sinnstiftende und die Gemeinschaft fördernde Wirkungen in der Gesellschaft entfalten. Ebenso bekannt und anerkannt ist das Faktum, dass Musik die gesamte Palette der menschlichen Gefühle anspricht, von den sanftesten bis zu zerstörerischer Aggressivität. Und doch ist die Kultur immer wieder und mit regelmässig wiederkehrender Penetranz ein konfliktuelles Thema der Politik, insbesondere wenn es ums Geld geht. Das Gastgeberland Schweiz steht Pate für die inhaltliche Schwerpunktsetzung des 4. Europäischen Forums der Musik. Was kann Europa von der Willensnation Schweiz, dem Bündnis von gleichberechtigten „Genossen“ lernen? Können Musik und Kultur gerade im europäischen Wahljahr 2014 einen Beitrag leisten, den Willen zu Europa zu stärken, ohne instrumentalisiert zu werden? Die Formel „Einheit in der Vielfalt“, eigentlich ein Widerspruch in sich selbst, wird sowohl von der Schweiz wie der EU als wesentliches Merkmal des jeweiligen Bündnisses herbeigezogen. Wie funktioniert dies in concreto, welche Erfahrungen haben sich in der Vergangenheit angesammelt, was können sie für die Zukunft bedeuten?

In Bern wird auch diskutiert werden, wie Politik und Musik gemeinsame Plattformen entwickeln können, um die sich tatsächlich stellenden Fragen gemeinsam und mit Blick auf die Zukunft zu beantworten und Probleme zu lösen. Das Thema soll aus unterschiedlichsten Blickwinkeln, auch kontrovers debattiert werden. Künstlerische, musikalische, technische, rechtliche, politologische, psychologische, ökonomische, soziologische Aspekte sollen einfliessen. Dabei wird selbstverständlich auch die Musik selber zur Wirkung kommen. Die über 100 Vertreterinnen und Vertreter aus mehr als 15 europäischen Ländern erwartet ein vielfältiges Forumsprogramm, welches ihnen wesentliche Anregungen für ihr eigens Wirken vermitteln und Gelegenheiten zu persönlichen Kontakten mit bekannten und neuen Kolleginnen und Kollegen aus den verschiedensten Bereichen bieten wird. So entstehen neue Ideen und werden unerwartete internationale Projekte initiiert, die auf Distanz über E-mail und Social Media nicht zustande kommen würden. Selbstverständlich wird auch die Stadt Bern die Gelegenheit nutzen, sich ihren Gästen von der besten Seite zu zeigen. Alle in Musik und Kultur Tätigen sind herzlich eingeladen, vom 19. bis 22. Juni 2014 in Bern Kolleginnen und Kollegen zu treffen, mit ihnen zu diskutieren, Erfahrungen auszutauschen, Neues zu entwickeln und angenehme Momente zu verbringen. Einzelheiten zum Forum werden laufend auf www.emc-imc.org/efm publiziert. Dort finden sich auch alle praktischen Informationen und die Unterlagen zur Teilnahme und Anmeldung.

Le thème du 4ème Forum Européen de la Musique peut paraître à certains comme une évidence, à d’autres comme un sujet à conflit, voir une hérésie, ou encore un défi. C’est précisément ce débat que le Conseil Européen de la Musique, en coopération avec le Conseil Suisse de la Musique et le Forum Yehudi Menuhin Berne, a voulu susciter, à la veille d’une réunion des représentants du secteur musical européen tout entier, à Berne, capitale de la Confédération Suisse, du 19 au 22 juin 2014. Dans les milieux musicaux, on sait depuis longtemps que la musique, et les arts en général, contribuent de manière significative au bien-être, à la cohésion sociale et au développement pacifique des sociétés. Non moins connu est le fait que la musique donne accès à la palette complète des sentiments humains, des plus tendres jusqu’aux plus agressifs et destructeurs. Et pourtant, la culture suscite encore et toujours des conflits en politique, en particulier quand il est question d’argent. En tant que pays hôte, la Suisse est le parrain des points forts de la programmation du 4ème Forum Européen de la Musique. De quelle manière l’Europe pourrait-elle s’inspirer de la Suisse, « nation volontaire » (Willensnation), avec ses citoyens confédérés, tous égaux ? En 2014, année des élections européennes, la musique et la culture peuvent-elles, sans devenir instruments de manipulation, contribuer à vouloir construire une Europe plus forte? La formule « unité dans la diversité » est devenue la devise de la Suisse, comme celle de l’Union Européenne. Mais qu’est-ce que cela signifie concrètement, à la lumière de l’Histoire, aujourd’hui et demain?

Lors du Forum à Berne, il sera également discuté de quelle manière politique et musique pourraient-elles développer des plateformes communes, afin de chercher des solutions aux problèmes aigus actuels et pour préparer l’avenir. Le thème du Forum sera débattu sous des angles différents, sans craindre les approches contradictoires. Les aspects artistiques, musicaux, techniques, technologiques, juridiques, psychologiques, économiques, sociologiques, politiques et scientifiques seront discutés, mais c’est bien la musique qui sera toujours placée au centre des débats. Un programme varié attend la bonne centaine de participants venant de plus de 15 pays européens. Ils auront l’occasion de recevoir des impulsions pour leurs propres activités et de rencontrer d’anciens et nouveaux collègues venant d’horizons les plus divers. Ainsi pourront naître de nouvelles idées et des projets inédits, qui n’auraient pas vu le jour uniquement par les moyens de communications électroniques et les réseaux sociaux. De son côté, la Ville de Berne ne manquera pas l’occasion de montrer à ses invités ce qu’elle a de mieux. Toute personne active dans le domaine de la musique et de la culture est cordialement invitée à Berne du 19 au 22 juin 2014 pour rencontrer des collègues, discuter, échanger, faire des projets et passer de moments agréables ensemble. Les informations concernant le Forum sont disponibles en permanence sur www.emc-imc.org/efm, ainsi que des conseils pratiques et les formalités d’inscription.

2013–2014 // SOUNDS IN EUROPE

Herzlich willkommen in Bern!

Soyez cordialement bienvenus à Berne! translated by Helena Maffli-Nissinen

EMC/IMC NEWS

Ad enqualin po il tetel dil quart Forum europeic da musica parer sco caussa evidenta, ad auters sco conflict ni schizun sco heresia ed aunc ad auters sco provocaziun. Gest quella debatta vulan ton il Cussegl da musica europeic sco il Cussegl da musica svizzer ensemen cul Forum Yehudi Menuhin Bern effectuar cura ch’ils participonts da tuttas spartas musicalas e dall’entira Europa s’entaupan naven dils 19 entochen ils 22 da zercladur 2014 a Berna, la capitala dalla Confederaziun svizra, tiel quart Forum europeic da musica. En cerchels dil fatg e denter musicistas e musicists eis ei gia daditg enconuschent e renconuschiu, che la musica e las spartas d’art en general sveglian e promovan in sentiment da solidaritad positiv per la societad. Era enconuschent e renconuschiu ei il fatg, che musica plidenta l’entira paletta da sentiments humans, quei naven dil pli fin sensori tochen all’agressiun destructiva. E tuttina ei la cultura adina puspei e cun ina insistenza che serepeta regularmein, in tema da conflict dalla politica, principalmein cu ei va per daners. La Svizra sco tiara hospitonta surpren la responsabladad pil cuntegn dil quart Forum europeic da musica. Tgei sa l’Europa emprender dalla Svizra, ligia da “partenaris da medem dretg” e naziun da voluntad? Pon musica e cultura contribuir enzatgei ual egl onn d’elecziun europeic 2014 per rinforzar la voluntad ad ina Europa senza vegnir instrumentalisai? La formula “Unitad ella diversitad”, atgnamein ina cuntradicziun en sesez, vegn mintgamai duvrada dalla Svizra sco dall’UE per in impurtont criteri per giustificar aschibein la confederaziun sco l’allianza. Co funcziuna quei concretamein, tgei experienzas ein sedadas el vargau, tgei pon quellas muntar pigl avegnir? A Berna vegn ei era a vegnir discutau co politica e musica san sviluppar plattafuormas communablas per rispunder da cuminonza

allas damondas che sedattan e quei en mira digl avegnir e per sligiar problems. Il tema duei vegnir debattaus da differentas perspectivas ed era a moda cuntraversa. Aspects artistics, musicals, tecnics, da dretg, politics, psicologics, economics, sociologics duein vegnir risguardai. Leutier vegn secapescha era la musica sezza ad haver sia influenza. Il forum porscha in vast program allas passa 100 representantas e representants che derivan da varga 15 tiaras europeicas. Il program vul principalmein animar ad in agen agir e porscha buna caschun da vegnir en contact cun collegas enconuschents e nunenconuschents da differents secturs. Cheutras sedattan novas ideas e nunspitgadamein vegnan novs projects internaziunals iniziai, ils quals vegnessen buca realisai sin distanza a basa dad e-mail e social media. Secapescha ch’era il marcau da Berna nezegia la caschun da sepresentar a ses hosps dalla megliera vart. Tut quels che s’engaschan per musica e cultura ein cordialmein envidai da s’entupar cun collegas, da sediscuorer cun els, da scumiar experienzas, sviluppar caussas novas e passentar muments emperneivels. Detagls pertuccont il forum vegnan publicai dafertontier sin www. emc-imc.org/efm. Leu ein era tuttas informaziuns praticas ed ils documents davart participaziun ed annunzia da cattar.

Il titolo del 4° Forum Europeo della Musica può apparire ad alcuni come un'affermazione ovvia, ad altri invece come un contrasto se non addirittura un'eresia o magari una sfida. È proprio questo dibattito che il Consiglio Europeo Musica, il Consiglio Svizzero della Musica e il Forum Yehudi Menuhin Berna riuniti intendono suscitare. L'occasione ne sarà il convegno che avrà luogo a Berna, capitale della Confederazione Elvetica, dal 19 al 21 giugno 2014, cui parteciperanno persone attive in tutti gli ambiti musicali e provenienti da tutta Europa. La musica e le arti in genere hanno la facoltà di sviluppare all'interno della società effetti che producono senso e che favoriscono la comunità. Da tempo ormai questo aspetto è ben noto e riconosciuto dagli specialisti e negli ambienti musicali. ltrettanto noto e riconosciuto è il fatto che la musica tocca lo spettro completo dei sentimenti umani, dai più teneri fino all'aggressività distruttiva. E nonostante ciò la cultura è destinata a tornare periodicamente ad essere un tema conflittuale per la politica, soprattutto quando c'è in gioco il denaro. La Svizzera come paese ospitante contribuisce in modo significativo alla scelta degli argomenti chiave del 4° Forum Europeo della Musica. Quali valori può trasmettere la Svizzera all'Europa, in quanto nazione fondata sulla volontà, alleanza di „soci“ con pari diritti? Avranno la musica e la cultura la facoltà, proprio nell'anno delle elezioni europee 2014, di rafforzare la volontà per l'Europa, senza correre il rischio di venir strumentalizzate? Il motto „unità nella diversità“, in sé una contraddizione in termini, viene evocato sia dalla Svizzera che dalla EU come caratteristica peculiare del incolo tra i componenti delle rispettive alleanze. Come stanno le cose in concreto, quali sono le esperienze

raccolte nel passato, quali indicazioni possiamo trarne per il futuro? A Berna si discuterà anche su come politica e musica possono sviluppare piattaforme condivise per rispondere in comune, e con lo sguardo rivolto al futuro, alle domande che realmente si pongono e per risolvere problemi. Il tema andrà dibattuto dalle angolazioni più diverse, anche sotto forma di contraddittorio, considerando aspetti artistici, musicali, tecnici, ma anche giuridici, politologici, psicologici, economici e sociologici. Va da sé che anche la musica stessa potrà esprimersi. Il Forum propone ai più di 100 rappresentanti provenienti da più di 15 paesi europei un programma variegato, il quale offrirà spunti per le loro proprie attività e occasioni di contatti personali con colleghe e colleghi attivi nei campi più disparati. Potranno così nascere nuove idee e prender forma progetti internazionali non previsti, impossibili da realizzare a distanza tramite e-mail ed i social media. Anche la città di Berna coglierà con piacere l'occasione per mostrare ai propri ospiti i suoi aspetti più qualificanti. Tutte le persone attive nel campo musicale e culturale sono cordialmente invitate a Berna per incontrarsi dal 19 al 21 giugno 2014 con colleghe e colleghi, per discutere con loro, scambiare esperienze, creare cose nuove e passare insieme momenti conviviali. Il sito web www.emc-imc.org/efm viene aggiornato costantemente con i dettagli riguardanti il forum. Vi si trovano inoltre le informazioni pratiche, oltre ai documenti per l'iscrizione e la partecipazione.

Cordial beinvegni a Berna! translated by Giusep Caduff

Benvenuti a Berna! translated by Augusta & Franz Kraft

2013–2014 // SOUNDS IN EUROPE

EMC/IMC NEWS

ENHANCING OUR REACH The European Music Council Youth Committee in 2013/14 The EMC Youth Committee has been in existence for fourteen years (formerly the Working Group Youth) and continues to strive to promote improvements in the field of youth and music by lobbying at the European level, as well as acting as a youth music hub and an advisory body to the member organisations of the European Music Council on youth engagement and participation. Election of the New EMC Youth Committee in April 2013 The 3rd European Forum on Music served as a platform for the election of the new EMC Youth Committee members, who were nominated by EMC member organisations. The vote took place at EMC’s Annual Meeting. Seven successful candidates were chosen and are now working together as the new committee: Cathy Al-Ghabra Chris Glasgow Maiju Kopra Manon Fenard Jaroslava Lojdová Jamie Munn Klára Nováková

European Choral Association – Europa Cantat (Chair) Scottish Music Centre (Vice-Chair) Finnish Music Council Chroma/Zebrock European Association for Music in Schools

Youth Day In April 2013, the former EMC Youth Committee (with Katharine Lane and Maiju Kopra as Chair and Vice-Chair) held a Youth Day at the 3rd European Forum on Music in Glasgow. Informal participative sessions were led by experienced youth workers from the music industry and successful young people, enabling networking, sharing of experience and knowledge, as well as providing opportunities to gain new skills. Session themes were chosen from issues arising in the Manifesto and current arts affairs. Over thirty young people under the age of 30 took part in Youth Day, which was a huge success and an inspiration to the new committee. Current Work Long-term plans have been established by the current committee, with the view that the aims of “Make Music! Be Heard!” can increase their impact and reach all EMC member organisations by providing up-to-date professional development opportunities for youth in musical Europe, advice for member organisations and enlarging the network for youth in musical Europe.

Live Music Now Scotland Jeunesses Musicales International

Make Music! Be Heard! In 2013, a European Union “Youth in Action” grant was obtained for the creation of “Make Music! Be Heard!” (MM!BH!), which builds on the success of the previous “Youth in Action” funded “Access!” (2010) project during which the “Manifesto for Youth and Music in Europe” was drafted. The project’s aim is to strengthen youth participation in European music networks through capacity building of the youth in EMC member organisation networks, expanding knowledge on youth issues, disseminating information on youth participation and current opportunities, putting the Manifesto into practice, as well as engaging young people in policy work relating to youth and music. “Make Music! Be Heard!” will have a lasting presence as the grant has been extended until the end of June 2014. The new EMC Youth Committee has the opportunity to continue to build on the work of the past committee.

Work-in-progress Includes: 3 Development of fully funded youth work experience placements provided by “MM!BH!” partners, which aim at benefiting both organisation and participation in youth commitment and career opportunities. 3 An interactive online Youth Guide for member organisations including a platform to advertise current opportunities, funding availability, advice and links, as well as forums, blogs and videos. 3 An overhaul of the EMC Youth Committee’s online presence with a social media strategy: a website update, new Twitter and Facebook accounts, blogs and videos on the new Youth Guide site. 3 Promotion of the Manifesto at conferences and networking events around Europe in preparation for future lobbying and connecting with youth political organisations at the European level. 3 Presence at European Music Council events such as the 4 th European Forum on Music in June 2014. Track us online now and keep an eye out for the launch of our Youth Guide website in 2014!

Cathy Al-Ghabra Chair of the EMC Youth Committee

Youth Committee Meeting in Bonn 2013. Photo by EMC

2013–2014 // SOUNDS IN EUROPE

‘Make Music! Be Heard!’ Website: www.emc-imc.org/ youth/make-musicbe-heard

EMC/IMC NEWS

AFRICAN MUSIC DEVELOPMENT PROGRAMME (AMDP) Over the next three years, the International Music Council (IMC), in close cooperation with its regional group for Africa, the African Music Council (AMC), and project partners from eight different countries, as well as the European Music Council (EMC), will endeavour to help build a sustainable music sector in Africa with a focus on increased employability.

Photo by by Link Reuben 2013â&#x20AC;&#x201C;2014 // SOUNDS IN EUROPE

EMC/IMC NEWS

Parade at Busara 2014. Photo by Link Reuben

The “African Music Development Programme” (AMDP) will pursue the following objectives: 3 Increase professional capacity throughout the sector 3 Increase intercultural competence and exchange between European and African music professionals 3 Increase awareness of the value of music for the socio-economic development of societies 3 Strengthen the infrastructure of the African music sector 3 Foster the network for music and musicians in Africa In order to achieve the objectives of the “African Music Development Programme”, organisations with an established knowledge and activity record in the African cultural and music sector will join forces and implement various activities. Following the principle of local ownership, activities will take place under the responsibility of each partner in various African countries. The large number of countries involved guarantees wide access to the proposed activities. The programme will also create exchange opportunities with Europe and other parts of the world. The IMC is pleased to cooperate with its regional groups in Africa and Europe (African and European Music Councils), with universities (Technical University of Kenya, Makerere University in Uganda, University of Hildesheim in Germany), with music festival organisations (“Le Kolatier” (REPAC) – Cameroon, “Feux de Brazza” – Brazzaville, Republic of Congo; “Sauti za Busara” (Busara Promotions) – Zanzibar, Tanzania), with “Music Crossroads” national sections in Malawi and Mozambique, and last but not least, with the “Observatory for Cultural Policies” in Africa. Other organisations active in the AMDP’s areas of intervention will also be involved. Project partners sincerely hope and strongly believe that upon project completion in December 2016, the diversity of African musical expressions will have been protected and promoted, access for African artists to international markets will have been facilitated, the dialogue between different African musical cultures encouraged, and in general, that there will be greater awareness of the value of music in the socioeconomic development of African societies.

2013–2014 // SOUNDS IN EUROPE

Planned activities in the academic field comprise student and staff exchange among music departments of African universities with the aim of improving the quality of professional training in music and music teaching in Africa on the one hand, and reinforcing the recognition of African music, African music teaching and African music management in Europe on the other. Vocational training will be offered to music professionals with the goal of improving the quality of festival management at all levels, increasing the professional skills of festival crews, fostering artistic and management exchange among music festivals in Africa and optimising the mobility of artists and artistic works on the African continent. The project will also include capacity building activities to increase the role and efficiency of music organisations, resulting in a stable and strong network of the African Music Council. Diverse activities will help disseminate the creative output of African musicians and improve access to research results, sheet music, instrumental and teaching methods. We also hope to increase the presence of African music professionals in Europe. The results of the AMDP will be published and widely disseminated. The official launch of the “African Music Development Programme” was on 12th February 2014, at the “Sauti za Busara Festival’s” press conference, organised by AMDP’s project partner “Busara Promotions”. We chose this occasion because a number of AMDP activities took place at this edition of the festival (13th – 16th February 2014), which hosted: 3 two students from Technical University of Kenya and Makerere University in Uganda for 6-week internships; 3 two young female festival professionals for 6-week work placements (one worked for project partner “Feux de Brazza”, Republic of Congo and one from South Africa who was selected following a call for applications); 3 five students from the University of Hildesheim, associate partner in the project, for one-week study visits; 3 two female trainers who worked for at least two weeks with selected members of the festival team, one trained with the sound crew and the other with the festival’s general management team. The launch for French-speaking Africa will take place in March 2014, at the “Marché des Arts du Spectacle Africain” (MASA – African Performing Arts Market), which has been resuscitated after a hiatus of some ten years. This project is made possible with the financial contribution of the European Union (European Development Fund) and the assistance of the African, Caribbean and Pacific (ACP) Group of States. This support will undoubtedly reinforce our collective efforts to improve the situation of the African music sector in many aspects. The IMC is pleased and proud to lead this project and we look forward to implementing it with our cooperation partners. //

Silja Fischer Secretary General of the IMC

EMC/IMC NEWS

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Photo by Markus Koehler 2013–2014 // SOUNDS IN EUROPE

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AESTHETICS OF THE DIGITAL REVOLUTION Listening to a Post-Digital World Let us talk about music again. About specific and concrete pieces, works, practices, expressions. About the music we like and the music we don’t like. About style, quality and appearance. Let us argue for our choices – as controversial as they might be – and find values to support our arguments. Let us break the taboo and in full awareness and respect of our subjectivity call this music good and that music bad – or vice versa. Why? Because in a music world that has become flat1, we are otherwise lost. We the artists, we the audience, we the students, we the advocates, we in whatever role that has ceased to exist need to be critical once again. A prerequisite for diversity is the possibility to make distinctions. The ‘digital revolution’ has helped us to become more equal than ever2 and that was good. But now we are bored and new inequalities are on the rise. It is high time for a new aesthetic debate – including a debate on how art and music want to contribute to the future of our societies. Let me begin with two little anecdotes to build up this claim in a historical perspective: Snapshot 1: Deaf Music Criticism? I still remember one long gone but bold judgement about record releases of a previous year in a leading local culture magazine in Austria: “If you missed 1998 you have not missed much. That year will not be a major entry in the annals of music history.” I remember these lines from early 1999 so well because I felt the urge to write a sharp letter to the editor about the naïveté of contemporary music criticism that I saw trapped in the elitist bubble of ungrounded aesthetic scholasticism. From my perspective back then, as the curator of an international festival for advanced electronic music, I was convinced that the music world would never look the same after 1998. But my argument was not based on the emergence of a ground-breaking new music style that the journalist in question might have overlooked or marginalised. The incident that I thought would shape the years to come was the legal battle the Recording Industry Association of America (RIAA) had fought that year against the Rio PMP3003. And oh dear, how both right and wrong I was! Snapshot 2: Over Expectations At the start of 2001, I participated in a panel debate titled “AudioVisonen – Das Internet: Bausteine für eine Neue Musik?”4. The organisers from the Transmediale festival in Berlin had hoped for a debate on new forms of music and new aesthetics under the auspices of an Internet-driven ‘Do it Yourself ’ movement. But the discussion was stuck in traditional paradigms of art, artists and audiences. While expressing general utopian hopes about radical democracy, communication and society, the panel (including myself ) failed to identify any new aesthetic phenomenon – because new aesthetics had simply not emerged back then. The medium was too young to impact the aesthetics of musical practices in a broad sense. But it already had a strong impact on how people and more specifically young people accessed and interacted with music. Photo by Markus Koehler

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What connects these anecdotes is the strong interplay between technology, economics and aesthetics that in the first case was neglected, and in the second – in a different kind of naïveté – was misjudged in terms of time and impact. Fifteen years later this picture has been reversed. Business practices in the music sector – formerly somewhat reduced to ‘Indie’ vs. ‘Major’ – have become a more interesting topic for mainstream music journalism than songs or styles. They have been blended into the lifestyle component of an artist’s persona just like dress codes or make-up. Many festivals now run workshops for young artists on how to enter and survive in the music market. And in exaggeration of the old post-modern mood of ‘anything goes’, the question of aesthetics seems to have lost its appeal all together. Consequently, the past decade and a half of professional advocacy within and for the music world have been marked by the effects of those technological and economic changes that have been subsumed under the tag of this ‘digital revolution’. Issues like author/copyright regimes, the monetisation of recorded music or the remuneration of artists dominate the political arena. These topics are appraised as ‘contemporary’ and ‘progressive’ within the political class because they address real (translate: economically relevant) problems. The concerns of those who lobby for music education or stronger public support for Art Music (or even worse for – beware – ‘New Musics’, those strange sounds that find consensus only insofar as they are rejected as not attractive to audiences) carry a rather conservative image (translate: economically irrelevant). Public funding for creative industries or the export of national pop music productions is nowadays certainly sexier to governments than funding a contemporary music festival. But as usual the arts react faster to change than politics5. The founder of MIT’s “Media Lab”, Nicolas Negroponte, coined the notion of the post-digital era6 to designate a time when digital technologies become ubiquitous and thus not distinctive anymore. The aesthetic shifts that have now appeared are invisible to the younger ‘digital native’ generation since they are accustomed to this technology. Access to the biggest compilation of repertoires in human history has led first to a bricolage, and further to the elimination of the plethora of styles history has brought forward. What once defined whole eras and lifestyles is now being replaced by the application of formal attributes as mere ornaments and flavours for brewing a mix suitable for the business of music merchants in the mainstream, stripped of any sustainable meaning. At the same time, the opposite has also taken place. Specific musical niches have succeeded in bringing together fringe audiences around the globe, and agglomerating them into little crowds big enough to sustain travelling artists. However, the boundaries of these niches coerce the artists trapped there to inflate the constitutive stylistic elements of their particular niche to suit the needs of the demographics they cater. This results in stereotypes that hardly have the potential for progress and in performers who are stuck in the lifestyles of e.g. ‘Rockabilly’, ‘urban Jazzer’, ‘weird Folkie’, ‘ethereal Composer’ and so on. The geographically distributed nature of agglomerated niche audiences has wider consequences. Under the disguise of ‘diversity’ in stereotypical roles, the shift from the recording to the performing artist has created common new lifestyles and expressions of a global travelling youth, united in detachment from what formerly was called ‘roots’ and an escapist search for better grounds somewhere else7. The live music business is consolidating under social media pressure thus pushing small and medium venues out of business if they do not shift their focus from their music fans onto the weekend entertainment crowds. On the other side of the spectrum, pop stars are no longer musicians with long term recording contracts that resonate with the actual trend in mass audiences. They are more like entrepreneurs who build and exploit their visibility in a global cross-

media, cross-platform environment in a blend of entertainment and consumer industries. The audiences’ crave for authenticity is satisfied by the use of all kinds of retro styles (see above) that once were able to provide big emotions. Even the quality of sound itself in recorded music mirrors this flattening of cultural dynamics. The dynamics in today’s audio signals are optimised for subjective loudness by pumping up all frequencies, and the differentiation of sounds in compressed audio files in omnipresent earphones is worse rather than better in comparison to older technologies. In short, the promise of new expressions through new encounters in the virtual world, which drove the expectations of that panel in Berlin, has not delivered significant innovation or change on the side of the producers or audiences. Indeed, just the opposite has occurred. The economic situation of artists has not got better. Market concentration of revenues from repertoires has not improved and the aesthetic output of the system – despite the growing numbers of releases – has not exploded in diversity, it has, on the contrary, flattened. What conclusions and actions can be drawn from these practical observations and experiences? If ‘culture’ is to be understood as a ‘we-thing’, a collective way of how we do particular activities in our society8, then the little ‘e’ in e-culture indicates changes in our cultural practices – including music – driven by what has been called the ‘digital revolution’. However, the notion of a ‘revolution’ might perhaps be better reserved for fundamental changes in society, in for instance, the name of empowerment of the powerless, not for technologies. If we do not care to embrace cultural pessimism in the unfolding post-digital environment where the ‘e’way of doing things is ubiquitous, we need to examine, why these new technologies have not delivered what we had hoped they would. The answer is: Because we have subsumed their use and further development into a broader cultural paradigm that we could call the ‘M-culture’ – or the way of doing things guided by mere money driven parameters. The culprit for the flattening of musical experiences is not the little ‘e’ but the big ‘M’ in our culture. So any advocacy that does not look behind the horizon of this ‘M’ will not bring any change to that. If we want to defend and extend the musical rights that form our mission, we have to look and aim beyond these boundaries. In western tradition, the domain to do so was called “Aesthetics”. In the early days of the Enlightenment, the philosopher Immanuel Kant argued in favour of a link between aesthetic judgement and ‘common sense’ (sensus communis), a sense of the ‘we’. To pay tribute to the current retro-movement, we might be well advised to revisit this thought and once again bring aesthetics to the forefront in order to look forward and move ahead. //

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Peter Rantasˇa Business Consultant for Culture and Creative Industries, Expert for Cultural Management In the sense that every style, every language, every quality of music is just one click away – This notion of a flat world is borrowed from Thomas L. Friedmann’s bestseller: The world is flat. The globalized World in the Twenty-First Century. (2005) We can now access music libraries that even the most dedicated music collector could not assemble before. I have 25 m of songs on my mobile wherever I am. We can manipulate sounds and perform our creative wishes without many years of training through apps for the price of a snack. We can access details on every piece that we hear (Soundhound!), on music history, etc. that formerly required the experience and expertise of years in the field. The “Rio” was one of the first mass marketed MP3 players. The RIAA had claimed this gadget would lead to copyright infringements and thus violate the “Audio Home Recording Act”. The RIAA however lost its case, thus paving the way for a new market for digital music. Napster opened its links later that year. “AudioVisions – The Internet: Building Blocks for New Music?” See a review (in German) of that debate here: http://www.heise.de/tp/artikel/4/4862/1.html Media artist Maurice Benayoun provides a read-worthy manifesto on what informs the Arts in this postdigital era in his text “Art After Technology”: http://www.benayoun.com/projet.php?id=114 Nicolas Negroponte: Beyond Digital. Wired Magazine (2000) http://web.media.mit.edu/~nicholas/ Wired/WIRED6-12.html This resonates with the experience of students and academia, who are subject to mobility semesters, travelling stipends and the like. The tone is set between irony and cynicism, the iconic expression is a self-portrait taken with a mobile camera in a strange place and posted in an online community, and tagged the ‘Selfie Generation’…: In the broad sense of the notion of ‘Culture’ as embraced by UNESCO in 1982: http://portal.unesco.org/ culture/en/files/12762/11295421661mexico_en.pdf/mexico_en.pdf

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Photo by Markus Koehler

Europe is standing on the threshold of a new cultural era. Given the right prerequisites, culture will not only continue to promote democratic liberties, but provide solutions to Europe’s economic and unemployment crisis as well. Culture and creative innovators have always been at the heart of social development. The digital shift is no exception. Understanding the digital shift from a technical, technocratic perspective is not enough. A cultural, democratic perspective is needed in order to obtain success. That is why, during my presidency, the European Composer & Songwriter Alliance (ECSA) and the Swedish Society of Songwriters, Composers & Authors (Sveriges kompositörer och textförfattare SKAP) are promoting a ‘digital agenda for music’ as part of the European and national digital agendas. We have been taking part in the work for a new directive on collective rights management and for a digital single market. We will continue our involvement in the effort to harmonise copyright policy throughout the European Union. There are few questions as crucial to music creators within the music business as the digital shift and the on-going review of copyright rules. The work being done today will set a completely new infrastructure for the music, film and television scene of tomorrow. This is not something the music business, or individual music creators can leave to others to decide. Music creators embrace new digital ways of meeting their audience. The public expects full and immediate access to their favourite music. The European Commission believes that a digital single market can be a central tool in reviving the European economy and is turning to the creative sector for solutions. Yes, we are standing on the threshold of a promising future for music in Europe. Much depends on those who create, perform and innovate in the music sector. They, and the conditions they work under, should be put at the centre of a digital agenda for music. What happens when we add creative freedom of speech? Or when we add gender equality? When the different stakeholders start working closer with those at the heart of creation, and when those still outside the infrastructure are welcomed in? It is not all about business, however. Creative rights are more than just copyright. In the European notion of copyright, authors’ rights consist of economic rights and moral rights with the focus being on economic rights in most stakeholders’ agendas, and definitely in the European Commission’s work towards a digital single market. Music is valuable to us all – but for very different reasons. Where YouTube thrives from its 90% music content, a dictator somewhere feels threatened by the expressive impact of that same music. As an expert to the United Nations Human Rights Council, I participated in

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producing the first ever UN report on the right to freedom of artistic expression and creativity; I know the importance of the right to one’s own expression and the right to one’s own work. Artistic freedom of expression and moral rights are two sides of the same coin. Moral rights, therefore, cannot be disregarded in the on-going review of the EU copyright rules. We are convinced that diversity and gender equality are necessary perspectives not only for discourse on the digital era, but for success in the digital shift. To this end, ECSA is further developing its relations to the International Music Council (IMC) and European Music Council (EMC) member organisation “Fondazione Adkins Chiti: Donne in Musica”, which represents more than 43000 professional women composers, songwriters, and creators of music, musicologists, musicians, researchers, practitioners, stakeholders and teachers, and which is carrying forward the “WIMUST” programme for a new strategy on equal opportunities for women in music. We believe music creators and performers need to be included in the digital agenda. Our work, our music, is the base for all those businesses that are supposed to make the wheels of the digital single market turn. Our work creates value to all parts of the value-chain. In fact, without our work there would be no value-chain at all. This is why we, as music creators, need to scrutinize the direction the digital agenda is heading in, just as we would any other political agenda. Creative rights must be as much a part of the digital agenda for Europe as any market. To achieve this, I am confident in the commitment of music creators, performers, musicians and all those working for musical An agenda diversity in Europe under the auspices of for a future the EMC, ECSA and Fondazione Adkins Chiti: Donne in Musica. of diversity

in music.

Standing on the threshold, we now have a window of opportunity to achieve change in the direction we need. Let us take advantage of this unique situation and shape the European music landscape of tomorrow together. Music is highly important to the value-chains of digital services, to society at large and to democracy. This is the mission of our ‘digital agenda for Europe’. An agenda looking out for music creators, performers and their audience. An agenda providing for innovators, entrepreneurs and their business. An agenda for a future of diversity in music.

Alfons Karabuda President of the European Composer & Songwriter Alliance (ECSA)

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The English rock band Marillion is credited with carrying out the first online crowdfunding campaign. Interesting enough, it was the fans themselves who at the time collected USD 60000, allowing the band to go on their US-tour1. Later it was the Sellaband platform, founded in 2006, which musicians used to ask the crowd for support. Whilst in the beginning it was mostly unknown artists who wanted to finance their first productions in this manner, later even known bands such as Public Enemy or the singer Amanda Palmer began using crowdfunding as a source of finance. This form of financing has now also reached the niche areas of music. For example, the “PODIUM Festival Esslingen” managed to cover the costs for the DVD production of its “Stravingsky:animated” 2 project with the help of a crowdfunding campaign. Different Types of Crowdfunding These examples show that crowdfunding has meanwhile become a serious alternative of funding for the entire music industry. Amongst other things, this is of course due to the fact that crowdfunding is generating increasing amounts of money and there are many who hope to get their own piece of the pie. A word of warning though, crowdfunding doesn’t always equal crowdfunding. Indeed, although ever more money is flowing into cultural projects, the larger sums often go to other areas, for example as investment for start-ups. As newly established companies and cultural educational projects are not easily comparable, it makes sense to break crowdfunding down into various types. The following types of crowdfunding have emerged: 3 Equity based: This variant is often referred to as crowd investing, as, for example, the backers invest in a start-up in order to benefit from the company’s financial success in the future. 3 Lending based: This form of crowdfunding is based on granting (micro)credits, which the recipients then have to pay back with interest. 3 Reward based: The backers receive a reward, either on a product basis or intangible. This form of support, which is similar to sponsorship, is favoured by many cultural organisations. 3 Donation based: Corresponding to the classic form of donation, for which there is no material reward.

CROWDFUNDING AS A NEW FINANCING INSTRUMENT These different types are evidence that crowdfunding is continuously developing. This is confirmed by the constantly growing number of platforms which are increasingly becoming specialised in certain niche areas in order to compete with other providers. An example of this is Trevolta3, a new platform via which travel can be funded. A list published at the beginning of November 2013 counts 66 platforms4 in Germany alone. Only time will tell whether the demand is actually that big. Most artists and cultural organisations try to finance their artistic ventures with the help of crowdfunding, usually focusing on reward based crowdfunding, in which they offer appropriate services in return. The current number of different platforms shows that this is a quite clever strategy, with current success rates of 45% to 48%. Of Interest to Foundations and Public Authorities: Crowdfunding and Leverage With this in mind, it is not surprising that not only companies and organisations from the cultural and creative sectors are interested in this form of financing, but increasingly public and private sponsoring bodies as well. The reason behind this is obvious, after all, crowdfunding provides a (financial) lever with which the money invested can be multiplied. In the US, these types of matching grants5 are common, and serve as a stimulus for further fund searching6. According to their study, “Crowdfunding Schemes in Europe”7, published in 2011, David Röthler and Karsten Wenzlass believe that crowdfunding could be a means of justifying funding decisions made by public authorities. Particularly in the cultural sector, which addresses a large audience, a successful campaign can be an indicator that many people positively rate whatever is on offer. Nevertheless, according to the experts, this should only be one of many selection criteria, in order to avoid populist decisions being made8. Interest in this form of funding will probably increase further; it has already become a theme at the political level. We will have to wait to see which new crowdfunding models will emerge alongside the classic ones, which support individual projects. The online Patreon9 platform has been offering artists long term support in the form of monthly ‘contributions’ for some time now. This is a particularly interesting alternative for the so called ‘small actors’.

Christian Henner-Fehr Cultural consultant in Vienna. He runs the “Kulturmanagement Blog” and deals with the topic areas of cultural funding, project management and social media. Kulturmanagement

Graphic by Wolfgang Gumpelmaier (Ikosom)

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Blog: www.kultur bit.ly/KDlSx2 (21.01.2014) management. strawinsky-animated.de/ (21.01.2014) www.trevolta.com/ (21.01.2014) wordpress.com bit.ly/1bzDKTM (21.01.2014) de.wikipedia.org/wiki/Matching-Fund (21.01.2014) For the crowdfunding campaign of the planned Tesla Museum: bit.ly/1aHZZSQ (21.01.2014) bit.ly/17wpdUg (21.01.2014) David Röthler/Karsten Wenzlaff: Crowdfunding Schemes in Europe (2011), Page 37 www.patreon.com/ (21.01.2014)

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MUSIC STREAMING

Photo by Markus Koehler

Great Expectations If the world were Sweden, music streaming would be the next big thing for the recorded music industry. Music streaming accounted for 91% of the Swedish digital music market in 2012. SEK 641 million (US$ 94,6 million) out of SEK 704 million (US$ 103,9 million) were contributed by streaming services to the digital market. Sweden is, therefore, by far the best developed music streaming market worldwide. The Swedish case shows just how a quick transformation from a record to a digital market can increase overall market volume. The Swedish phonographic market has grown by a remarkable 26,9% since 2008. However, Sweden and a few other Scandinavian and Asian countries are exceptions to the rule. In large recorded music markets, music streaming is by far not that important. In the US, revenues from music subscription services accounted for 8% of overall music sales in 2012, in the UK the share was 12% and in Germany 8%. Nevertheless, expectations are high that further growth in revenues from music streaming services will cause a turnaround in the still shrinking recorded music market.

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Is Music Streaming a Sustainable Business Model? Each month several new music streaming services enter the market. “iTunes Radio” by Apple and “All Access” by Google underpin the relevance of music streaming. And it is just a matter of time before Amazon announces the launch of its rumoured music streaming service. Nevertheless, music streaming is not profitable at present and several Wall Street analysts doubt if it is sustainable. The noninteractive but personalised web radio Pandora is a good example of this. It had to pay US$ 258,7 million for content acquisition in 2012. Content acquisition costs accounted for 60,6% of its overall revenue of US$ 427,1 million. This high proportion of content acquisition costs also explains its operative loss of US$ 37,7 million, despite an increase in its advertising and subscription revenues (Pandora 2013: US$ 71 million). In fact, content acquisition costs climbed faster than total revenue – 67,7% compared to 73,2% – from 2011 to 2012. The situation is even worse for the highly hyped interactive music streaming service, Spotify. According to PrivCo, a US-based

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financial intelligence service, Spotify’s cost of sales reached 98% of the company’s revenue in 2011. PrivCo thus concludes that Spotify had to use nearly all its revenue to pay for music licensing. In 2011, this resulted in a net loss of US$ 59,1 million for Spotify AB. The Music Majors are the Winners In contrast to streaming services, copyright holders, especially those with large catalogues, benefit from the booming streaming market. The major music companies’ streaming business model, however, is not just based on royalties from licensing their music catalogues, but also on guarantees and upfront payments by streaming platforms. The amounts paid are undisclosed but in large markets such as France, Germany, the UK and the US, payments are most likely in the double-digit millions, and these profits do not have to be shared with the artists. In addition, the majors also have a stake in streaming services. It is reported (Hardy 2013: 285) that the three recorded music majors, Universal, Sony and Warner, own 18% of Spotify. And Access Industries, the parent company of Warner Music Group, recently led a consortium to raise US$ 60 million for the music subscription service Daisy operated by Beats Electronics and invested US$ 130 million in the French streaming operator Deezer in October 2012. In the case of an initial public offering (IPO) a stake in a prospective stock exchange traded company can be a very profitable investment. Despite remarkable growth rates, streaming revenue cannot replace other income sources such as physical and other digital music sales. Therefore, streaming will not become the main revenue stream for record companies, but rather an essential part of a revenue mix from several sources. What about the Artists? In mid July 2013, Radiohead frontman Thom Yorke caused a bit of controversy when he pulled his song catalogue and that of his band “Atoms For Peace” from the music streaming service Spotify. His straight forward argument was, as cited in The Guardian, that “new artists get paid fuck all with this model”. Several artists have taken the same stance as Yorke. The question now is, if and how music streaming services can be valuable to artists. If we look at available income statistics for musicians, e.g. from the “Artist Revenue Streams” project, music streaming and web casting services are currently a negligible source of income for the vast majority of artists. We have to distinguish, however, between interpreters, singer/songwriters and authors, and it makes a difference if an artist or band owns her/his/their master and publishing rights or if they have been given away to labels and publishers. But we also have to consider that even if the streaming market exponentially grows in the next few years, streaming and web casting royalties will not compensate for loss in physical sales. An artist should be realistic and not consider streaming royalties as a relevant source of income. Nevertheless, streaming platforms are important promotional tools for promulgating music. In addition, they can be advantageous to artists by providing valuable data on user behaviour for other activities such as tour planning and record releases.

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There is market potential to fuel further growth in the digital music segment.

The willingness to pay for a music subscription is low – 22% to 31%. The number of subscribers to music streaming services is low. According to a BITKOM study, a mere 1,6% of Internet users in Germany paid for music streaming.

These results suggest that music streaming will not be the next big thing from the music consumers’ perspective. However, there is market potential to fuel further growth in the digital music segment, but first with decreasing growth rates in the near future. If it is true that music consumers prefer free access to music over a subscription, music streaming service providers are between the devil and the deep blue sea. Despite growing numbers of active users their willingness to pay is low. Thus, it is essential to convert as many active users into paying subscribers as possible – a really hard and probably impossible mission according to the current findings of available studies.

Peter Tschmuck Professor for Culture Institutions Studies, University of Music and Performing Arts Vienna

Sources Billboard.biz, “Deezer Raises $130 Million”, October 6, 2012 (retrieved January 16, 2014). Billboard.biz, “Warner Music’s Blavatnik Leads $60 Million Funding of Beats’ Daisy Music Subscription Service”, June 3, 2013 (retrieved January 16, 2014). BITKOM & Forsa, 2013, Webmonitor Online Musikquellen. BPI, 2013, Digital Music Nation. Collopy, Dennis and David Bahanovich, 2012, Music Experience and Behaviour in Young People, University of Hertfortshire. eMusic, AIM & Insight Strategy Group, 2012, Consumer Motivations: Moving from Physical to Digital. Hardy, Phil, 2013, Download! How the Internet Transformed the Record Business. London etc.: Omnibus Press. International Federation of the Phonographic Industry (IFPI), 2013, Recording Industry in Numbers 2012. London. IPSOS Media CT & IFPI, 2013, Digital Music Consumer – A Global Perspective. Nielsen & MIDEM, 2011, The hyper-fragmented world of music: Marketing considerations and revenue maximation. Nielsen & MIDEM, 2011, Is Streaming Steaming Ahead? Pandora, 2013, Annual Report for the Fiscal Year ended January 31, 2013. PricewaterhouseCoopers & BVMI, 2013, Media Trend Outlook. Musikstreaming: Das verheißungsvolle Potenzial der Musik on demand. PrivCo, “SPOTIFY’s Just –Closed-Year Financials Obtained”, October 5, 2012 (retrieved January 16, 2014). The Guardian, “Thom Yorke blasts Spotify on Twitter as he pulls his music”, July 15, 2013 (retrieved January 16, 2014).

The Future of Music Streaming Lastly, if we take a look at the consumers and their desires, several studies paint a mixed picture: 3 The vast majority (more than 80%) of music users even in the younger generations prefer ownership to access. 3 The share of active users of streaming services is still limited. It varies from 48% in Sweden, to 12% in Germany and a mere 4% in Japan. Photo by Markus Koehler

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COPYRIGHT: A HOTTER Current Legislation and Debate Copyright has become a hotter-than-ever topic in recent years. The summary below hopes to shed light on current European legislation, directives and debate on copyright. Several initiatives and legal actions have boosted the debate around this issue and copyright has never been discussed so much at any period of time in history. Against this background and without going into detail on all the discussions taking place at various levels and platforms, we have prepared an overview of recent developments on this important issue for creators at EU level.

Term of Protection Directive (Directive 2011/77/EU) The Term Directive adopted at the end of 2011 replaces the 2006 Directive on the same subject increasing performers’ rights on a sound recording of their performance from 50 to 70 years from the date of first lawful publication or communication to the public. It also increases the rights of producers of sound recordings from 50 to 70 years from the date of first lawful publication or communication to the public. The aim of the directive is to better align performers’ protection with the protection already given to authors, i.e. 70 years after death. This directive was widely criticised by digital media organisations and certain politicians, while it was warmly welcomed by international organisations representing musicians and record producers.

Orphan Works Directive (Directive 2012/28/EU) In 2012, the EU adopted the Orphan Works Directive to address the specific need to facilitate the use of old creative works whose authors or rights holders cannot be found. The main objective of the directive is to create a legal framework to ensure the lawful cross-border online access of orphan works contained in online digital libraries or archives operated by a variety of institutions, when such orphan works are used in the pursuance of the public interest mission of such institutions and for non-profit purposes. As a result of the directive, large-scale digitisation and online availability of the archives of cultural heritage institutions has assumedly been facilitated. Moreover, their use on a cross-border basis is expected to be facilitated as well.

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Collective Rights Management Directive The EU institutions recently adopted a directive on the collective management of copyright and related rights and the online multi-territorial licensing of musical works. The directive’s objective is twofold: i) setting up of European rules to ensure high level transparency and good governance principles for all collective management organisations operating in the field of copyright, e.g. music, audiovisual, visual arts, literary arts, etc. ii) facilitating an easier and more aggregate cross-border rights clearance of musical works for online use. Collective management is indeed an important part of the rights clearance process for all copyright industries and has particular meaning for songwriters and composers. The directive will give legislative support to the already existing and developing trend of multirepertoire and multi-territory licensing of music from fewer entry points. The directive is certainly a good development in terms of setting a level of transparency and good governance principles across Europe. The whole legislative process has created better understanding on the important role played by collective management organisations for both creators and market efficiency. However, the directive has also been criticised for being too formalistic on certain issues, instead of focusing on the practical needs of actual creators, and for not adequately ensuring access of smaller and niche repertoires to the multi-territorial licensing market.

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TOPIC THAN EVER in the European Union

Licences for Europe Initiative In 2013, the European Commission organised a structured stakeholder dialogue to facilitate cross-industry licensing solutions for online services and European consumers in the digital environment. The initiative formed four working groups. The first two groups were particularly relevant to the music sector: 3 Cross-border availability and portability of online services: The Commission decided to discontinue the music sub-group in this working group after its mid-term plenary. The reason was the wide cross-border offer in music and its belief that the remaining territorial restrictions are due to the business considerations of service providers rather than the copyright regime itself. 3 User generated content (UGC) and licensing of smallscale users: The UGC part of these discussions was not very productive since the participants did not all subscribe to the same definition of UGC. Furthermore, since the Commission’s exercise was limited to copyright related aspects and a possible policy line, this field would require the application of a wider scope of EU legislation, not just copyright law, e.g. the “e-commerce Directive” and the liability regime applicable to online intermediaries. 3 Online availability of audiovisual cultural heritage institutions 3 Text and data mining Consumer groups criticised and declined to take part in this exercise from the beginning and expressed their concerns with solutions based on licensing. They believe that only substantial copyright reform is the answer. Copyright holder organisations also stated their concerns on finding the best suitable solutions, since the Commission did not allow any discussion on the liability regime of host providers. The exercise resulted in 10 pledges made by the industry to provide wider access to cultural and creative works. Licences for Europe Initiative: www.ec.europa.eu/ licences-for-europedialogue/en/content/ ﬁnal-plenary-meeting

Debate on Modernising European Copyright The European Commission has published a public consultation to collect stakeholders’ opinions on the review of its 2001/29 Copyright Directive. The questionnaire is very long and detailed. It includes 80 questions on the revision of practically every aspect of EU copyright legislation, including the above mentioned. This concerns legislations that have just been adopted by the EU. Some of the most important issues for the music sector can be outlined as follows: 3 Territoriality: This looks at whether any further legislative change is required to make copyrighted works more widely available on a cross-border basis. 3 Scope of online rights: Clarity in the scope and implementation of existing online rights is examined, as well as whether or not further legislative clarification is needed. 3 Re-sale of digital content: This pertains to whether consumers should be able to re-sell the digital content (e.g. mp3s) they have acquired online. 3 User-generated-content: The nature of user-generated content and the necessity of introducing a specific exception to copyright for this purpose is also questioned. 3 Fair use: Would a United States style general ‘fair use’ exception be better than the list of permitted uses provided by current EU law? 3 Private copying exception and accompanying fair compensation: Further clarification on the cross-border application of private copying levies is addressed, as well as whether licensing agreements should override a private copying exception. In this respect, the European Parliament recently adopted (27.02.2014) a report on this issue, supporting the implementation of a private copying levy system as crucial for creators’ remuneration and cultural creation in Europe, as well as underlining its importance not only now, but also in the future. The consultation includes a number of questions whose answers would significantly impact the earnings of creators. It also seems that the legal and economic evidence for changing rules and regulations has not been clearly presented either. Moreover, can rigid definitions and set rules for certain online exploitation be justified? Internet practices including those of artists are evolving at a very rapid pace in today’s world. Drawing up legislation to regulate a certain type of dissemination that may not be the reality at the time it becomes law, might not be the most appropriate policy line. The consultation is open to individual contributions from all citizens. Individual musicians should therefore take this opportunity to carefully examine the consultation and give their views, at the very least, on the issues they take to heart. The true value of such a consultation can only appear if the answers reflect the real needs of creators, rather than those of powerful corporate lobbies, internet giants and international conglomerates. EMC member, the European Composer and Songwriter Alliance (ECSA), has prepared a website to help creators participate in this debate, to show that copyright matters to creators and to underline that European policy should put creators at the centre of copyright protection. The website also includes a petition to be signed by creators to send a stronger message to EU policy makers. //

Burak Özgen Advisor to the IMC on IPR issues, Senior Legal Advisor at GESAC and former member of the Working Group Youth of the EMC

The petition can be found at: www.creatorsforeurope.eu

CULTURAL POLICY

EUROPEAN ELECTIONS

2014 is a historic year – a year of much commemoration, demonstrating that Europe has come a long way from a continent at war to one of peace. 28th June 2014 marks the date when a century ago, the heir to the Austrian-Hungarian throne, Franz Ferdinand, was assassinated leading to the outbreak of WWI. On that same day in 1989, Slobodan Milosevic gave his speech at Kosovo Polje and we remember the Balkan war that was to follow. WWII started 75 years ago on 1st September with Germany invading Poland. And on 2nd May 1989, the Iron Curtain began to crumble with the opening of Hungary’s borders, instigating peaceful change in Europe.

WHY CARE? 20

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CULTURAL POLICY

In this very year, European citizens are being called to elect the 751 representatives for the new European Parliament (EP) from 22nd to 25th May 2014. These elections are the first since the Lisbon Treaty entered into force, giving more legislative power to the Parliament. This will become particularly relevant in the election of the new EU Commission President, as article 17(7) of the Lisbon Treaty states that the candidate “shall be elected by the European Parliament by a majority of its component members”. This leads to the assumption that the European Council (representing the member states) will propose a candidate from the political group which gained the majority of votes. This is probably the reason why each party group is presenting a joint top candidate for the first time. The introduction of this new treaty gives European citizens a stronger voice than ever through their elected members of the EU Parliament. However, the overall sentiment among Europeans towards the political union does not reflect this. According to Standard Eurobarometer 80, trust in the European institutions among Europeans is only at 31%, the same percentage of people have a positive image of the EU, closely followed by 28% having a negative image of the EU. And two-thirds (66%) of Europeans do not believe that their voice counts in the EU. The ramifications of this public mood are expected to be expressed in the European Parliament elections, as not only is it assumed that www.ec.europa.eu/ voter participation will continue to decrease (in public_opinion 2009 only 43% of Europeans voted), but it is also feared that anti-European, populist, and rightwing parties will be able to gain a total of up to 20% of all votes cast. And it is alarming to see that right-wing parties have come together under the leadership of French nationalist Marine Le Pen who is expected to achieve a strong result in the EP elections. But how can this be countered and what can be done ? We, as Europeans, have to be reminded of all the positives Europe has to offer. We benefit from freedom of movement, and for most of us the choice of where to live, where to work and with whom to work. Have we become too spoilt to be able to value these great European achievements? The Political Manifesto of Culture Action Europe One way for the European culture sector to react to these worrying developments and to have a say in Europe’s future is to join the campaign by Culture Action Europe (CAE) for the European elections. In its political manifesto for the elections, CAE asks for a “new social agreement based on sustainability and the fulfilment of human rights for the current and future generations. […] Social, not economic, growth must be the priority for contemporary Europe. Enhancing people’s cultural competence, our capacity for cooperation and critical thinking, our openness to diversity, our curiosity: all of this is essential to develop a sustainable society where rights, responsibilities and shared well-being can grow. The Arts and Sciences powerfully contribute to such capacities, as does accessible education for all and the scrupulous fulfilment of all human rights. It is time for decisionmakers and citizens alike to form a broader discourse on the future of Europe, underlining cultural development as a strategic necessity.” Arguments as to why the European Parliament elections are important: 3 The European Parliament is currently the only directly elected institution, and the only institution representing the interests of the citizens (the Council represents the Member States and the Commission is the guarantor of the Treaties and of the

CAE’s Campaign Demands towards Candidates and Political Parties: 3 To integrate culture within all development policies and

3 3 3 3 3 3

programmes and assess them in relation to the impact they have in generating cultural development for people and communities, improving our social capital and competence to benefit human relations To leverage culture for poverty reduction and inclusive economic development To strengthen the links between culture and education To facilitate access to culture in all its diversity especially for disadvantaged people, minorities and young people To promote the role of culture as a key element of external relations To enhance the public sphere and financially support cultural life as a common good To sustain the mobility of artists and cultural operators within the EU and beyond, notably by tackling administrative and financial obstacles, in order to further intercultural exchange To alleviate budget cuts by fostering experimentation and exchange of non-profit practices to ensure cultural diversity

Community’s interest). Moreover, the EP has a specific role to play in the European democratic system as it holds the Council and the Commission accountable. The European elections are the only transnational elections in the world. This unique opportunity for citizens of 28 European countries to make their views jointly known comes only once every 5 years.

Concrete action for networks or national associations: 3 Inform your members, supporters and partners about the European elections (disseminate the CAE tool kit, post information on the elections in your newsletter, on your website, etc.) 3 Organise a brainstorming session with your members, to inform them on the elections, collect ideas for actions and political demands and coordinate your advocacy actions Let us work together on building the future of Europe by encouraging our fellow citizens to vote and the politicians to engage in a cultural Europe so that the year 2014 is a year of European integration instead of becoming a year where a majority of right-wing, anti-European parties start to reshape the European Parliament. //

www.cultureaction europe.org

Let us work together on building the future of Europe by encouraging our fellow citizens to vote and the politicians to engage in a cultural Europe.

2013–2014 // SOUNDS IN EUROPE

CULTURAL POLICY

CREATIVE EUROPE The Intrinsic Value of Culture and Competitiveness – Finding the Right Balance The European Union’s basic understanding of cultural policy is based upon cultural diversity. And this has been retained in the European treaties. It is a fundamental, European virtue which the EU aims to preserve and promote. Cultural diversity is understood as the diversity of cultural identities, languages, traditions as well as the diversity of various art forms, literature, theatre, visual arts, music and the diversity of cultural expressions and cultural heritage. Cultural exchange, the mobility of artists and intercultural dialogue were the focus of the EU’s “Culture” programme that expired at the end of 2013.

Photo by Stewart Cunningham 2013–2014 // SOUNDS IN EUROPE

CULTURAL POLICY

In 2011, against the backdrop of the Europe 2020 growth strategy, and at the clear request of European Commission President, Manuel Barroso, EU Commissioner for Education, Culture, Multilingualism and Youth, Androulla Vassiliou announced to the spokespersons for cultural affairs of the political groups of the European Parliament, that the future culture programme would be merged with the EU programme that supports audiovisual media. With the new programme administrative procedures would be reduced and would be brought into line with heightened competitiveness. Vassiliou also expressed the wish for a budget increase of 37 per cent. The danger of the culture programme disappearing could only be countered, if a clear reorientation were to occur in terms of a strengthening of the creative industries vis-à-vis other industries, and in terms of the global competitiveness of the European culture sector. Programme Reorientation In 2011, the European Commission prepared a proposal for a regulation for the new framework programme for the cultural and creative sector within the new 2014-2020 financial framework. In comparison to its predecessor “Culture” programme, the new “Creative Europe” programme focuses on competitiveness, employment and strategic audience development. The new framework programme now includes “Culture” and “MEDIA” (also MEDIA Mundus) and a newly introduced loan guarantee mechanism for the so called ‘creative and culture sectors’. The correct balance between the intrinsic value of culture and its competitive orientation was not met in the Commission’s new approach. This is particularly evident in the newly introduced focus on audience development: on the one hand, this adheres to right principles, the improvement of educational and cultural offerings for the audience, and the emergence of a broad audience. On the other however, the danger of a strong division between producers on the one side and passive audiences arising in all areas of cultural activity on the other, is apparent. Cultural activities by amateurs, children or youth for instance, or activities undertaken in social contexts, which are not aimed at large audiences per se and thus all the more unmarketable, are lost from sight with this type of approach. Furthermore, by focusing on art forms which have to find large audiences, there is a danger that unruly, uncomfortable, critical cultural productions will not be seen as worthy of funding. The Economic Focus and Intrinsic Value of Culture As proven by numerous studies, culture and creative industries have without a doubt been one of the most successful areas of growth in Europe in the last years. It is economically and politically correct to support cultural and creative institutions. At the same time, the European Parliament Committee on Culture insisted that we continue to speak of the ‘cultural sector’ and not only of the ‘cultural industries’. The prospect for cultural actors from non-profit organisations of receiving funding must be genuine. Cultural diversity crystallises when support is not limited to art which conforms to the market, and cultural projects which already have a lot capital at their disposal. It is new ideas in particular which need to be eligible for funding, in order for them to contribute to interesting developments. Support for culture needs to make an integrative contribution and strengthen intercultural dialogue, particularly in the fight against racism and anti-Semitism. A revision of the areas of conflict between the EU institutions resulted in the intrinsic value of culture being enshrined in the prospective programme and the one-sided focus on economics being avoided. The two areas ‘culture’ and ‘media’ remain as separate brands within the new framework programme and are clearly recognisable.

The programme information points, “MEDIA desks” and “Cultural Contact Points”, will merge and become “Creative Europe Desks”. Now, we must make sure that the “Cultural Contact Points” retain their visibility and are able to function within this new structure. The Programme’s New Financing Instrument and Financial Provision With the new cross-sectoral financing instrument, the guarantee facility, access to bank loans will be made easier for the cultural and creative industries, media companies and the non-profit sector, through the provision of guarantees. Banks should be encouraged to invest more readily in cultural and media projects. Their reluctance in the last few years to offer loans as seed money, for non-profit cultural projects in particular, was a significant hindrance to the cultural sector’s access to capital. The new guarantee fund is expected to be launched in 2016 and will be administered by the European Investment Fund. The success of this financing instrument will need to be evaluated and, if necessary, revised. The budget for the “Creative Europe” programme has increased by only 9% and is much lower than in the initial proposal. 56% of the capital will be allocated to MEDIA, and the cultural sector will receive 31% of the total budget (1,46 billion Euro). The culture sector will thus have 453 million Euro at its disposal until 2020. The remaining 13% of the total budget will be distributed among the cross-sectoral action areas, which also includes the guarantee fund. Conclusion The two-year deliberations between the European Parliament, Council and Commission on the “Creative Europe” programme have given it a well-balanced focus: Reference to the UNESCO “Convention on the Protection and Promotion of the Diversity of Cultural Expressions” with an emphasis The new on art and culture’s double character as a vehicle financial of identity and meaning, and as a commodity is instrument is included, and the sub-programmes,”Culture” and an innovative ”MEDIA” are clearly identifiable. measure It is regrettable that the programme budget which can be will not be increased as initially proposed by the of great help Commission. As a result, many opportunities will to cultural be missed over the next few years. The new financial actors. instrument is an innovative measure which can be of great help to cultural actors. It is our job to make sure that not just the cultural industries, but also the non-profitoriented cultural organisations will benefit from it. It is positive that a better concept of culture is being pursued, one which more strongly emphasises the identity building and societal effects of culture alongside the economic effects. Now is the time to use the small opportunities for discussion in yearly budget negotiations to secure an increase in the “Creative Europe” budget and to make sure that the conditions agreed upon are met.

Helga Trüpel Vice chair of the European Parliament Committee on Culture and Education Member of the European Parliament Committee on Budget Originally published in German in “Kulturpolitische Mitteilungen; Issue 143 IV/2013: Kulturpolitik & Kulturmanagement” pg. 24

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CULTURAL POLICY

UNESCO FIGHTS FOR THE ROLE OF CULTURE IN DEVELOPMENT Almost fifteen years ago, the “Millennium Development Goals” (MDGs) were adopted, addressing all the great issues facing rich and poor countries all the while omitting a key subject of great importance: culture. Today, the upcoming definition for the post2015 development agenda – aimed at outlining the future global development framework that will follow the MDGs – offers a new opportunity to remedy this problem. Indeed, relevant stakeholders, and most importantly UNESCO, are currently campaigning at various political levels in order to see culture included in the new development agenda. As the only UN body specialised in cultural matters, UNESCO has been a long-standing As the only UN advocate and defender of the close link body specialised in between culture and development. Indeed, cultural matters, as early as 1982, UNESCO, through its UNESCO has been “Mexico City Declaration on Cultural Policy”, a long-standing had recognised culture as a “fundamental advocate and dimension of the development process”1. defender of the Four years later, in the context of the “World close link between Decade for Cultural Development”, the culture and cultural dimension of sustainable development development was acknowledged. Then, in 2001, UNESCO struck even harder with the elaboration of the “Universal Declaration on Cultural Diversity”, which devotes its third article to cultural diversity as a factor in development. Later, UNESCO went further with the “Convention on the Protection and Promotion of the Diversity of Cultural Expressions” (2005) with article 13 exclusively pertaining to the integration of culture in sustainable development. Finally, along the same lines, the “Hangzhou Declaration Placing Culture at the Heart of Sustainable Development Policies” was adopted in 2013, proclaiming culture as both a driver and enabler for sustainable development and including an invitation to incorporate culture as the “fourth fundamental principle” in the post-2015 development agenda. These initiatives have drawn the attention of other UN bodies and encouraged them to acknowledge the contribution of culture to development. Indeed, between 2006 and 2012, the culture and development window of the UN MDG Achievement Fund demonstrated how taking culture into consideration leads to more effective development processes. This permitted a significant increase of culture related action (‘culture entries’) in the United Nations Development Assistance Frameworks (UNDAFs) which are agreed upon with national governments: while in the late 90s only 30% of all UNDAFs included culture entries, 70% did so in 2012. Such actions pertain to the cultural domain per se (tangible and intangible heritage, cultural industries, cultural tourism, etc.) or refer to culturally sensitive approaches to education, HIV/AIDS, gender, and health as well as to culture programmes focusing on youth. UNESCO has been carrying out a major advocacy and lobbying campaign with national governments and at the highest international political level, reflected in a number of UN resolutions. Most notable,

2013–2014 // SOUNDS IN EUROPE

the 2010 UN resolution entitled “Keeping the Promise: United to Achieve the Millennium Development Goals“, which clearly recognises the “importance of culture for development and its contribution to the achievement of the Millennium Development Goals”2. The same year, the General Assembly also adopted a resolution specifically pertaining to culture and development3 and continued along that line in 2011, with a further resolution acknowledging culture as “an important factor in social inclusion and poverty eradication”4, inviting all Member States to “ensure a more visible and effective integration and mainstreaming of culture into social, environmental and economic development policies and strategies”5. Finally, in 2012 yet another resolution recognised that “all cultures and civilisations can contribute to sustainable development”6. On 12th June 2013, a high-level thematic debate on culture and development was held at the United Nations’ headquarters. Furthermore, the United Nations Economic and Social Council (ECOSOC), at its annual ministerial review on science, technology and innovation (STI) and culture for sustainable development and the MDGs, held in July 2013, also recognised culture as a “key component of sustainable development”7. Also released in 2013, the Creative Economy Report addresses this same issue. All this led to the adoption by the 2013 UN General Assembly, of a draft resolution emphasising the importance of culture in development, taking note of the nine recommendations present in the Hangzhou Declaration, and inviting all Member States, intergovernmental bodies, organisations of the United Nations system and relevant NGOs and stakeholders to give due consideration to culture and sustainable development in the elaboration of the post-2015 development agenda8. Though encouraging, these documents adopted by the UN remain mere resolutions with limited scope, devoid of binding force. Culture’s pivotal role in development may truly be taken seriously if incorporated in the post-2015 development agenda, which is being defined this year. According to Mr Francesco Bandarin, UNESCO’s Assistant Director-General for Culture, this is the second time in twenty years that such an opportunity has arisen. It is therefore also our duty as music networks to support UNESCO’s efforts in making the best of it.

1 2 3 4 5 6 7 8

Shannon Jinadasa International Music Council Mexico City Declaration on Cultural Policy, 26th July- 6th August 1982, § 10. UN GA Res. A/RES/65/1, 22nd September 2010, § 16. UN GA Res. A/RES/65/166, 20th December 2010; Analysis of this resolution carried out by Merveille Mubakemeschi in “Music and Development”, Sounds, Issue #6, pp. 18-19. UN GA Res. A/RES/66/208, 22nd December 2011, preamble. Ibid. § 3. b). UN AG Res. A/RES/66/288, “The Future We Want”, 11th September 2012, §41. Report of the Secretary General on “Science, technology and innovation, and the potential of culture, for promoting sustainable development and achieving the Millennium Development Goals” for the 2013 Annual Ministerial Review, § 92. UN AG Res. A/68/440/Add.4, § 18.

FOR INSPIRATION

Photo by Queensland Conservatorium Griffith University

FOR INSPIRATION

E C N I S TIO HIN U A C M A M E I M TH AN The Music Animation Machine (MAM), an animated graphical score created by musician and software engineer Stephen Malinowski, has captivated many people. His YouTube channel “smalin,” which primarily features classical music, has received over a hundred million views and countless grateful comments from people of all ages and backgrounds. Viewers who cannot read music express their pleasure at understanding aspects of the music that were previously out of reach, and many, including trained musicians, report a heightened Performance using the Music Animation Machine 25th October 2012. degree of concentration, leading to a Photo by TEDx Zürich deeper, more compelling experience. The reason for this is that the The MAM has been exhibited in museum installations, presented at MAM is a score designed for listeners. As in a conventional score, the TEDx events in Amsterdam and Zurich, and used for apps such as pitch, timing, duration, and instrument of every note in the piece is represented. However, instead of arbitrary symbols for notes, we have Biophilia by pop singer and trendsetter Björk and the Wagner Files by colourful shapes that relate intuitively to the structure of the music. the Gebrueder Beetz. It has received favourable reviews in publications These shapes create easily-recognisable patterns that pass by from such as The Guardian, Huffington Post and NPR. right to left and light up in the ’now’, which is Increasing interest by educators on all levels, record labels We have only always in the centre. This leads the viewer to see and presenters point to the appeal of MAM and the potential for patterns in the future, so that what is about to further development and research: how can new and even better scratched the ways to express essential musical elements such as rhythm, harmonic be heard can be predicted and anticipated. As surface of what the patterns are also visible in the past, the visual progression, melodic gesture, timbre, dynamics, tension/release be is possible representation enhances auditory memory. The developed – informed by the science of perception and cognition, inter-sensory integration or object recognition? How could the MAM is thus a ‘GPS for music’, a dynamic, context-sensitive view of integration of 3D provide even more immersive and transparent the listener’s musical surroundings, highlighting the features that are viewing/listening experiences? How can the perception process relevant at the moment, providing an easy-to-follow ‘route’ through of anticipation, experience of the moment and memory get even complex compositions. Violinist and conductor Etienne Abelin encouraged Malinowski to more refined and varied? What graphical design options can still be develop a version of the MAM that could be used in live performance. developed? Premiered in 2012 with the Nuremberg Symphony Orchestra, it has We have only scratched the surface of what is possible. subsequently been featured or will be featured in performances in the Concertgebouw Amsterdam, the Alte Oper Frankfurt, the Festival // Stephen Malinowski Van Vlaanderen Gent, the Morelia Festival Mexico, the Sounds of Composer, software developer and the inventor Childhood Festival Israel, the Ynight-Classical in Club series in of the Music Animation Machine Switzerland, and the San Francisco Chamber Orchestra. At the centre of live performances of the MAM is a synchronisation tool that was Etienne Abelin specifically designed by Malinowski: it’s a crank that is in fact an old Violinist, conductor, member of the Volkswagen window handle. Often the audience is invited to learn Lucerne Festival Orchestra, co-founder Official website of the classic innovation network classYcal how to play this tool in intermissions and even to perform a short of the MAM: www. and the Sistema Europe Youth Orchestra piece together with the musicians of the night. musicanimation machinelive.com

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

ONLINE CHORAL PERFORMANCE Not Live, Just Different When you search the internet with keywords like ‘choir’ or ‘choral performance’ you will most likely get an almost unlimited list of different choral activities, concerts and other audio recordings with a nice set of pictures. This on the whole reflects choral life and its activities. But hidden amidst all this are other choral performances, performances that can only exist through the magical possibilities of the digital world. These online shows are not live choral performances, no, they are just different performances. Below are just two of the many examples inspired by the digital media and that help promote and develop new opportunities in (choral) music. 1. European Choir Video Award Searching for ways in which to stimulate good (artistic) quality in online videos and to promote choral music, the European Choral Association – Europa Cantat (ECA-EC) launched the first edition of the “European Choral Video Award” in 2012. Nowadays, more and more emphasis is placed on the visual aspects of live performance, both because audiences want to see as well as hear music when going to a concert and because it offers new artistic opportunities for those staging the performance. Since this visual side can easily be shared using video, “Movement in Performance” seemed a suitable theme for the first edition of this Award. A video was used to promote it on YouTube. Those who wanted to participate in the project were asked to upload their videos onto YouTube and mention the award and theme in the description. Participating entries reflected the great diversity that can come out of combining choral music and video techniques. High-quality concert recordings with choirs performing on stage were submitted along-side videos that combined welledited choral performances, non-concert settings and creative scripts. The video from the Award’s All participating videos runner up “Kvindelige Studenters Sangforening” can be found on the from Oslo is a perfect example. The video starts YouTube channel, have with beautiful images of the snowy Norwegian a look at: www. youtube.com/user/ landscape. The participating choir walks through ChoirVideoAward this landscape singing, then walks into a church ending up in a more traditional concert configuration. You imagine the concert is about to start, but the audience is at home instead of in the church. It’s not just an audio recording, it’s a performance interspersed with images of the choir’s life. Not live, but different.

Announcement of the winners of the award at the 2012 Europa Cantat Festival in Turin. Photo by Festival Europa Cantat Torino 2012

“Delta Q” Voice Ensemble, winner of the first European Choir Video Award Photo by Schall & Schnabel

Offline and online met, when the winner was announced at the “Europa Cantat Festival” in Turin in summer 2012. The top three videos were shown at the open air festival to thousands of visitors in a ‘live’ performance. The “Delta Q” vocal band was this first edition’s winner. Their video combined a forward-backward performance, all in one video. Impossible on stage, possible online! 2. Eric Whitacre’s Virtual Choir In 2010, composer Eric Whitacre launched the world’s first virtual choir ever, bringing together 185 singers from 12 countries to sing his composition ”Lux Aurumque”. Last year, 2013, the fourth edition was kick started, produced and launched with 5905 singers from The end result can be viewed here: 101 countries singing “Fly to Paradise”. The concept www.youtube.com/ is easy: singers record their track at home in front of virtualchoir their webcam and upload it onto YouTube. Both the sound and the video of each individual participant is added together to form one single video. The first virtual choir looked like a traditional choir, showing all the recorded faces of participants in a traditional choral configuration. The fourth virtual choir left this idea completely by projecting the singing faces on buildings in a virtual city all singing together. With “Fly to Paradise”, Eric Whitacre turned choral performance into something different online. Online Performance – Discovering a Whole New World The potential offered by Internet and digital tools is just starting to be discovered. The two examples above demonstrate how some of the online possibilities are being explored by the choral world today. They show how offline and online can be added together to produce different (choral) music performances. In the years to come, I expect to see more online examples that will inspire our life and work offline! //

Daphne Wassink Board Member of the European Choral Association – Europa Cantat and the International Music Council (IMC)

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

DISTRACTION OR INSPIRATION? Musical Musings on the Power of Social Media

Whether you’re tweeting, following, house Cryptic have commissioned Rob blogging or uploading, the Van Rijswijk and Jeroen Stribjos in the tremendous growth and popularity of digital platforms and channels are production of “Walk With Me”, an greatly contributing to our cultural app which transforms and exaggerates transformation, making it easier than the natural and man-made sounds all ever before to develop and share around you – a simple stroll along the your work with an ever-increasing street has never been so inspiring. international audience and hopefully generate subsequent opportunities in Far from being dots in the ocean, return. For many this is a huge and these pioneering and innovative sometimes daunting learning experience, examples have greatly filled the digital with people often questioning the pool which is continually refreshing true value and positive impact of new our cultural landscape. As 2014 technology within the arts – is it simply progresses, the possibilities offered an unnecessary distraction or, could by new technology are endless, with the eagerly anticipated sales launch it open up a wealth of exciting and unexpected creative outlets? of augmented reality head-set Google In recent years social networking Glass; ClearView’s invisible Bluetooth has proved an invaluable tool for speaker and, Musyc, the app which allows you to compose by playing with sharing news, promoting upcoming performances, sourcing jobs, funding colour. Whilst many of these concepts and training, but did you also know aren’t for everybody, if nothing else it can function as an innovative tool they are ensuring that in this ever Photo by Jeroen Strijbos and Rob van Rijswijk for composition? Take for instance the changing and rapidly progressing “Listening Machine”, created by Daniel world, the future of music remains Jones, Peter Gregson and the Britten high on the agenda. Perhaps we should Sinfonia, who developed an automated system which generated a all take time out, at least once in a while, to let the creative juices flow continuous piece of music based on the activity of 500 Twitter users. and allow ourselves to be more easily ‘distracted?’ Their conversations, thoughts and feelings were translated into musical patterns in real time, which eager listeners can still tune into via “The // Christopher Glasgow Space”, the on-demand digital arts channel from the BBC and Arts Communications Officer at Scottish Music Centre (SMC) Council England. Rich media resources such as Vimeo and Soundcloud have proven invaluable for both discovering and showcasing new talent, but what happens if you want to participate in or actually attend a live performance half-way across the globe? In 2009, YouTube announced auditions for the world’s first online-collaborative orchestra. Following digital master classes delivered by members of the London Symphony Orchestra, Berliner Philharmoniker and Philadelphia Orchestra amongst others, their annual performances brought together 101 www.thelisteningmachine.org www. cryptic.org.uk musicians from over 30 countries culminating in live broadcasts from New York’s Carnegie Hall and the Sydney Opera House. As well as enjoying the creation of new music from the comfort of our own homes, the app-led development of mobile phones and tablets allows us to access and in some cases explore virtual sonic environments on the go. In 2011, SATSYMPH created site-specific, GPS-triggered installations which allow you to experience the effect of differing contexts on composer, Marc Yeats’ music. Similarly, producing artwww.satsymph.co.uk www. youtube.com/symphony

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

GAMING WITH CONTEMPORARY MUSIC Electronic Media and the Edition Zeitgenössische Musik CD Series

“Tears from varying speeds of wind” Game by Jonas Hansen

The German Music Council has been documenting and promoting the latest trends in contemporary art music with the CD series titled “Edition Zeitgenössische Musik” (EZM) since 1986. The application of electronics and exploration of new media has been an important element of contemporary music since their inception, and has continuously developed alongside technical advancements. Where, for instance, John Cage was dealing with analogue raw material on phonograph cartridges in “Cartridge Music” in the 1960s, it’s the computer that today plays an important role. Many contemporary compositions are formed on the computer and the use of computercontrolled live electronics in performance is indispensable. Even with regard to creative material, composers engage in new media, as does

“This feels great” CD cover. Image by Hazel Mayer

for example the EZM composer Martin Schüttler who integrates corrupted computer game files from the internet into his compositions. The recent “Edition” release, with works by Annesley Black entitled “This Feels Great”, presents computer games as an artistic medium, a premiere for the CD series. Game-like structures in her compositions and the desire to incorporate visual and interactive aspects were pivotal for Black’s idea to have computer games developed to accompany her portrait CD. In “Smooche de la Rooche II” for three athletically inclined percussionists, for example, the sounds of jumping and whipping while skipping rope form the piece’s sound material. Among other tasks, the musicians must react to the sound feed and make if-then decisions resulting in various musical and kinetic outcomes. Just like computer games, self-determined actions and triggering chain reactions are both elemental processes in Black’s music. For the first time, the creative works of an EZM composer can also be experienced through the four Poject Website: accompanying computer games. Excerpts from the www.this-feels-great. musikrat.de pieces on this CD recording can be heard in objects and occurrences interactively influenced by the player from which new miniature compositions emerge. Various music tracks with illustrations by the artist Hazel Meyer have been transcribed into games by Jonas Hansen, Andreas Schönau, Jairo Gutiérrez and Milan Grajetzki from the Academy of Media Arts Cologne. With the computer games, the “Edition Zeitgenössische Musik” series appeals to a wider audience since excerpts from the music are integrated into the games which are available online for download.

Sina Haberkorn Project assistant of the CD-series “Edition Zeitgenössische Musik” for the German Music Council (DMR)

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

for the International Accordion Competition The Finnish IT company Eventio Ltd. has developed an online entry system for the international “Coupe Mondiale” accordion competition. This system allows the organiser to compile all the information about any big event, breakdown language barriers, draw up schedules, collect scores, help the jury, distribute information via SMS to all the competitors/participants during the event, and lastly compile a database useful for young musicians the world over. The system can be used months beforehand, but is especially valuable during the event itself. How does it work? Using the online system, a competitor is automatically prompted to enter required registration information, and is also given details of the competition rules. The offering of unsuitable repertoire and misunderstandings are thus avoided. The entry fee can be paid immediately online, the official receipts and replies are sent automatically, and the organiser can check the status of entries at any time. The real strength of the system is, however, revealed during the event. At the opening ceremony, competitors draw for the order in which they will perform using their ID cards and bar codes, which are entered into an on-site computer. The competitor’s name and performing schedule in 7 categories and 12 competition rounds appear simultaneously on the screen and in a personal SMS sent to the competitor’s phone. This is the highlight of the system. It has been tested with 140 contestants, representing 25 countries in the same room, and it works like magic. The contestants all get the information immediately and there are no misunderstandings.

The “Coupe Mondiale” is: 3 a worldwide accordion competition held since 1948 that 3 includes classical, variety, ensemble music and digital

categories, 3 is hosted annually by International Accordion Confederation

(CIA) member countries around the world, 3 will next be held in Salzburg, Austria, in 2014.

The jury also uses this system during the competition by entering their points and in turn receiving competition results. The organiser can follow all the administrative details online. This excellent system is interesting and useful for any music competition, festival or event in which a large (or small) number of guests/participants must be administered from many countries according to certain rules. International Accordion Confederation (CIA) President Raymond Bodell (UK) explains: “In the olden days we worked with many mistakes, misunderstandings and language problems. We wasted time and sorely tired our nerves. But now we can serve both the competitors and the music.” “The focus in developing this technical solution was on the music and young artists,” says Professor Viatcheslav Semionov from the Gnessin Academy of Music in Moscow. This development project received a grant from the European Union’s “Leader+” programme in Western Finland. //

Kimmo Mattila Secretary General of the International Accordion Confederation (CIA)

Candidates, families and the audience follow the draw in the big theatre.

2013–2014 // SOUNDS IN EUROPE

Photo by Kevin Friedrich

FOR INSPIRATION

At present, digital and online forms of communicating with audiences, publishing, as well as database management has become a day-to-day reality. In this context, mic.pt is an example of one of the youngest music information centres that has already started to work in this digital and online perspective. Its main focus is the promotion and valorisation of Portuguese Art Music, with an emphasis on music from 20th and 21st centuries. The mic.pt database is an original tool that was built up from scratch for this project. The database is at the core of the mic.pt web portal that is comprised of four main sections (works, composers, performers, documents) and an international directory amongst other items. The database (partially ‘visible’ online) and portal are continually updated. Works of music are the central element of the database. Comprehensive information on instrumentation, duration, programme notes, commission, performances, etc. is provided for each work. Subsequently, Comprehensive each work is linked to its relevant composer information on instrumentation, and performer profiles, and any other corresponding documents (digital scores, duration, audio, video and text files, photos, etc.). programme Apart from providing pertinent information notes, directly from its database, other sections of commission, the mic.pt portal focus on the national and performances, international recognition of Portuguese music, etc. is provided or provide special services to composers, to for each work. mention just two. Also on the portal: “In Focus”, a monthly interview or article on one of the mict.pt composers, a monthly newsletter dedicated to new information on the database and relevant news on Portuguese contemporary music, the “New Music Review Lounge”, a forum for open and free critique, as well as the radio programme “Música Hoje” (Music Today), which juxtaposes the creation of Portuguese composers from various generations.

One of the centre’s fundamental projects is the online edition of scores on mic.pt. The aim is to effectively promote works by Portuguese composers, with special focus on those from 20th and 21st centuries. Scores can be accessed and downloaded for free in pdf, thus allowing them to be shared and promoted among instrumentalists, ensembles, and concert programmers. Apart from being widely accessible, the digital format also responds to some important aspects of our contemporary and globalised world, namely economic and ecological sustainability, which are at stake due to environmental issues and the recent crisis. At this time, the mic.pt online catalogue contains over 820 scores, not just the ones edited Website of the using music notation software, but scanned copies of Portuguese Music Research and original manuscripts as well. Mic.pt has also recently Information Centre: started to publish a brand new collection of didactic www.mic.pt scores intended for music teachers and students, and which constitute an innovative contribution to music education. The global edition and distribution of scores by mic.pt constitutes an active measure that uses recent technological developments in music creation (music notation software), reception, performance and education, thus enabling a direct link between music composers, students and performers, as well as the general audience. The rise of the digital era has posed many challenges on music information centres around the world, especially when considering the passage between analogue and digital. Nevertheless, these challenges can surely be transformed into opportunities, by taking into account easy access to all kinds of data connected with music creation, as well as the networking possibilities for music information centres the world over.

José Grossinho and Jakub Szczypa Portuguese Music Research & Information Centre / Miso Music Portugal

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

THE IMZ ACADEMY Training for Young Music and Media Professionals The IMZ Academy is an initiative of the IMZ – International Music + Media Centre supported by Czekaj Artistic Productions. Its aim is to engage renowned experts and cultural institutions, in need of professional advice, in in-depth exchange on audio-visual projects and programmes on the one hand, and young professionals in the field of music and dance media production on the other hand. Since the apparition of Facebook, YouTube and Vimeo for instance, a wide range of live streaming websites and platforms have not only changed the way we communicate, they have become major communication channels. Cultural institutions are well advised to present and market themselves as well as their portfolio via a variety of audio-visual media to promote their cause. This may take on numerous forms including but not limited to: 3 customised films and videos that provide an exciting and comprehensive story of their institution, its programme, services and so forth. These in turn can be used in various communication channels as a kind of audiovisual ‘business card’; 3 special projects such as a live streaming platform to reach wider audiences, the Berliner Philharmoniker’s Digital Concert Hall is a pertinent example; 3 high quality videoclips and film programmes by artist managers to promote a specific artist. The technical equipment necessary to produce and stream films, programmes and audiovisual content has become much more affordable in recent years. This, however, does not necessarily come along with the required knowledge and expertise on how to best use this equipment, or how to produce top-quality programmes and projects. The IMZ Academy offers a special series of master classes, courses, lectures and apprenticeships on exactly this. Experienced and world renowned practitioners and key players in the industry – producers, editors, directors, broadcasters, distributors, as well

as, Internet professionals – share their knowledge and offer the professional advice and expertise it takes to produce these various types of audiovisual ‘business cards’, programmes and projects. The different workshops tackle and answer questions such as: 3 How to tell an exciting story; 3 How to best convey music and dance or artistic content in general to various target groups using a variety of media including TV, cinema, tablets, mobile devices, etc.; 3 What potential problems and special requirements need to be considered from a technical, as well, as an artistic point of view when setting up a live streaming platform or project for opera houses and concert-halls, to name but a few. The first and very successful edition of the “IMZ Academy” was held during the “Golden Prague Festival” from 12th to 15th October 2013. The “Multi-Camera Performance Capture Workshop” offered customised advice and enlightening information on the The next edition production of arts programming. Hands-on of IMZ Academy work was conducted on projects brought by the participants as well as on case studies will take place at provided by Academy director Peter Maniura the Golden Prague (BBC TV). One of the projects worked on Festival 2014, was the music programme ”Die 12 Cellisten 4th to 8th October 2014. der Berliner Philharmoniker – Anniversary Concert“ by EuroArts Music International. Workshop focus was set on directing and the visualisation of the music, but also explored the editorial, scheduling, financial and cultural context in which programming is decided.

Ruth Pfletschinger Director of the International Music + Media Centre (IMZ)

Participants of the IMZ Academy with workshop leader Peter Maniura (BBC Television) at work in the editing room. Photo by Czech Television

FOR INSPIRATION

MUSIC PLUS ONE An Orchestral Accompaniment Program

Photo by Christopher Raphael

Having a chance to perform as a soloist with a live orchestra is a pleasure. Unfortunately, such opportunities are rare. And, even when an opportunity arises soloists typically have less time than they would hope to rehearse with the orchestra before the concert. Musicians respond to this lack by practising along with a recording. This allows the musician to develop knowledge of a work and refine performance aspects such as intonation. The limitation is that it gives the musician no chance to communicate expressive ideas to the orchestra and see what happens when the orchestra follows. The tempo of the recording must be followed rigidly – exactly the opposite of what it is like to play with a live accompaniment. In an ideal world, the soloist explores creative ideas informed by the orchestra’s response, then refines these ideas on the basis of the soloist-orchestra collaboration. Until now, such iterative exploration has often been out of the reach of soloists of any level, especially developing musicians who would most benefit from the chance to experiment. The Music Plus One program, developed by Professor Christopher Raphael of Indiana University at Bloomington, addresses this issue by making the accompaniment respond to a performer’s musical gestures and tempo. Human recordings of the accompaniments of sonatas and concertos are stored in its database, together with the scores of the solo Music plus One website: www.music.informatics. parts. The program ‘listens’ to the soloist, indiana.edu/~craphael/ calculating the most likely location in the music_plus_one score. The algorithms involved in the process are robust to embellishments and mistakes, because calculations are based only on detected notes. The program then ‘predicts’ when the next onset is expected to be, constantly recalibrating. Finally, it ‘plays’ the orchestral recording, adjusting its tempo to match the live performer in such a way that pitch and tone colour are not distorted. Music Plus One is designed to learn from past performances, increasing in its ability to follow the soloist. Does such a program contribute to classical music, or does it dehumanise the act of performing? Many musicians are concerned

Photo by Jan Beran

about technology that replaces orchestra musicians, standardising classical music and eliminating the human element. Technology that creates new opportunities for musicians to develop their creativity can be argued to contribute to classical music. As noted above, few musicians have anywhere near the opportunities they would like to perform as soloists with an orchestra. Although Music Plus One is far from replacing an orchestra, the feedback that it gives is sufficiently rich to bring it much closer to the experience of being accompanied. One can even argue that such technology, in helping young musicians to develop and explore, may even result in new performance opportunities for classical musicians. The benefits of Music Plus One vary according to the musician’s level. For young musicians, it serves as a pedagogical tool, developing listening skills and offering musical drive and intonation feedback. For skilled musicians, it provides opportunities to explore new interpretations of a concerto. Soloists can explore tempo changes with the accompaniment that follows them, without the logistical issue of limited rehearsal time. They can practice communicating with various voices in the accompaniment, and thus enrich their interpretation. The program automatically records every performance, making it possible for musicians to assess their performance in the context of the full work. For musicians of any level, it is a pleasurable experience to get more opportunities to play along with the sounds of a full orchestra. Music Plus One is also opening new doors for music designed for human-computer interaction. Swiss composer and statistician Jan Beran uses Music Plus One for this purpose, for example. The computer performs parts that are technically or rhythmically impossible for humans, while following and not limiting the musicality and emotion of the human performer.

Sanna Wager Currently completing a bassoon performance major at Indiana University’s Jacobs School of Music

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

E-LEARNING AND STRING TEACHING Violin and Viola Lessons in Virtual Classrooms 3

find new teaching approaches and the possibility of using ICT in teaching music; 3 exchange experience on working with ICT in music education; 3 create your own e-learning contents (music notation using Sibelius and conversion to other digital formats such as midi, wave, pdf, etc.) 3 conduct collaborative work at a distance with the help of music informatics; 3 plan (and implement) classes using e-learning materials; 3 present new and existing e-learning materials. A virtual learning environment can be displayed on any computer device from PCs and tablets to smart phones, even on a digital stand. I put my all in one device (AiO) on a speaker stand. It can be used practically anywhere where Internet can be accessed. Some students have told me that they prefer to peek into the virtual classroom on the bus or on the train on the way home.

Digital classrooms have the potential to be used in music lessons. Photo by Kristian Kolman

This article is a short summary of my speech at the 41st Conference of the European String Teachers Association (ESTA) held in Oxford on 30th August 2013. Vision or Illusion A few years ago, I wrote several manuals for the violin and viola. My first textbook was on a scale system for the violin and viola. Shortly thereafter, the system was followed by a violin and viola school. Three further manuals covered the first three years of teaching violin and viola. In my spare time, I have been steadily fostering the idea of how to inexpensively transform the existing printed material into the most accessible electronic textbooks available. Having taught violin and viola at the School of Music Celje, I have also had the opportunity to work with the Slovenian National Institute for Education (Zavod RS za šolstvo – ZRSS). As a lecturer for the Sibelius notation software, I have been exposed to the latest in ICT and remote learning. Setting up a Moodle virtual classroom lecture for a Sibelius course was one of the key requirements of my cooperation with ZRSS. I felt like a lone rider amongst the mathematicians, physicists, geographers and linguists who were already proficient in using the new Moodle didactic environment. It was a great challenge for me. And on the side, I started thinking about setting up a virtual classroom for teaching the violin and viola. My Virtual Classroom The virtual classroom in Moodle offers a motivational learning process in string pedagogy by allowing you to:

2013–2014 // SOUNDS IN EUROPE

Building Moodle courses (for teaching violin, viola, chamber music, music theory, Solfeggio, etc.) allows me to work in blocks, and add various forms of resources and activities. 3 blocks: courses, self-completion, calendar, settings, activities, navigation, forums, files; 3 sources: pdf, doc, mid, xml, sib, mus and other files, folders, pages, web pages (Sibelius Scorch), URLs, embedded text (SlideShare, issuu), video (YouTube, Hulu, Vimeo, or any video embedded code); 3 activities: (survey, workshop, forum, chat, quiz, lesson, dictionary, wiki). Courses can be organised into categories such as violin, viola, chamber music, orchestra, music theory and music informatics. The courses can then be divided into subcategories like violin primary level, violin secondary level, etc. Each class has its own course. As the school year runs from September to June, the curriculum is divided into ten (monthly) chapters. Using the Sibelius software you can get a complex set of different modules, plug-ins and file converters to effectively support all levels of digital music literacy. 3 modules: classroom control, worksheet creator, arranger, parts, versions, ideas; 3 plug-ins: accidentals, composing tools, transformations, simplify notation, analysis, proof-reading; 3 file converters: import-export. Instead of a conclusion, why don’t you try Moodle yourself? My main goal has always been to think of financial accessibility, I therefore have always preferred using free software. You can create an illusion with a vision, and virtuality becomes reality. //

Kristian Kolman Secretary of the Slovenian Branch of the European String Teachers Association (ESTA).

Kristian Kolman’s digital classroom: www.violina.com

FOR INSPIRATION

TEACHING SINGING ONLINE The Pedagogical Value of Voice Visualisation Software Programs

This report is based on the work undertaken during a project led by the European Voice Teachers Association (EVTA) into the diversity of digital resources for the teaching of singing. Considerable human resources and pedagogical materials were gathered in this EU “Leonardo da Vinci – Lifelong Learning Programme” funded, multi-country partnership project. There are now a number of free downloadable voice visualisation programs available for smart phones and tablets as well as PCs. Teachers of singing and students need to be aware of the value and limitations of this beneficial resource. Voice analysis programs were originally built for use by speech scientists and voice therapists. Since then the “Gram” and “Voce Vista” programs have been reworked to better meet the needs of the vocal singing profession. The impact this kind of visual feedback could have on the teaching of singing was demonstrated in 1996. “Sing and See” from Australia and “Sygyt” from Germany have also produced programs that claim to be more refined for the singer and teacher to use. These tools enable the singer and teacher to focus on particular technical skills. Some teachers prefer the simplicity of a spectrum, others the two-dimensional spectrograph, still others the keyboard and tuning line or the highlighting of specific harmonic clusters, as in “Sygyt” for instance. Whatever the tool, singing teachers need to focus on specific tasks in order to clearly understand what can be seen, and how this relates to what is heard by both teacher and student. Several useful books on the topic of voice visualisation have already been published as well. The use of real time visual display may contribute to the following pedagogical goals:

3 3 3 3 3 3 3 3 3 3 3 3

Tuning (other instrumental teachers have also found this useful) Vowel clarity (particularly when in the upper ranges of the voice) Consonant speed of delivery (especially in certain languages e.g. German) Onset of sound Breathy quality in emerging voices Energy over a musical phrase (losing timbre at the end of a phrase) Accurate and clean leaps in pitch Jazz slides and blues notes CCM (contemporary commercial music) ornamentation Checking auditory accuracy and false perceptions of sound Examining ‘belt’ and other Music Theatre voice qualities Exploring unusual timbres

These resources do not, of course, replace the skill of a teacher’s own ears. They can, however, help students who are more visual learners by, for instance, picking up tiny changes which a teacher/singer may not necessarily notice. They provide a resource that can speed up the process of learning if used wisely. //

Susan Yarnall-Monks Singer and Vocal Tutor at University of Chichester, UK, Secretary of EVTA

www.vocevista.com

www.sygyt.com

www.singandsee.com

2013–2014 // SOUNDS IN EUROPE

FOR INSPIRATION

LET’S TWEETUP!

Every autumn, the Beethovenfest takes place in Bonn, Ludwig van Beethoven’s native city. For four and a half weeks, top international orchestras, renowned ensembles, and promising new artists come to the city on the Rhine and put Beethoven’s œuvre into new contexts in around 60 concerts. Under the key phrase “Beethoven lives”, the interpretation of Beethoven’s work is promoted and the festival content publicised on social platforms such as Facebook, Twitter, Google+, YouTube, Vimeo, Flickr as well as an in-house blog. The performance of Beethoven’s only opera “Fidelio”, by the Deutsche Kammerphilharmonie Bremen with a stellar cast under Paavo Järvi, was a highlight of the Beethovenfest Bonn 2013. This concert was made available for a wider audience by relaying the concert from the Beethovenhalle live onto a big screen in Bonn’s market square. This also provided the opportunity for an on- and offline connection, a tweetup. Around 20 twitter account holders were asked to report on the live broadcast Wieso hat Beethoven eigentlich under hashtag #befespark. nur eine Oper geschrieben? In no time at all, more than #befespark twenty tweeters joined in How come Beethoven only wrote and, in spite of autumnal was tweeted as a word cloud, the one opera? #befespark temperatures, gathered on appearance of the reciter Ulrich Tukur the market square at 7pm was commented on, tweets were posted on to partake of wine and snacks. the semi-stage performance, reactions were Before the concert began at 8pm, reported and ideas were touted as to why there was time for a chat outside the confines of the social networks. Beethoven only wrote one opera. The singer of the part of Marzelline, Programmes were laid out in the ‘classical’ manner on the tweeters’ Mojca Erdmann, who is seats and contained a list of all the participants and other Twitter also active on twitter, even made herself accounts involved in the evening, e.g. those of the artists, media and sponsors. And then things got going. available for a short Tolles Setup! 23 The tweeters became the opera dialogue backstage Powertwitterer schreiben audience and in some with followers sich die Finger wund – 1500 tweets devoted on Twitter. That schön dass ihr zu themselves to all stoked the fire #befespark gekommen seid! the details of the on Twitter even #hach Schön wie der Dirigent @paavo_ performance. further, so much Great Setup! 23 jarvi in das szenische Spiel so that #befespark The libretto Powertweeters write their eingebunden wird! #befespark landed in second of Fidelio fingers to the bone – place in German Beautiful how the conductor good thing you came to Twitter trends. The @paavo_jarvi is integrated #befespark #hach music remained into the scenic play! the essential part #befespark of the evening: ‘I had to be far older than 40 to enthuse over classical music. I love you Twitter + Timeline #befespark ‘.

The Digital Opera Experience at the Beethovenfest Bonn

2013–2014 // SOUNDS IN EUROPE

Friederike von Wittich Marketing Manager at Beethovenfest Bonn

EMC/IMC REVIEW

EMC REVIEW 2013 2013 was a special year for the European Music Council as it celebrated a double anniversary, the 40 + 10 jubilee. Forty years ago the foundations of EMC were laid with the establishment of the regional group for Europe of the International Music Council (IMC). In 2003, EMC was finally registered as an independent association. Ten years later, we celebrated in style. The 3rd “European Forum on Music” hosted in Glasgow kicked off the year’s events in April. Over the last few decades, the city has successfully transformed itself from a former shipbuilding centre to one of Europe’s most creative cities, with music at the core of its identity. Glasgow offered the perfect setting for a debate on the role that music and culture play in the regeneration of cities, and whether this could be applied to a broader European context. Pete Wishart, MP for the Scottish National Party and former Runrig keyboard player, and Simon Frith, socio-musicologist from the University of Edinburgh, fuelled discussions with their opening speeches and set the tone for the three-day meeting of music practitioners from across Europe. Wishart spoke of the significant contribution music and the creative industries have made to the economy, but stressed that growth in these sectors is only sustainable through the protection and compliance with copyright. Frith, however, argued that development of the music sector was dependent on a vibrant musical culture, and this in turn could not be measured with economic parameters.

EMC 40 + 10 Anniversary Reception Photo by John Lennon Educational Tour Bus

The 120 participants were treated to a wonderful musical programme carefully prepared by local hosts, the Scottish Music Centre, which showcased the city’s rich musical heritage. The live entertainment was, however, not limited to the frame of the Forum, as there is in fact no escaping music in Glasgow! Walk down the street and it will be buzzing with the sound of street musicians; order fish and chips, and it’ll be served by an aria-singing, Wagner enthusiast. Novel to this edition of the Forum was the Youth Day hosted by the EMC Youth Committee, which preceded the main forum programme. Over thirty participants aged 18 to 30 came together to discuss “bridging the gap from education and training to employment”, as well as to strengthen connections between young people within the European Music Council through networking which the event offered. The ongoing “Creative Europe” negotiations provided a suitable backdrop for cultural policy debate throughout the year. A significant development in EMC’s policy work in 2013 was the initiation of the “European Agenda for Music”, which aims to set the parameters for the future development of music in Europe. The Agenda brings together industry and non-profit representatives, allowing the music sector to speak as one voice. It will be a significant document which policymakers should refer to when making decisions concerning music. And this celebratory year climaxed in October with a special anniversary reception at the “Haus der Kultur” in Bonn, Germany, at which the mayor of the city, Jürgen Nimptsch, and the head of the regional representation of the European Commission, Dr. Stephan Koppelberg, spoke of the benefits of having a European cultural network based in the city. A highlight of the evening was the presence of the John Lennon Educational Bus, a state-of-the-art mobile audio and HD video recording and production facility. EMC had invited the bus to Bonn to run exciting workshops with pupils from local schools. During the workshops, pupils were given a once-in-a-lifetime opportunity to record and produce an original song and accompanying music video, while guests at the reception were given tours of the bus and a short presentation of the work carried out by the bus. 2013 was a year of unique celebration, significant discussion and music making. It will be difficult to beat this in 2014... but we'll try! //

jo & ts

Youth Day at the European Forum on Music 2013 in Glasgow Photos by Stewart Cunningham 2013–2014 // SOUNDS IN EUROPE

EMC/IMC REVIEW

5TH IMC WORLD FORUM ON MUSIC A Bet for the Future of Music (and Music Forums)

The 5th IMC World Forum on Music (WFM5), hosted last November 2013 by the Queensland Conservatorium Griffith University in the Australian city of Brisbane, was announced as a revolutionary event and carried a lot of expectations. The vision behind it was as very ambitious as Frans de Ruiter, IMC President until November 2013, notes in the programme booklet: “The World Forum on Music has been created to cause the magic spell, to put aside the wrong priorities and to strengthen the Five Musical Rights on their way to 2050. In this process, music cannot sit on an island in splendid isolation waiting for better times.” The Forum’s overarching theme was “Sustaining Music, Engaging Communities”. Some months before the Forum's opening, using the YouTube platform, the “1001 Voices for Musical Futures” project had already started gathering the views of professionals, music enthusiasts as well as academic figures on the greatest challenges or opportunities faced by their chosen musical fields. The short statements collected were used to set the tone for the debate. “Dot Enter”, the opening ceremony, was a unique, site-specific and provoking performance. Created under the direction of Gosse de Kort and performed by students from five different conservatories around the world, it was a reflection on openings and how time, space and movement are used during an opening act. And even more stimulating, it investigated how artists and audience relate to each other. Session at the WFM in Brisbane Photo by Queensland Conservatorium Griffith University

2013–2014 // SOUNDS IN EUROPE

From that moment on, the stage was set. The following days witnessed the transformation of the Conservatorium, along with its surroundings, into a global meeting place for people with diverse musical backgrounds from around the world. There were Vietnamese ethnomusicologists, young composers from Argentina, music educators from South Africa and Lebanese choir singers. The music market, workshops, concerts and sound installations were not just a frame for the more serious panels, they were part of the whole dynamic process of the event. Experts from five continents engaged in a huge debate on the future of music and the music sector worldwide from different perspectives. The central element, music, was analysed through various lenses including education, technology, industry, advocacy, conflict resolution and policy. For the third time since their creation, the “Musical Rights Awards” were presented to three programmes that support the IMC’s “Five Musical Rights” in an exemplary way: the “Orquesta de Instrumentos Autóctonos y Nuevas Tecnologías” (Argentina), which recovers and gives new artistic life to indigenous musical instruments; “Music and Resilience” (Italy/Lebanon), which empowers young Palestinian refugees in Lebanon by offering them basic music education; and “Remix the Orchestra” (New Zealand), an innovative programme that offers young urban musicians and at-risk youth communities the opportunity to express themselves musically.

EMC/IMC REVIEW

„Picnic Under the Stars“ at the WFM in Brisbane Photo by Queensland Conservatorium Griffith University

Moreover, the Queensland Conservatorium hosted some other conferences during WFM5. Even if not directly related to the Forum, these conferences were like satellite meetings that took place in relation to the global Forum and offered participants the opportunity to witness different realities connected to the music world. WFM5's format was thus in itself already a big experiment. Combining all these different aspects, mixing a music festival with various international conferences and making sure it all fit together was a huge effort and logistical challenge. Organisers and participants alike noted with much regret that due to the high travel costs as well as the rigid and highly complex Australian visa regulations, a good part of the potential audience was not able to attend.

International Music Council sets the Compass for its Future Decisions taken at 35th IMC General Assembly, Brisbane, Australia, 24th–25th November 2013. The Assembly was held in conjunction with the 5th IMC World Forum on Music, hosted by the Queensland Conservatorium Griffith University in cooperation with the Music Council of Australia, and with the support of a number of partners and sponsors. Over the next two years, the International Music Council will – in cooperation with or through its members – focus its efforts on three external strategic objectives: 3 affirming culture as the 4th pillar of sustainable development, 3 promoting and protecting creativity and creators' rights, and 3 placing early childhood music education at the forefront of the music education agenda. Each objective will be achieved through policy-making and advocacy, collaboration and information exchange, projects and research as well as targeted membership services. In addition, IMC will pursue its institutional development with the aim of positioning itself as a strong and dynamic global network of organisations involved or interested in music and in the livelihood of professionals in the field of music.

Nevertheless, none of these challenges could prevent the creation of content, thus laying the foundations for a new way of thinking. This 4-day event produced a document based on the IMC’s “Five Musical Rights”, which attempts to provide a common path for the music sector worldwide. As the most important outcome of this big experiment, the “Brisbane Declaration”, subtitled “2020: a Sharpened Vision for the Musical World”, is both a road map and a message of hope which “would like to contribute to a sustainable, vibrant and diverse musical life on the planet”. This is a challenge. And it is ambitious of course. As every dream is. //

Davide Grosso Communication Consultant to the IMC

Building on the strategy decided upon at its previous General Assembly in 2011 the IMC adopted a fully revised version of its Statutes and Rules of Procedure that will help to increase the efficiency and effectiveness of the organisation's work and modus operandi.

IMC Executive Board 2013–2015: President: Paul Dujardin (Belgium) Executive Vice-President: Jeremy Cox (UK/Belgium) Vice-Presidents: Hisham Sharaf (Iraq/Jordan), Maria del Carmen Gil (Cuba/Puerto Rico) Treasurer: Emily Akuno (Kenya) Members: Alfons Karabuda (Sweden), Hugues Gervais Ondaye (Congo), Valdemar Rodriguez (Venezuela), Ahti Vänttinen (Finland), Daphne Wassink (Netherlands) and Yu Long (China). The GA elected two new honorary members: former IMC president Frans de Ruiter (The Netherlands) and former IMC treasurer Lars Grunth (Denmark). Elections also took place for the IMC Youth Committee, which is now composed of young representatives of seven IMC member organisations, coming from the Americas, the Arab World, AsiaOceania and Europe.

2013–2014 // SOUNDS IN EUROPE

A Selection of European and International Music Events in 2014

EFA Round Table: Festivals meets Commissioner Androulla Vassilou 30th January 2014, Brussels, Belgium On 30th January 2014 in Brussels, the annual round table, bringing together Androulla Vassiliou, European Commissioner for Education, Culture, Multilingualism and Youth, and some 25 directors of major festivals, takes place at the initiative of the European Festivals Association (EFA). It is the fourth round table since Ms. Vassiliou took office in 2010 and continued the annual discussions with the European Commission about future strategies and policies as well as possible partnerships with festivals. European Festivals Association (EFA), Kleine Gentstraat 46, 9051 Gent, Belgium, T +32 9 241 8080, Fax: + 32 9 241 8089, info@efa-aef.eu, www.efa-aef.eu EFA General Assembly 26th February – 1st March 2014, Sarajevo, Bosnia Herzegovina From 26th February until 1st March 2014, the General Assembly of the European Festivals Association (EFA) will be held in Sarajevo, Bosnia and Herzegovina, and hosted by the International Festival ”Sarajevo Winter”, which will celebrate its 30th anniversary in 2014. This year, it will comprise the Sarajevo Conversations on 26th – 27th February 2014. Some 120 festival directors from all over the world will attend the annual EFA gathering, for the first time in the Association’s 60-years history hosted in Sarajevo. European Festivals Association (EFA), Kleine Gentstraat 46, 9051 Gent, Belgium, T +32 9 241 8080, Fax: + 32 9 241 8089, info@efa-aef.eu, www.efa-aef.eu 3rd International Forum for Young Composers hosted by the Sond'Ar-te Electric Ensemble 2nd – 7th March 2014, Cascais, Portugal In order to stimulate the creation and circulation of new musical works the Sond’Ar-te Electric Ensemble is organising the third edition of the Sond’Ar-te International Forum for Young Composers, which will take place from March 2nd and 7th 2014 at the Centro Cultural de Cascais. Sond'Ar-te Electric Ensemble, Violeta Barradas Rua do Douro 92, 2775-318 Parede, Portugal, T. +351 214575068, sondarte@sondarte.com, www.sondarte.com REMA General Assembly 7th – 9th March 2014 Lanvellec, France The REMA General Assembly will take place at the Golf Hotel de Saint-Samson near Lannion from 7th – 9th March 2014. Apart from the General Assembly and board meetings there will be project and festival presentations and a conference about Early Music in America, as well as a diverse cultural programme. Réseau Européen de Musique Anciennne/European Early Music Network (REMA/EEMN), 22 avenue de Paris, BP20353, F-78003 Versailles Cedex, France, T +331 39 20 78 03, info@rema-eemn.net, www.rema-eemn.net

2013–2014 // SOUNDS IN EUROPE

MaerzMusik 2014 – Festival for Contemporary Music 14th – 23rd March 2014, Berlin, Germany MaerzMusik – the Berliner Festspiele’s festival for contemporary music – turns to the local music scene in 2014. For the first time in the festival’s history, Berlin takes centre stage – a globalised hub of innovative music in an international blend that is second to none. Berliner Festspiele, Schaperstraße 24, 10719 Berlin, T +49 30 254 89-0, info@berlinerfestspiele.de, www.berlinerfestspiele.de European Day of Early Music (EDEM) 21st March 2014 This event is open to anyone who would like to organise a concert, an open rehearsal, a workshop, a conference, etc about Early Music: whether festival, concert hall, ensemble, conservatoire, musician! Réseau Européen de Musique Anciennne/European Early Music Network (REMA/EEMN), 22 avenue de Paris, BP20353, F-78003 Versailles Cedex, France, T +33 1 39 20 78 03, info@rema-eemn.net, www.rema-eemn.net EFA Atelier for Young Festival Managers 3rd – 10th April 2014, Edinburgh, UK The 7-day intense working space – initiated by the European Festivals Association (EFA) – will take place from 3rd-10th April 2014 in Edinburgh, UK, in collaboration with the Edinburgh International Festival. Out of 140 applications 56 emerging festival makers from 30 countries have been selected to take part in the Atelier EDINBURGH 2014. Furthermore, nine renowned mentors under guidance of Atelier Coordinator Hugo De Greef have confirmed their participation in this upcoming edition. European Festival Association (EFA), Kleine Gentstraat 46, 9051 Gent, Belgium, T +32 9 241 8080, info@efa-aef.eu, www.efa-aef.eu Gaudeamus Canada 2014 3rd – 12th April 2014, Toronto, Canada 6th – 12th April 2014, Montreal, Canada In a close co-operation between the ISCM Canadian Section, the ISCM Netherlands Section and several Canadian new music organisations, two festivals will take place in Canada in April 2014. During these events Dutch and Canadian musicians join forces in studying and performing works by Dutch, Canadian and international composers. International Society for Contemporary Music (ISCM) 301 Loevenhoutsedijk, 3552 XE, Utrecht, Netherlands, T. +31 6 29069173, info@iscm.org, www.iscm.org AEC Early Music Platform Meeting 2014 4th – 5th April 2014, Vicenza, Italy The aim of the AEC Early Music Platform (EMP) is to bring together heads of departments, teachers and students in the field of early music to discuss relevant issues and to promote

PINBOARD

European cooperation in this field. European Association of Conservatoires (AEC) Avenue des Celtes/Keltenlaan 20, 1040 Etterbeek, Brussels, Belgium, T. +32 27371670, info@aec-music.eu, www.aec-music.eu ESTA Music without Limits 8th – 13th April 2014, Dresden, Germany The programme is composed of an intersting mix of speeches, discussions, workshops with international experts and will be rounded up with concerts. Grenzenlos Musik – Music without limits ESTA Gesellschaft der Pädagogik für Streichinstrumente e.V.(European String Teachers Association), Katzenberg 123, 55126 Mainz, Germany, T +49 6131 4795 65, info2@esta-de.de, www.esta2014.de International Symposium on Singing in Music Education “How can singing belong to everyone?” 23th – 27th April, 2014, Budapest, Hungary As a follow-up of conferences on singing and music education the Symposium shall focus on different music education approaches that involve singing, focusing on 4 main sub-themes as “Formal singing-based music education at school”, “Nonformal music learning opportunities after school”, “Benefits of singing in communities of our society” and “Music teacher and/ or choral conductor training?”. Association of Hungarian Choirs, Orchestras and Folk Ensembles (KÓTA) in cooperation with: the Liszt Academy of Music in Budapest and the European Choral Association – Europa Cantat Weberstraße 59a, 53113 Bonn, Germany, T. +49 2289 125 664, info@eca-ec.org, www.eca-ec.org European Chamber Music Teachers Association (ECMTA) Annual meeting 25th – 27th April, 2014, Cremona, Italy The meeting will feature a round-table bringing together representatives of our host partners to share ideas about how chamber music projects allow them to work together in fruitful and innovative ways. European Chamber Music Teachers Association (ECMTA) Pajalahdentie 12 – 10, 00200 Helsinki, Finland, T. +35 8405433227, info@ecmta.eu, www.ecmta.eu IMC International Rostrum of Composers 6th – 9th May 2014, Helsinki, Finland The International Rostrum of Composers (IRC) is organised by the International Music Council with the financial assistance of participating radio networks. It is an international forum of representatives of broadcasting organisations who come together for the purpose of exchanging and broadcasting contemporary art music. International Music Council (IMC), 1 rue Miollis, 75732 Paris cedex 15, France, T +33 145 6848 50, info@imc-cim.org, www.imc-cim.org YO!Fest 2014 9th – 10th May 2014, Strasbourg, France YO!Fest will take place this year in Strasbourg, France. YO!Fest is the annual youth festival organised by the European Youth Forum and JMI that combines politics, debates and workshops with live music and performance, creating the perfect mix for an

enjoyable and meaningful experience. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, www.yofestebc.eu The 14th Arthur Rubinstein International Piano Master Competition 13nd – 29th May 2014, Tel Aviv, Israel For the 14th competition, the competition commissioned new works. This time by Ella Sheriff and Benjamin Yusupov, two very active and successful composers in Israel, whose works have been performed extensively. The Arthur Rubinstein International Music Society Huberman St. 12, Tel Aviv, Israel, T. +972 36856684, competition@arims.org.il, www.arims.org.il YAMA (Young Audiences Music Awards) – Applications Open 15th May – 15th July 2014 Looking for innovative, cutting edge and inspirational young audiences music productions around the world. For more information and application forms visit the official website. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, www.yama-award.com 22nd EAS Conference 21st – 24th May 2014, Nicosia, Cyprus Every learner counts: Democracy and inclusion in music education in the 21st century. European Association for Music in Schools (EAS) Lemmensberg 3, 3000 Leuven, Belgium, info@eas-music.org, www.eas-music.org EMC European Forum on Music 19th – 22nd June 2014, Bern, Switzerland See page 5, www.emc-imc.org/efm IASJ Jazz Meeting 2014 22nd – 27th June 2014, Cape Town, South Africa The Host School is the South Africa College of Music. Host School Coordinator is Mike Rossi who is full time professor teaching saxophone, ensemble classes, jazz history and pedagogy. The Final Concerts take place in The Little Theater, about one hundred years old, with excellent acoustic and a little over two hundred seats. During free time participants can go by cable car to the top of Table Mountain, one of the seven world wonders of nature, visit a winery to do some wine tasting, go see Cape of Good Hope where the Indian and the Atlantic Ocean come together or go down town Cape Town to see the African Market. International Association of Schools of Jazz, Juliana van Stolberglaan 1, 2595CA The Hague, The Netherlands, T. +317 03151484, info@iasj.com, www.iasj.com Ethno World 26th June – 15th August 2014 Nine camps for young traditional/folk/ethnic musicians will take place this summer in Belgium, Bosnia-Herzegovina, Croatia, Denmark, Estonia, Germany, Norway, Portugal and Sweden. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, www.ethno-world.org

2013–2014 // SOUNDS IN EUROPE

PINBOARD

JM Jazz World Orchestra 2014 27th June – 4th July 2014, Kongsberg, Norway Under the musical leadership of Erlend Skomsvoll, 16 young jazz musicians will form the 2014 orchestra which will perform at the Kongsberg Jazz Festival and other venues in Norway and Sweden. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, jmjazzworld.com 69th Jeunesses Musicales International (JMI) Annual General Assembly / TRADx 9th – 14th July 2014, Groznjan, Croatia The 69th Jeunesses Musicales International (JMI) Annual General Assembly, hosted by JM Croatia, will take place over 6 days in JMI's World Meeting Center in Groznjan. The 10th and 11th July will be dedicated to TRADx an open event celebrating world, folk and traditional music with international guest speakers, performances and workshops. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, www.jmiaga.net 31th ISME Conference on Music Education 20th – 25th July 2014, Porto Alegre, Brazil The 31th ISME Conference on Music Education aims to promote cultural, scientific and artistic exchange amongst more than 2000 people from different countries. International Society for Music Education (ISME) Glenferrie Road 45, Victoria 3144 Malvern, Australia, isme@isme.org, www.isme.org ECA – EC junior 7 30th July – 6th August 2014, Bergen, Norway EC junior is a festival with workshops, leisure programme (afternoon), Open Singing, atelier concerts and choirs’ own concerts for children’s and youth choirs aged 8-18 and choral conductors. In 2014 the EC junior festival is coming to Scandinavia for the first time and will take place in Bergen, Norway. The festival will be organized by Ung I Kor-Vest in cooperation with the European Choral Association – Europa Cantat. European Choral Association – Europa Cantat, Haus der Kultur, Weberstraße 59a, 53113 Bonn, Germany, T +49 228 9125 663, info@eca-ec.org, www.ecjunior.com World Symposium on Choral Music 6th –13rd August 2014, Seoul, Korea Organised every 3 years under the patronage of the International Federation for Choral Music (IFCM), the World Symposium on Choral Music is a unique gathering of the world’s most prestigious choral conductors and choirs. This year it will deal with the theme “Healing and Youth”. Korean Federation for Choral Music, 201-82-05093, 1F Seoul Chorus Center, 651-11, Naebalsan-dong, Gangseo-gu, Seoul 157-824, Korea, T +02 3661 8535, information@WSCM10.org, www.escm10.org ISCM World Music Days Festival IAMIC General Assembly and Annual Meeting 3rd – 12th October 2014, Wroclaw, Poland The World Music Days Festival is a feast of contemporary music provided by the International Society for Contemporary Music (ISCM) – one of the most important international networks of

2013–2014 // SOUNDS IN EUROPE

members from around fifty countries, devoted to the promotion and presentation of contemporary music – the music of our time. The ISCM World Music Days Festival provides also an opportunity for the ISCM members to meet in their annual congress, to discuss issues affecting contemporary music and matters of mutual concern. Embedded in the framework of this festival the Annual Meeting and General Assembly of the International Association of Music Information Centers (IAMIC) will take place. The programme will contain diverse business sessions as well as workshops and musical highlights. International Society for Contemporary Music (ISCM). Loevenhoutsedijk 301, 3552 XE Utrecht, the Netherlands, T. +31 629069173, info@worldmusicdays2014.pl, www. worldmusicdays2014.pl/en/start International Association of Music Information Centres (IAMIC), Sint-Michielstraat 28, 1000 Brussels, Belgium, T +32 2 504 90 99, iamic@iamic.net, www.iamic.net 67th International Competition for Accordion Soloists Coupe Mondiale 27th October – 2nd November 2014, Salzburg, Austria On behalf of the CIA Executive Committee and CIA Members worldwide, we welcome you to the 67th Coupe Mondiale and the 132nd CIA International General Assembly of Delegates Congress in Salzburg, Austria. The event will be hosted by the CIA member, the Harmonikaverband Österreichs (HVÖ) from 27th October to 2nd November 2014. International Confederation of Accordionists (CIA) Kyrösselänkatu 3, FIN-39500 Ikaalinen, Finland, T. +358 34400221, secretariat_cia@harmonikkaliitto.net, www.accordions.com/cia YAM Session 2014 6th – 8th November 2014, Umeå, Sweden An industry specific event for producers of young audiences music productions from around the world with over 20 showcases, YAMA Ceremony, international speakers and great networking. Jeunesses Musicales International, Rue Defacqz 1, 1000 Brussels, Belgium, T +32 2 513 97 74, mail@jmi.net, www.yamsession.org ECA – EC VOICE Conference 22nd November 2014, Barcelona, Spain VOICE (Vision on Innovation for Choral Music in Europe) is a 3 year European Cooperation project, coordinated by the European Choral Association – Europa Cantat. The 14 coorganisers will gather in Barcelona next November to share the first results of the project during a dedicated conference, and imagine together future cooperations. European Choral Association – Europa Cantat, Haus der Kultur, Weberstraße 59a, 53113 Bonn, Germany, T +49 228 9125 663, info@eca-ec.org, www.thevoiceproject.eu

ACKNOWLEDGMENTS We would like to thank all authors for their valuable input to the magazine and all who have provided us with texts, images, editorial advice or any other help. Without their co-operation and the extensive work involved, the publication of this magazine would not have been possible Federal Government Commissioner for Culture and the Media, Germany Culture Programme of the European Union City of Bonn, Germany Alfons Karabuda Augusta & Franz Kraft Burak Özgen Cathy Al-Ghabra Christopher Glasgow Christian Henner-Fehr Daniel Kellerhals Daphne Wassink Davide Grosso Erika Ferrand Cooper Etienne Abelin Friederike von Wittich Giusep Caduff Helena Maffli-Nissinen Helga Trüpel Isabelle Métrope Jakub Szczypa José Grossinho Kimmo Mattila Kristian Kolman Peter Rantasa Peter Tschmuck Ruth Pfletschinger Sanna Wager Shannon Jinadasa Silja Fischer Sina Haberkorn Stef Coninx Stella Tutunzi Stephen Malinowski Susan Yarnall-Monks

Photo by Markus Koehler