Sounds in Europe #2 by European Music Council

issue #â&#x20AC;&#x2030;2 // WINTER 2006-2007

PUBLISHED BY THE EUROPEAN MUSIC COUNCIL // a regional group of the International Music Council

in Europe The Digital Music Market Today m Lifelong Learning in Music m Youth Empowerment m Intercultural Dialogue 2008 m

A Regional Group of the

The European Music Council EMC is a platform for representatives of the National Music Councils and organisations involved in various fields of music from many European countries. As a European umbrella organisation, it gathers the European members of the International Music Council (IMC). The European Music Council contributes to a better mutual understanding among peoples and their different cultures and to the right for all musical cultures to coexist. Therefore it provides exceptional value to its membership by building knowledge, creating networking opportunities, supporting and enhancing the visibility of initiatives that help sustain peopleâ&#x20AC;&#x2122;s participation in music and cultural life.

IMPRINT Editor: European Music Council Haus der Kultur Weberstr. 59a 53113 Bonn Germany www.emc-imc.org sounds@emc-imc.org Tel.: +49 228 96699664 Fax: +49 228 96699665 CHAIRman: Wouter Turkenburg Vice-CHAIR: Hans-Herwig Geyer Treasurer: Sonja Greiner Board Members: Petra Mohorcic, Regina Senften, Harald Huber, Timo Klemettinen, Einar Solbu

Editing: Simone Dudt (sd), Ruth Jakobi (rj) Assistant: Isabelle Metrope Proof reading: Carl Holm, Juliette Powell, Katja Strube, Dan Townsend Layout: kominform, Hamburg (www.kominform.net) Printing: Druckpartner Moser, Rheinbach Drawing on front page by Timm Lotz, Hamburg (der_lotz@yahoo.de) on the basis of a picture by Co Broerse Photographers as credited The European Music Council is supported by:

Secretary General: Ruth Jakobi Deputy Secretary General: Simone Dudt ÂŠ 2006 European Music Council. All rights reserved. The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this publication may be reproduced in any format without permission of the European Music Council.

CONTENT

EMC News

6. . . . . . . . . . . . . . . . Changes: Chances and Challenges. Music and the Future, EMC 2007 Annual Conference 8. . . . . . . . . . . . . . . . ExTra! Exchange Traditions: European Cooperation Project coordinated by the European Music Council

Focus: MUSIC And THE FUTURE 12. . . . . . . . . . . . . . . 15 . . . . . . . . . . . . . . . 17 . . . . . . . . . . . . . . . 19. . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . 22. . . . . . . . . . . . . . . 24 . . . . . . . . . . . . . .

Changes; Challenges & Chances by David Price Lifelong Learning in Music – a Model for the Future by Rineke Smilde The Future of Music: Improvisation by Wouter Turkenburg Do European Politicians Want Music as an Art Form to Survive? by Steen Frederiksen Towards a Just Society – Does this Include Women Making Music? by Patricia Adkins Chiti The Digital Music Market Today: A Snapshot by Peter Balon What About Choir Scores, Copyright, Protected Works, Authors’ Rights? by François Harquel

WORKING GROUP YOUTH

26 . . . . . . . . . . . . . . Youth Empowerment? Yes! But … how? by Daphne Wassink

28 . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . 32. . . . . . . . . . . . . . .

Cultural Policy

34. . . . . . . . . . . . . . .

EU Communication on Culture – the EMC’s Contribution to the Online Consultation Intercultural dialogue – a Pressing Societal Need by Sabine Frank IMC Study on the Situation of Musical Diversity in the World . by Silja Fischer and Richard Letts Get Up, Stand Up for More Cultural Diversity by Harald Huber

For Inspiration

35. . . . . . . . . . . . . . . 36 . . . . . . . . . . . . . . 38. . . . . . . . . . . . . . . 39 . . . . . . . . . . . . . . 40 . . . . . . . . . . . . . . 41. . . . . . . . . . . . . . .

European Competition for Live-electronic Music Projects Professional Music Training in Europe: Challenges and Opportunities by Martin Prchal European Ensemble Academy 2007 Artistas en Ruta: An Innovative Music Industry-Education Alliance by Arthur Bernstein The Poverty Requiem: An Artistic Manifestation, a Democratic Community-artform and a Visual Symbol of a Just World No Changes, No Festivals by Hugo De Greef

EMC Review

42 . . . . . . . . . . . . . . Musical Diversity and Social Inclusion of Migrants in Europe 2 . . . . . . . . . . . . . . . .

Imprint

4. . . . . . . . . . . . . . . .

Editorial

44 . . . . . . . . . . . . . .

Reactions and Opinions

46 . . . . . . . . . . . . . .

Pinboard

50. . . . . . . . . . . . . . . Coming 51 . . . . . . . . . . . . . . .

Acknowledgements

WINTER 2006-2007 // SOUNDS IN EUROPE

EDITORIAL

»We need regional, national and European forums for discussion, in which the persons and organisations active in the cultural sector can have their say.« »Tarvitsemme alueellisia, kansallisia ja eurooppalaisia keskustelufoorumeita, joissa voimme saada kulttuuritoimijoiden äänen kuuluviin.«

Timo Klemettinen EMC Board Member EMC Hallituksen Jäsen

EDITORIAL

Finland is in the midst of a major reform involving the structure of local government and the provision of basic services. As part of this reform, the responsibilities of state and local governments for the financing of public services are being examined. One key issue is to identify the core local government services, i.e., the services which municipalities must commit to provide, even under unfavourable economic conditions. Arts education has been recognised as one such core service. This recognition is a powerful argument that can be wielded whenever the funding and status of music education come up for debate. Yet, when it comes to its legal status, the right to arts and to arts education is merely an objective right guaranteed by legislation and proclamation, and not a subjective right to specific services – violin lessons, for instance. Since individual citizens, then, do not have a subjective right to art or to arts education, the vibrancy of the arts depends on decisions taken in the political arena. They, in turn, depend on the values held by specific people and the ability of those people to grasp the significance of arts and culture for individuals and communities. In order to advance the cause of arts and culture, we must take the trouble to educate each generation of politicians anew. Influencing the course of arts and cultural policy – at any level – is laborious and time consuming. Cultural organisations typically lack the resources required to carry out their principal responsibilities to full effect, to say nothing of becoming a key player in arts and cultural policy. While national music councils differ a great deal, they each face challenges when it comes to implementing music policy successfully and to creating a better environment for music. The challenges come not only from lack of time and resources, but also from the difficulty of ensuring transparency and democratic participation. The question becomes: Who is authorised to represent the music sector to politicians and to government officials, and how extensive is such authorisation? The situation is even more challenging at the EU level. Cultural policy at the European level requires extensive co-operation between artists, cultural organisations, government ministries, and the politicians and officials responsible for cultural affairs in the EU. How to create a European cultural policy? We need regional, national and European forums for discussion, in which the persons and organisations active in the cultural sector can have their say. We need good contacts to top politicians and public officials that are based on mutual trust. We need Europe-wide co-operation between arts organisations, which will allow us to implement musical and cultural activities systematically and at a high level of quality. As of now, the EU has no cultural policy of its own, unless we include its arts subsidy programmes. If we wish to make the EU more responsive to citizens, we must be ready to tackle questions of cultural policy in an increasingly diverse and value-pluralist Europe. To echo the theme of this issue of Sounds in Europe, to develop the music sector by means of European cultural policy is both an opportunity and a challenge. Through co-operation, we can achieve change.

Suomessa on parhaillaan meneillään suuri kunta- ja palvelurakennemuutos. Uudistus selvittää, mitkä ovat valtion ja kuntien rahoitusvastuut julkisista palveluista. Yksi tärkeä kysymys on myös se, mitkä palvelut ovat kuntien peruspalveluita, palveluita joista kunnat sitoutuvat pitämään huolta huonoinakin talousaikoina. Taidekasvatus on uudistuksessa luokiteltu kuntien peruspalveluksi. Peruspalveluluokitus on merkittävä argumentti keskusteltaessa musiikkikasvatuksen rahoituksesta ja asemasta. Taiteen ja taidekasvatuksen juridinen oikeutus on kuitenkin aina objektiivinen oikeus, joka taataan lainsäädännöissä ja julkilausumissa, mutta ei sinänsä anna yksilölle oikeutta vaatia esim – viulunsoiton opetusta. Koska yksilöillä ei ole subjektiivista oikeutta taidepalveluihin tai -kasvatukseen, on taide-elämän hyvinvointi riippuvainen poliittisesta päätöksenteosta. Poliittinen päätöksenteko on puolestaan riippuvainen yksilöiden arvomaailmasta ja heidän kyvystään ymmärtää taiteen ja kulttuurin merkityksiä yksilöille ja yhteisöille. Mikäli haluamme edistää taiteen ja kulttuurin asemaa, meidän on jaksettava ”kouluttaa” jokainen uusi poliitikkosukupolvi. Vaikuttaminen kulttuuri- ja taidepolitiikkaan kaikilla tasoilla on työlästä ja aikaa vievää. Kulttuuriorganisaatioilla ei yleensä ole riittävästi resursseja hoitaa kunnolla edes perustehtäväänsä, puhumattakaan että ne ottaisivat keskeisen roolin toiminta-alueensa taide- ja kulttuuripolitiikan kentässä. Kansalliset musiikkineuvostot eroavat toisistaan paljon, mutta kaikilla musiikkineuvostoilla on omat haasteensa musiikkipoliittisen toiminnan menestyksellisessä toteuttamisessa ja musiikkielämän toimintaedellytysten edistämisessä. Ajan ja toimintaresurssien puutteiden lisäksi haasteena on järjestelmän läpinäkyvyyden ja demokraattisuuden takaaminen. Kysymys on siitä, kenellä on oikeus puhua ja mitä musiikkielämää koskevista asioista päättävien virkamiesten ja poliitikkojen kanssa. Kun vaikuttamisen haasteita tarkastellaan EU:n tasolla, asetelma muuttuu entistä haastavammaksi. Eurooppalainen kulttuuripolitiikka vaatii taiteilijoiden, kulttuuriorganisaatioiden, ministeriöiden sekä EU:n kulttuuriasioista päättävien virkamiesten ja poliitikkojen laaja-alaista yhteistyötä. Kuinka voimme luoda eurooppalaista kulttuuripolitiikkaa? Tarvitsemme alueellisia, kansallisia ja eurooppalaisia keskustelufoorumeita, joissa voimme saada kulttuuritoimijoiden äänen kuuluviin. Tarvitsemme hyvät ja luottamukselliset yhteydet päättäviin virkamiehiin ja poliitikkoihin. Tarvitsemme eurooppalaisten taideorganisaatioiden yhteistyötä, jonka avulla kykenemme toteuttamaan systemaattista ja laadukasta musiikki- ja kulttuuripoliittista toimintaa. Nykyisellään EU:lla ole omaa kulttuuripolitiikkaa, jollei sellaiseksi lasketa taiteen rahoituksen tukijärjestelmiä. Jos haluamme luoda EU:sta entistä enemmän kansalaisten unionin, joudumme kohtaamaan kulttuuripoliittiset kysymykset yhä monimuotoisemmassa ja -arvoisemmassa Euroopassa. Tämänkertaisen Sounds in Europe -lehden teemaa mukaillen, musiikkielämän kehittäminen eurooppalaisen kulttuuripolitiikan avulla on mahdollisuus ja haaste, yhteistyöllä muutos on mahdollinen.

EMC-NEWS // Changes: Chances and Challenges. Music and the Future …

Changes: Chances and Challenges. Music and the Future …

… are in the focus of the Annual Conference 2007 of the European Music Council taking place from 19 to 21 April 2007 in Barcelona. In 1964 Bob Dylan sang “The Times, They Are AChangin”. Today this seems to be more valid than ever. Globalisation and the digital revolution impose enormous changes on the music world. Will mass media define musical taste? Or does the internet provide a rich diversity of musical styles available for download at any time, any place, for anybody? Will file sharing lead to the death of music industry and make authors’ rights redundant? What will composers and musicians prefer: royalties or performance? Will the availability of music increase attendance at concerts and festivals? And what about music education? Will music vanish from the curricula or will the importance of arts education rise again? Will teaching still take place in the classroom or in front of the tft-screen? And will lifelong learning gain more importance? The 2007 Annual Conference of the European Music Council aims towards the future of music. What are the changes, what are the chances and what challenges lie ahead in the coming years? For this conference, experts from civil society and from politics, as well as from the music and culture field will discuss the future challenges for music in a globalising world. The European Commission is invited to present its vision of a future EU cultural policy and to discuss it together with the participants. Henrik Otto Donner (Finland), composer, music advocate and President of the European Music Office (EMO), will

give an introduction to the issue, followed by a round table discussion where experts from the music industries, music education and civil society will evaluate changes and look at how to build the future today. Practical capacity building workshops will offer tools for cultural lobbying, public relation work, online dissemination and handling authors’ rights to help improve everyday work in a musical organisation. The EMC invites its members to actively contribute to this dialogue about music and the future. Therefore the conference will present projects of best practice that are visionary, inspiring and focus on the future. The Catalan cooperation partners “Moviment Coral Català”, member of Europa Cantat, and the Catalan Music Council will provide the musical framework with concerts and receptions on Friday and Saturday evening. // sd

Registration is possible until 15 March 2007 at www.emc-imc.org, or contact the EMC directly at phone: +49 228 96699664 or info@emc-imc.org

WINTER 2006-2007 // SOUNDS IN EUROPE

Canvis: Possibilitats i Reptes. La Música i el Futur … // EMC-NEWS

Canvis: Possibilitats i Reptes. La Música i el Futur …

... Ens trobem en ple desenvolupament de la Conferència Anual del Consell Europeu de la Música que tindrà lloc del 19 al 21 d‘abril 2007 a Barcelona.

L’any 1964, Bob Dylan va cantar “The Times, They Are A-Changin” i avui aquesta és una expressió de màxima actualitat. La globalització i la revolució digital imposen grans canvis en el món de música. Definiran els mitjans de comunicació el gust musical? O proporcionarà Internet una diversitat tan rica d‘estils musicals disponibles per a ser descarregats en qualsevol moment, a qualsevol lloc, i per a tothom que ho desitgi? Portaran els arxius compartits a la mort de la indústria de la música i conseqüentment a la desaparició dels drets d’autor? Què prefereixen els compositors i músics: drets d‘autor o interpretació lliure? La disponibilitat de la música repercudirà en un augment de l‘assistència a concerts i festivals? I pel que fa a educació de música ... Desapareixerà la música dels plans d‘estudis o anirà en augment altre vegada la importància de l’educació artística? En un futur proper, encara s’ensenyarà des de les aules o davant les pantalles TFT? O potser guanyarà l’opció d’ensenyar de manera tradicional? La Conferència Anual del Consell Europeu de la Música concentra els seus esforços en una anàlisi de futur de la música en tots els seus àmbits. En quins sectors hi haurà aquests canvis, quines són les possibilitats i quins seran els reptes que ens trobarem? En aquesta propera conferència, experts de la societat civil i del món polític, així com professionals de la música i del camp de cultura parlaran dels futurs reptes plantejats en el sector de la música en un món globalitzat. Per això, convidem a tots els participats i a la Comissió Europea a presentar la seva visió de futur en relació a polítiques culturals.

Henrik Otto Donner (Finlàndia) compositor, advocat especialitzat en temes musicals i President de l‘Oficina de Música Europea (EMO), ens proporcionarà una primera introducció en totes aquestes qüestions. A continuació, tindrà lloc una taula rodona on els principals experts de les indústries de la música, de l‘educació musical i de la societat civil avaluaran els canvis i parlaran de com construir un futur tots plegats. L’ àrea més pràctica d’aquesta assemblea oferirà tallers de periodisme cultural, de Relacions Públiques, i de consulta de drets d’autor on line que ajudin a millorar el dia a dia en una organització musical. El Consell Europeu de la Música convida tots els seus membres a participar activament en el diàleg sobre la música i el seu futur. Per tant, la conferència presentarà tots els projectes que proporcionin una visió pràctica, i ajudar a desvetllar les incògnites de futur. Els companys catalans de cooperació com el Moviment Coral Català (membre d‘Europa Cantat), i el Consell Català de la Música proporcionaran el marc musical de concerts i recepcions d’aquesta assemblea des del divendres fins el dissabte a la tarda. // sd

Translation: Maria Vall (Journalist CCM)

Les inscripcions romandran obertes fins el 15 de març de 2007. Es poden realitzar per mitjà de la plana web www.emc-imc.org, o bé contactant directament amb l’EMC. Telèfon: +49 228 96699664 o info@emc-imc.org

WINTER 2006-2007 // SOUNDS IN EUROPE

EMC-News // ExTra!

Exchange Traditions – Project officially launched

Romano Suno Groupe (Hungary) © Frédéric Blanpain / ANCT

WINTER 2006-2007 // SOUNDS IN EUROPE

EXTRA! // EMC-NEWS

‘Tibor Lakatos‘, Romano Suno Groupe (Hungary) © Frédéric Blanpain / ANCT

In the last issue of the EMC magazine “Sounds in Europe” – focusing on intercultural dialogue – the ExTra! project was introduced. Whereas at the time of introduction funding for the project was not yet clear, it was confirmed that ExTra! will be supported by the EU until 2009 within the framework of its cultural programme. On July 1 2006 the project period officially started; and the ExTra! steering group met in the inspiring surrounding of the Cité de la Musique in Paris on July 7. The Cité de la Musique is one of the project’s cooperation partners and is responsible for the organisation of a summer academy that will take place from July 9 to 13, 2007 at the Cité de la Musique. The summer academy addresses music students from all over Europe. In four different master classes the students will gain in-depth knowledge of Ottoman classical music, Andalusian classical music from Morocco, Music from Transylvania, and Sabar drums from Senegal. The master classes mainly approach music students with very little or no experience in these kinds of music. The aim is to act as a mind-opener towards the variety and richness of the diverse musical traditions that exist within Europe and beyond. As the presented musical traditions belong to cultures in which oral transmission plays a decisive role, the summer academy will provide chances for “classical” music students to discover other repertoires and other ways of learning. The four master classes are led by internationally renowned teachers: Ottoman classical music: Kudsi Erguner (ney flute) Andalusian classical music from Morrocco: Taoufik Himmiche (violin and rebab) Music from Transylvania: Csányi Sándor (violin and bass) and his son Adrian Mezei (bratch and dance)

Sabar drums from Senegal: Doudou Ndiaye Rose and his son El Hadji Moustapha Ndiaye Rose (sabar drums from Senegal) Ethnomusicological lectures explore the cultural contexts linked to the music which is taught. The closing concert on July 13, 2007 will present the work achieved in each master class. In 2006 the ANCT (Association National Cultures et Traditions), ExTra! cooperation partner, already provided two activities bringing ExTra! to the grass roots level. In the small town of Gannat in the middle of the Auvergne, each summer the big festival for traditional music “Cultures of the World” takes place. In the frame of the 33rd annual festival of Gannat, experts discussed the significance of traditional music for the cycles of life. In September the ANCT organised an artist in residence programme for Sinti and Roma currently present in Gannat. The main aim was to build a project of musical creation together with the local population. Artistic events and lectures follow most of the ExTra! activities, e.g. the cooperation partner Donne in Musica will host a series of lectures and concerts on “Women in Traditional Music”. The first lecture-concert will take place on 15 February 2007 in the Quirino theatre in Rome. Musicians from Sri Lanka, Nigeria and Italy will perform songs and ritual dances accompanied by tambourine and drums. In addition to the artistic activities and the personal encounters, a comparative research study will provide musicological data on the music traditions present in today’s multicultural Europe. The research aims to identify music traditions that form a part of the day-to-day lifes of European citizens and the minority cultures present in the EU, EFTA and accession countries. Influences from other parts of the world are part of the study. Special interest and attention will be paid to the social aspects of music traditions present in European daily life. Guidelines for the research will be drawn up by a scientific committee that will consist of a heterogenic mix of experts rooted in ethnomusicology as well as the practical field. A first meeting of the scientific committee will take place in March 2007. The project ExTra! aims to enhance the understanding of the culture of each other’s neighbours. ExTra! will stimulate exchange between different music traditions present in today’s multicultural Europe. The project focuses on musical traditions of migrants in Europe and their interaction with cultures already existing in the European countries. In order to achieve these aims, the EMC has gathered co-operation partners* from different European countries focusing on different aspects in the field of music such as education, production, musicology, socio-culture and new media. With this multifaceted consortium of partners, a broad approach from different perspectives can be guaranteed.

* Fondazione Adkins Chiti: Donne in Musica, Italy Cité de la Musique Paris, France Association Nationale Cultures et Traditions (ANCT), France International Yehudi Menuhin Foundation (IYMF), Belgium Music Information Centre Austria (MICA) En Chordais, Greece European Music Council

WINTER 2006-2007 // SOUNDS IN EUROPE

EMC-NEWS // EXTRA!

Child playing the Violin. © Frédéric Blanpain / ANCT

ExTra! Activity Plan 15 February 2007 Concert and introduction lecture “Women in traditional music” in Rome, Italy Focus: Tambourine and Drums March 2007 Meeting of the Scientific Committee 5 to 9 April 2007 Exchange sessions next to the “Traditional Music Regional Competition” in the Massif Central, France, on “cross-fertilisation music” 9 to 13 July 2007 Summer academy of 5 days for students to acquaint them, practically and theoretically, with cultures they are not yet familiar with, Paris, France 20 to 30 July 2007 In the frame of the Festivals of Gannat “Cultures from the World”, Gannat, France: “Artists-in-Residence” programme on the theme “Passing on the heritage through music”; Round Tables on “Traditional Music accompanies the cycles of life and worship” October 2007 Concert and introduction lecture “Women in traditional music” in Rome, Italy Focus: String Instruments

WINTER 2006-2007 // SOUNDS IN EUROPE

Further ExTra! activities are to come: In 2008 the International Yehudi Menuhin Foundation will organise two workshops, “Green Music” will concentrate on the very origins of music and the workshop “Can traditional music be a tool for integration?” will examine the interrelation of musical traditions of migrant cultures and young people with migrant background. The final event of the ExTra! project period will take place in April 2009 in Thessaloniki in cooperation with the Greek partner En Chordais. Along with the concrete ExTra! activities comes the ExTra! website at www.extra-project.eu and the ExTra! download platform at www.manymusics.org/extra. The website will continuously accompany the project where you may find more details on the cooperation partners, the activities (e.g. the full application form for the summer academy) as well as a calendar listing all ExTra! events. The download platform installed by the Music Information Centre Austria (MICA) will provide related tracks of traditional music, either created in the course of the project or material collected in line with the ExTra! philosophy. The 2008 thematic year of the European Union will focus on intercultural dialogue. The ExTra! project examines the issue from the perspective of musical exchange: between European countries but also focusing on exchange within one country between the existing diversity of cultures. Cultural diversity is one of the prerequisites for an intercultural dialogue – let us keep the diversity alive and enhance the dialogue. // sd

20 to 24 March 2008 Exchange sessions next to the “Traditional Music Regional Competition” in the Massif Central, France, on “cross-fertilisation music” April 2008 Workshop on “Green Music” in Vilnius, Lithuania July 2008 In the frame of the Festivals of Gannat “Cultures from the World”, Gannat, France: “Artists-in-Residence” programme on the theme “Passing on the heritage through music” Round Tables on “Traditional Music accompanies the cycles of life and worship” October 2008 Concert and introduction lecture “Women in traditional music” in Rome, Italy Focus: Wind instruments October/November 2008 Workshop on „Traditional music as a tool of integration”, Lisbon, Portugal 9 to 13 April 2009 Exchange sessions next to the “Traditional Music Regional Competition” in the Massif Central, France, on “cross-fertilisation music” April 2009 Final Event “Traditional Music as an integrating factor for immigrant populations in Europe”, Thessaloniki, Greece

FOCUS // MUSIC and the future

Focus // Changes; Challenges & Chances

Changes; Challenges & Chances Two years ago, I took my two sons to the WOMAD music festival in England. For my eldest son, Jack, the highlight was a performance by Huun Huur Tu, from Tuva, near Mongolia. If you haven’t yet witnessed Tuvan Throat Singing, with its spectacular overtones, you really should – you can’t quite believe what you’re hearing. Three weeks after attending WOMAD Jack came into my kitchen doing a passable imitation of throat singing, complete with harmonic overtones. Once I got over my astonishment I asked how a process which, in Tuvan society, is supposed to take 15 years or so to master, had apparently taken him a few weeks. Jack then told me that a few people had The picture spent many years living with the Tuvans and had created a of our young range of learning modules on people as helpless the internet, from which he had taught himself, without music consumers ever leaving his bedroom. This story sums up, for me, has never been the changes we currently face. more of a myth First, as Stuart Hall described in the last issue of Sounds in Europe, than now. there’s much more to Globalism than making the world a smaller place. Even though our city centres and shopping malls increasingly resemble one another, there is an unprecedented interest, especially from our young people, in the things which make our cultures diverse. Second, this abbreviation of a learned tradition underlines the pace of change, and the constancy of change, we now experience. Change happens fast these days, and it’s only going to get quicker, so we’d better get used to it. Third, the picture of our young people as helpless music consumers, whose tastes are determined by conglomerate record company marketing departments, has never been more of a myth than now – kids are able to access a far wider variety of music than any preceding generation, and most of them do. They also understand the complex relationships which now exist between producer and consumer, and carry a lot more influence as a result. Fourth, the force driving the pace of these changes – digital technologies – is threatening the status quo like never before. Top of the list of endangered

WINTER 2006-2007 // SOUNDS IN EUROPE

species here are our state education systems, but when there are online forums dedicated to home DNA experimentation (I’m not joking), nothing is out of bounds. We are living in an age of ‘participation’, when amateur hobbyists, by pooling knowledge and skills can outperform the ‘experts’ – look no further than Wikipedia, the free online encyclopaedia. While all these changes may be unsettling, they also offer great opportunities to those who create, produce and teach music, provided they are willing to radically re-think how we respond to the challenges presented.

Changes A regular ritual in the UK for many years has been the viewing of a music programme called ‘Top of The Pops’. People of my age assumed it would be around forever, because the top 40 singles charts – the focus of TOTP – were considered the yardstick, as well as the talking point, of what was popular. The programme closed down last year because of two factors: the explosion of cable TV music channels simply provided too much competition, and young people no longer believed the charts were a fair reflection of what people were actually listening to. With sales of singles declining steadily for years, until recently the media and record industries foolishly refused to recognise download sales. Worse, they decided to prosecute some young people in the vain hope that they could eradicate the practice of downloading. Apple, through iTunes, understood this shift for what it was: the digital ‘natives’ (according to Marc Prensky’s grouping this includes anyone under the age of 25), opting for convenience, flexibility, immediacy and transportability. They were even willing to pay for it, so long as it was reasonably priced. In so doing, Apple, almost single-handedly, rescued the music industry – in Feb 2006 downloads in the first three years exceeded one billion and the numbers continue to rise exponentially. How did ‘we’ (the digital immigrants) manage to get them (the natives) so wrong? Like the Industrial one before it, the current Digital Revolution is transforming, not just our economic worldview, but every aspect of how we think. Take intellectual property, for example. We had only just got used to the fact that, for companies, this was a fundamental asset of any

Changes; Challenges & Chances // Focus

Challenges All of the major challenges we face – or, more accurately, our children will face – in the coming decades are underpinned by one consistent feature: uncertainty. Lack of space prevents any investigation into the more obvious ones: the outcome of the clashes of culture and religion between East and West; mass migration and its effect on nation states, and whether we will have fried the earth by 2050 – no minor © Musical Futures concerns – so allow me to concentrate on the area where we’re business, which had to be guarded and recorded in balance supposed to equip ourselves for these challenges: education. sheets, when along came Linus Torvalds. Torvalds, a Finnish Almost every European citizen over the age of forty grew computer hobbyist, created an operating system (Linux), by up knowing that a degree education was a guarantee to a giving the operating code away to anyone who was prepared job, if not a career. Now the inflationary effect of qualificato work on it and contribute their own intellectual capital to tions means that even a doctorate may not be enough for our the enterprise, for free. The result? A serious rival to Winchildren’s ambitions. Even worse, we have no idea what kind dows, spinning-off a growing number of financially sucof jobs will be created in even twenty years time, such is the cessful companies who support Linux business users. Linux nature of the revolution we’re experiencing. was an early example of what’s become known as the ‘open So, education – or more accurately, mass schooling – is source’ movement, which works on the principles of ‘reciperhaps facing its greatest challenge. Is it not incredible that procity’ (it will be worth me giving to the enterprise because so much change is happening around us, yet so little has I will get something back) and ‘commons’ (information changed in the way we school our children? Compulsory eduand ideas should be freely accessible). The aforementioned cation currently prepares young people for the world as it was Wikipedia is a classic example of these principles in action. in the 19th century, instead of the 21st. Housed in what Handy We should not underestimate how differently young people calls ‘Kennels for Kids’, for many young people school is a view the notion of copyright in this climate of open source. frustrating force-feeding of unwanted information, designed Digital technologies are currently generating personal and purely to raise examination scores. Is it any wonder that the business services which, even five years ago, would have been raison d’etre for schooling simply doesn’t work for most young unthinkable: from companies who will ‘snipe’ your Ebay bidpeople today? ding for you, to people who make real money from designPerhaps it’s never worked. According to John Taylor ing clothes to be worn by pixelated people in virtual Gatto, the US state of Massachusetts had higher communities online. My son calls it the ‘economrates of literacy before compulsory schooling was The current ics of thin air’. The nature of these changes introduced, than they have now. Most Europeis such that the business future belongs to an governments can’t publicly admit that the Digital Revolution what Charles Handy termed the ‘fleas’ – the system needs to be completely re-thought, fast-moving small and medium size enterprisso instead they introduce more regulation, is transforming, insist upon standardised pedagogy, blame es which now make up 99 % of businesses not just our economic in the European Union – rather than the ‘el‘failing’ schools, bad teachers and publicly ephants’, the corporations that our parents punish the guilty – at least that’s what we worldview, but every worked for (Source: European Commission; do in the UK. ‘More of the same’ seems to aspect of how http://ec.europa.eu/enterprise/entrepreneurbe the solution. In England, despite many ship/index_en.htm). Every country in the develtop-down initiatives to encourage more young we think. oped world now sees its future in encouraging entrepeople to stay at school beyond the compulsory preneurship, innovation and creativity, though there is age of 16 (including paying children to attend) stayno simple plan of how to do it. ing on rates remain comparatively low (less than 60%). These are just some of the sweeping changes we are One ingenious proposal to improve this figure is to raise the currently living through. They are changes that the miracompulsory age to 18 – we know you hate it, so we’ll make you cle which is the European ‘Project’ post-1945 has turned have two more years of it! to its advantage, with unprecedented levels of prosperity In sharp contrast, the outstanding performance (according across Western Europe. But they also bring many chalto OECD studies) of Finnish students in literacy in readlenges which may threaten that prosperity, particularly with ing, maths and science, seems to be the result of a number the burgeoning economies of Asia. Let’s look at what they of factors which run counter to current trends in state-run might mean, especially for those of us involved in the arts. education: high respect for teaching as a profession, autonomy

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Focus // Changes; Challenges & Chances

of schools and flexibility of curriculum; support for the arts; tual interests and benefits in more of these partnerships. significantly less standardised testing, no performance tables We see governments around the world recognising that, and (as a result) greater student motivation and engagement because of economic global competition, the future demands in learning. In short, Finland appears to have understood the creativity in our young people. Most of them, however, have need for a more humane concept of mass education. little idea how to go about it, since they have traditionally seen I don’t believe that young people are any less curious now education as primarily utilitarian and economic in nature. As than they ever were, in fact the opposite. But they now have Sir Ken Robinson recently argued: “Creativity is really just a many more sources for their learning, and more of them wish metaphor … for a different way of conceiving of human capacto be independent learners. The demand for home schooling ity to the one that permeates formal systems of education. So in the US is instructive here: the numbers of children learning I think that we ought to be promoting creativity systematically outside school doubled in the last ten years to around one milthrough education from kindergarten through to the end of lion, and are set to double again in the next five. Furthermore, life.” we still fail to acknowledge the power of digital technologies Here, therefore, is a perfect opportunity for effective not just as research tools, but as legitimate environments for advocacy within the arts community. Music and the arts can self and peer-learners. If Google ever decide to formally link stimulate creativity in young people better than any other up with home schooling, then we will all have to take notice! approach, developing confidence, resilience, adaptability, For the past four years I have been leading a music problem-solving and many other skills this century will education project, Musical Futures, which grew out demand of them. As musicians, we all know this of the rather shocking statistic that, once music at to be true, we just haven’t been very good at school in England becomes an elective subject, letting others know it. To do this effectively Music we have to be less insular as a sector, and only 8 % of young people opt to continue with and the arts can it. Musical Futures works in schools in the make alliances: with other art-forms, three years before students make that choice other curriculum subjects, social services, stimulate creativity (11-14 years old). By placing real instruments prisons, – wherever it helps our cause. into their hands, and letting them make the Most importantly, we have an opportuin young people better music they want to, seeking help from their nity to reconnect with our young people and than any other friends, visiting musicians or their teacher, help them reconnect both music and school. we are beginning to reverse that trend. This How do we set about doing this? Certainly not approach. year, Musical Futures schools have seen those by imposition – no-one can be made to learn, or appreciate something if they don’t want to, whethnumbers go up to 28 %, and we expect er it’s calculus or classical music. As we found out the rise to be between 30-40 % next year. A few years ago I worked with Sir Paul McCartney in helping to set in Musical Futures, young people are rarely asked what they up the Liverpool Institute for Performing Arts. I was disapwould like to do. (As John Holt observed, if adults were locked pointed, though not entirely surprised, to hear that in all of up for six hours a day and told exactly what they had to do, his primary and secondary schooling, no-one had ever spotted they would consider it an infringement of their civil liberties.) that he had musical talent. Yes, that’s right, Paul McCartney. Creating this dialogue with young people, arguing our I like to think that, had a young Paul taken part in Musical case to those who pay our salaries (be they concert goers or Futures, that talent might have come to the fore a little earlier, government departments) whilst being accountable to whoever but who knows how many talented young musicians have not we work with or for, just might convince people that, far from become successful because they weren’t encouraged at school? trying to preserve the past, we’re in the vanguard of creating In summary, I’m suggesting that the music sector and the future. the education system face similar challenges and the mistakes References: made over both downloading and successively unsuccess3 Charles Handy, The Elephant and the Flea (Arrow, 2002) ful education initiatives send out some powerful messages, 3 Charles Handy, Myself and Other More Important Matters (Heineman, 2006) which we ignore at our peril: If we listen to young people, 3 John Taylor Gatto, Dumbing Us Down: The Hidden Curriculum of and place more trust in their choices and passions, then Compulsory Schooling (New Society, 2002) we might feel a little less uncertain about the future and 3 John Holt, Teach Your Own (New York, Delacorte, 1981) what it might hold for us all; if we continue to treat them, 3 Marc Prensky, Digital Natives, Digital Immigrants (www.marcprensky.com) 3 Ken Robinson, Keynote Speech at State of Play Conference, London, 2007 en masse, as either an audience-in-waiting, or as workers 3 Musical Futures, a Paul Hamlyn Foundation Special Project in an examinations factory, they will simply go elsewhere to (www.musicalfutures.org.uk) get the things they need, from both music and education.

Chances If the scale of the challenges seems daunting, I should say that I believe we have some real opportunities (and imperatives) which give grounds for confidence, and for feeling that the music sector can still be relevant. We are starting to see, for example, record companies becoming involved in education for reasons, not of profit, but of social responsibility. We need to find better ways of identifying the mu-

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// David Price (U.K.) Musician, worked extensively in adult, further, higher and community education. Currently, he is the project leader of the Paul Hamlyn Foundation‘s Musical Futures project. In 2001 he was elected as fellow of the Royal Society for the Arts.

Lifelong Learning IN MUSIC // Focus

Lifelong

Learning

IN MUSIC Changing realities

Musicians today face major changes in the cultural life and the music profession, and we wonder how future professional musicians are going to deal with this. The changes are manifold. New developments in technology emerge, which can lead to new ways of creating music. The changing nature of consumers brings about a different artistic programming and new audiences. The multicultural society asks for cultural awareness, gives new artistic opportunities, and also leads to new audiences. This changing cultural landscape changes the nature of musicians’ careers: they no longer have a job for life, but a portfolio career, and entrepreneurship and other generic skills become increasingly important. In addition, the required standards of excellence keep rising: there is an increasing demand for higher artistic quality, higher educational quality and so on. Musicians have to function in different contexts, with roles including those of a performer, composer, teacher, mentor, coach, leader and many more. These diverse roles often

a Model for the Future require musicians to be: innovators (explorer, creator and risk taker), identifiers (of missing skills, and of means to refresh them), partners/co-operators (within formal partnerships), reflective practitioners (engaged in research and evaluative processes, and able to contextualize experiences), collaborators (working in partnership with practitioners of professional arts, students, teachers etc.), connectors (in relation to conceptual frameworks) and entrepreneurs. These manifold roles can be applied to all kinds of practitioners in the music profession. Musicians will thus need to learn how to respond accordingly to different contexts in their environment.

The concept of Lifelong Learning These are enough reasons to explore the concept of Lifelong Learning which should underpin curricula in today’s music academy. But what is actually Lifelong Learning and how can it be useful? Lifelong Learning may be defined as a concept spanning an entire lifetime in a process of “… transforming experience

Intervision and reflection, guided by capable mentors are important elements in a wide variety of educational settings. © Prince Clause Conservatoire, Groningen

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FOCUS // Lifelong Learning IN MUSIC

Group warming up during a professional orientation project of the Prince Claus Conservatoire. © Prince Clause Conservatoire, Groningen

into knowledge, skills, attitudes, values, emotions, beliefs and senses”. Lifelong Learning is not just ‘continuing education’: it is an important conceptual framework for strengthening people‘s employability and adaptability. The innovative dimension of the Lifelong Learning concept lies in a new approach in the process and context of learning. Characteristics important to the concept of Lifelong Learning include: 3 A distinction between formal and informal learning 3 An emphasis on ‘learning’ as opposed to ‘training’ 3 Different approaches to learning, including,

Teachers are pivotal within transformative processes and thus within implementing the concept of Lifelong Learning: success of change is highly dependent on teachers’ competencies. Teachers are powerful role models for students; they model the musician’s future career by demonstrating a capacity to adapt to change and put this into practice both as a teacher and as a professional. Without this example students are not likely to be motivated to become lifelong learners. As for students a personal development plan should be central, leading to a relevant development of their portfolio while guided by teachers whose role is to be mentors. Self management should be encouraged by asking basic questions such as ‘what do I want to contribute as a musician to society’, ‘where do my strengths lie’, in short, questions of identity should be facilitated. By providing a challenging learning environment that reflects the realities of the workplace, encompassing informal learning in non-formal learning contexts and connecting to strategic partnerships, the music academy can provide a living, experimental and experiential experience for its students.

Challenges for the Future What could new educational approaches consist of within the context of Lifelong Learning? Here are a few to be considered:

for example, learning ‘on the job’ or ‘applied

3 Collaboration with shared responsibility

to the setting’

3 Cross over within music disciplines using

3 Professional and personal development 3 Context-related assessments (through workrelated situations) The key characteristics of Lifelong Learning can be critical for the emergence of new creative and adaptive educational approaches for musicians. This would imply creating adaptive learning environments in which music students are enabled to function optimally in a continuously changing professional practice.

Adaptive learning environments in the music academy How would this look? First of all, maintaining a strong relationship with the professional field and an effective network of relevant partners is fundamental, and the development of educational practice in the conceptual framework of Lifelong Learning should take place in association with such professional organisations. Moreover, this educational practice should be relevant to the current and changing cultural landscape, exploring different contexts, being intervention-oriented, leading to relevant learning experiences, and illuminating attitudes and values. Then there are implications for the curricula: a curriculum emerging from the conceptual framework of Lifelong Learning is based on acquiring competencies, requires teamteaching and receives feed back from external partners. It values both tradition and change. It is reflective of the outside world and it re-evaluates the existing knowledge.

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adaptive attitudes and communication skills 3 Exploring and taking risks in a safe environment 3 The music academy as an artistic laboratory 3 Entrepreneurship as essential to musicians 3 Personal development emerging from an awareness of one’s identity as a musician 3 Continuing Professional Development taken for granted Lifelong Learning means enabling musicians to develop personal pathways that respect their individual identities while fostering self exploration and reflection. When the changes in musical life are regarded as challenges that can be addressed in a new way by using a new approach to learning, informed musicians can emerge, able to interact in different professional contexts, with open-minded and sensitive attitudes, able to listen and respond, flexible and adaptable, and for whom a culture of continuing professional development is taken for granted. References: 3 Jarvis, P. (2002). Lifelong learning: which way forward for higher education? In D. Colardyn (ed.), Lifelong Learning: which ways forward? Utrecht, 3

Lemma. Fragoulis, H. (2002). Innovations to address the challenges of lifelong learning in transition countries. In D. Colardyn (ed.), Lifelong Learning: which ways forward? Utrecht, Lemma.

// Rineke Smilde (The Netherlands) Professor of Lifelong Learning in Music at the North Netherlands Conservatoire in Groningen and the Royal Conservatoire at The Hague.

improvisation // Focus

imp rovis ation

The future OF MUSIC:

Our society has become highly interactive. Via a website, an e-mail, a mobile phone we communicate with one person or more at a time.

Unlike in the real world, interaction hardly plays a role in music education. The “master” tells the “disciple” what to do. The teacher and the student are not equal. He-who-knows-it-all tells the ignorant one what to do and think, and how to behave Television, once completely static, has now become an musically. Not that there is no kindness or even love involved interactive medium as well. Interactivity is everywhere. On the in this old-fashioned music education: the masters and disciinternet young people from all over the world interact via ples are usually very fond of each other. The standard MySpace and YouTube. If you log on to these virtual behavior is friendly in a decent and polite way. realities you become a real part of the digital global If one looks at music education in the past, In modern village. one sees that most of the time there were In elementary and high schools interactivity no top-down relation between student and music education has now ensured a firm place as well. No matter teacher. In former centuries the peer-to-peer interaction has to what you think of the recent changes, in general teaching method was the prevailing one. Uneducation interactivity has gained a central place. like today, the music teacher in the past used have a central Some think that the innovations in “new learning” to show one of the possible ways to learn and place. are improvements, others think they are a decline. play music, and not the one and only possible In any case, the top-down way of teaching has giving a way. Music teachers in the past centuries interlot of ground to the learning environment in which pupils acted with their students. The input of the student learn from each other by interacting with their fellow pupils. was considered valuable and at equal level to the teacher’s The role of the teacher in the new learning environment has knowledge and experience. Pretending to have the sole access become that of a coach, of one who interacts. to the knowledge of the one and only way to perform a musical

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Focus // improvisation

Concert of the ‘Oscar Johansson Quintett‘ in the frame of the EMC Annual Conference in Malmö 2006. © European Music Council

teaching methods take the interactive learning environment as point of departure. “Anyone can improvise” is the slogan and the name of one of the best-selling books in jazz education. “Anyone can learn music in an interactive way” is a good translation of this slogan. The question is how to make improvisation part of music education at large. In order to accomplish the much wanted, needed and expected modernization in music education in general, jazz education must now render its expertise applicable to all kinds of music education. This big step forward is piece is an old-fashioned, late Romantic notion. It is remarknot an easy task. Basic principles of interaction and peer-toable to see how this worn-out notion is still prevailing today. peer relation between students and teachers, so natural in jazz It is about time that music education gets rid of this outdated, education, have to be made applicable and replace the mastertop-down fashion of teaching. In modern music education disciple relation now prevailing in classical music education. interaction has to have a central place. There is much dialogue needed. The only way to bring back interactivity in music However, it is my good faith that this will education is to make improvisation an essential happen. Classical music educators are increasClassical part of all music education. Improvisation by its ingly realising that improvisation should be a nature demands interactivity. In music that is basic aspect of learning music. Interaction music educators are rooted in improvisation, there is a very natuin a musical environment is more and more increasingly realising ral relation between the performer and his demanded by music students. Jazz educaor her fellow performers and the audience. that improvisation should tors on the other hand start realizing that Learning how to improvise can only be done all music beginners want to improvise, but be a basic aspect of in an interactive teaching environment. In not all of them necessarily want to become the interactive learning environment the stujazz players. learning music. dent, in a peer-to-peer relation with the teacher, When improvisation becomes a standard discovers how to use and apply musical elements. ingredient of music education, attitudes will The learning environment is characterised by learnchange essentially. Music students will sound differing-by-doing. ent because they will have learned how to play music in a Improvised music and learning how to improvise in munatural, interactive way. They will be able to play music whensic have many approaches. In organ music the improvisation ever they want with anyone they want without being restrained tradition has never been lost. Much the same counts for the to music paper, scores, a conductor nor to any other limitabasso continuo practice of the Renaissance and the Baroque tions. Much like in their everyday relations to others, they will periods. relate to other musicians in an interactive, improvisational Fully improvised music with all imaginable interactive way. Making music will no longer be a strange activity remote aspects is strongly present in jazz and jazz education. In jazz from daily life, but will become a part of their normal behaveverybody is equal. Maybe your instrumental jazz skills are ior. Just as it has been for ages, just as it is supposed to be. more developed than the ones of the other players in the band When interactivity and improvisation take a central place but that does not automatically make you a better player or in music education, changes in the future will be back to improviser. Interaction is the main characteristic. Possessing normal, not exceptional anymore. A change much wanted, and more skills is helpful but is not decisive. What’s important much needed! is how you put the skills you have into practice in the music // Wouter Turkenburg (The Netherlands) rather than the quantity of skills you have. Virtuosity hardly Chairman of the European Music Council and Executive Director of the counts, interaction mainly prevails. International Association of Schools of Jazz (IASJ). He is head of the jazz In jazz education in the last three decades interactive department at the Royal Conservatoire in The Hague. music education has developed to a high degree. The available

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Do European politicians want music as an art form to survive? // Focus

Do European politicians want music as an art form to survive?

The last 20 years have witnessed a quick development regarding multinational commercial exploitation of music’s ability to communicate over borders without ‘translation’. Television has brought peoples and nations closer to each other, and with the explosion of satellite-distribution, it is possible to market and sell the same pop/rock singer/group and title to the entire western world plus China and Japan at the same time. Internationalisation and popularity-worshipping has led, in many European countries, to a downgrade of national song and music education in elementary schools as well as in high schools. Being an idol, being popular is what it is all about – according to TV’s innumerable one-night star shows, where children and youths are taught that being known and taking the fast way to fame is the attractive thing. Playing classical (unpopular!) music and working on a long-time perspective is not attractive at all. Classical music is about to die and risks fading out completely, if nothing is done in the three following areas: 1. Musical education 2. Concert forms and 3. Public mass media. Musical education works well in many countries, but the general European trend is that music as part of basic education is disappearing. What the children get instead is what television and the music industry offer – and this is not classical music nor a reflection of active work with music, but a pop (music) culture closely linked with fashion, movies, sex and worshipped idols. This ‘offer’ keeps most children and young people in a passive consumerist culture, where music is only a superficial instrument keeping children and young people consumers of other things than music. Singing and musical education in schools are disappearing, imitating is in and learning is out.

A Copenhagen orchestra of young musicians conducted by Morten Ryelund. © Steen Frederiksen

If classical music is to survive, it is necessary that the European ministers of education stop pushing off the problem to the ministers of culture. Musical education at all elementary school levels must become part of statutory education. It is well known that children’s ability to concentrate increases if they play an instrument, but even if this is not recognised, it is a fact that performing music is restricted to the few ‘coming from a home with a piano’ if children don’t experience music actively already in elementary school. We are trying to teach children how to read, count and think – in order to become active citizens and be able to continue and develop society – and it is the same with music: If

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Focus // TOWARDS A JUST SOCIETY

we don’t teach them music, our national music cultures will die out and be replaced by a multinational, commercial and passive music culture. Classical concerts today leave out many people. We should therefore relinquish rituals and start serious experiments in the concert form. A major part of the audience wishes to hear the musicians, soloists, conductors and singers tell about what they play and sing. The audience wants to applaud, show excitement and enthusiasm. Dress traditions should be abandoned Musical – for both the performers and the audience. Concert programming education at all should change from time to time elementary school – let us begin experiments with concerts including different genres levels must become and presenting both established and young musicians. The repertoire part of statutory should be laundered, standard works education. (repeated over and over again in European concert halls, often by the same soloists) go into retirement for some years and be replaced by all the excellent though less performed music, thematic programmes and musical graduation creating atmosphere and concerts presenting one soloist in many various frames. The duration of a concert should differ, established orchestras should give more one-hour concerts, at different venues and many more concerts with young national musicians. – And, concerts could be combined with other cultural forms: drawing, painting, cooking, travel-descriptions, etc. The general trend among Europe’s public-service television and radio channels (of which we all pay the cost in return of an offer relating to our national culture) has it that classical music is on its way out. Even if we are dealing with a massmedia-producer obligated by law to service all groups of interest, the fact is that today, ratings (the number of listeners and TV-viewers) decide what should be broadcasted. The result is a populist TV teaching us and our children that music is pop, about having a good look, and means becoming famous and successful. A long and difficult process such as learning how to play an instrument is not an issue for a mass media focusing on contents that can be told fast – the argument being that viewers will desert if the story is not snappy enough. Children and young people only appear in connection with pop music. The influence of the mass media on children and youths is so strong, that there is only one way out: a European legislation able to balance the multinational wiping-out of music as an art form; a legislation expressing a demand towards state-financed radio and TV channels regarding a specific proportion of programmes including classical music, children playing it, a reflection of the process, etc. I have never, ever before advocated rules and legislation in this area, but the damaging effects are now so clear and our reduction to such an extensive degree of stupidity that this seems to be the only way out. Ergo: EU-legislation, re-education and mass media is a must, and now! – in order to encourage among children and youths an active attitude to, and involvement in music. // Steen Frederiksen (Denmark) Editor/DR Former chairman of the EBU (European Broadcasting Union) Music Group

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Towards Does this Women The European Year of Equal Opportunities for All underlines the advantages of a just and solidarity-based society, including initiatives to combat discriminatory attitudes and behaviour; and to inform people of their legal rights and obligations. In spite of the progress achieved so far at European level in eliminating discrimination and promoting equal opportunities, much remains to be done. All legislation, regardless of the care taken in its drafting, will be useless if the political will to translate it into long-term action is lacking and if it does not benefit from widespread public support. So in 2007, according to the EUC, we shall all finally learn that everyone, regardless of their gender, race or ethnic origin, religion or beliefs, disability, age or sexual orientation, has the right to equal treatment. It is a universal human right to make and have one’s own music. The result is a world filled with musical diversity. Music is a universal language and phenomenon, a vehicle for expression and communication used by all peoples in the world, in the past as well as in the present. Like cultural diversity, musical diversity is closely linked to notions of identity, pluralism, human rights and freedom, creativity, the common heritage of humanity and sustainable development.1 Statistical information throughout Europe confirms that women are more highly trained than men in the cultural sector, but they end up in subservient positions in artistic fields where a hierarchical structure exists. The rights of women artists and creators are consistently subjected to gender based discrimination; and the absence of information from school and university textbooks about female contribution to history demonstrates that the world‘s current artistic education is by no means multicultural, nor does it respect the guidelines laid down in the „Declaration of Human rights“ or the „Recommendations for the Status of the Artist“. The number of composers increases every year. Those of us responsible for the presentation of music, know that there is a large potential audience, curious and willing to listen to new works; but throughout Europe financial restrictions are leading to a diminishing number of performing ensembles – from symphony orchestras and opera houses down to chamber groups – and consequently to a smaller and less adventurous repertoire. At the same time the visible lack of women’s music in orchestral programmes and international

TOWARDS A JUST SOCIETY // Focus

a Just Society – include making Music? European Year of Equal Opportunities for All (2007)

Library of the organisation “Frau und Musik”. © Fondazione Adkins Chiti: Donne in Musica

festivals has not caused sleepless nights for artistic directors, administrators and journalists. Even though major music institutions are publicly funded, no public administrator, MP or equal opportunities officer to date has meditated on why public money is being used only for works composed by men.2 European conferences and congresses underline the issue: The access of women to musical and artistic creation, Paris, IRCAM and La Sorbonne University, 2002; Gender Power and Culture, Glasgow, University of Strathclyde, 2003; A Different Vision, Rome, Fondazione Donne in Musica, 2004; The Unheard Voices of Women, Rome, Fondazione Donne in Musica, 2005. “Culture Gates: exposing professional gate keeping processes in Music and New Media Arts”, (2004) published for an EUC research project undertaken by EricArts and partners, underlined that: considerable attention and effort is required to increase the visibility and “value-perception” of women artists from a historical and contemporary point of view. This is vitally important in order to (re)construct references, to promote role models in the process of artistic professionalisation and to re-construct the “box of professional tacit knowledge”. A considerable rewrite of textbooks and other publications of reference should include the history of wom-

en‘s achievements and their current contributions alongside those of their male colleagues. Information campaigns are required to counteract the way they are presented in the media, press and publications of reference (critical reviews/columns) which form public opinion and perpetuate a canon of artistic aesthetics based on a narrow world view. Information gate-keepers in the media and in academia should adopt a new perspective in order to counteract the myth that there are few women composers available to be recognised, programmed or commissioned and that “special (male) qualities” are needed for the creation of successful musical compositions. Throughout Europe there are long standing Women in Music organisations promoting knowledge of women’s contribution in all genres: classical, contemporary, electronic, pop, traditional, commercial, jazz, multimedia, fusion, techno, rock, hip hop, folk music, Arab classical music, educational music for all levels from childhood to senior citizens, soundtracks and television, commercials, liturgies, theatre and ballet scores. Although most WIM associations manage to continue their work on a shoe-string, the general political drift towards “diversity” as in “difference of race and ethnic culture”, means that state resources do not target “diversity” as “gender diversity” and hence “the diversity of women’s contribution to culture”. Lack of funding for women artists has not made Prime Time broadcasting, or news headlines anywhere in Europe and for this reason it is to be hoped that some resources from the EUC budget for Equal Opportunities for All will be made available to women working in the arts, especially those creating new music.

Many Musics Action Programme. Slightly revised version (December 2002) of the document endorsed by the IMC Executive Committee in Berlin in July 2002. 1

We refer to “Cultural Gatekeepers” where it is demonstrated with statistics that European funding for music is used by the major organisations but that only 0,05 % of contemporary programming space goes to works by women. 2

// Patricia Adkins Chiti (Italy) President of the Fondazione Adkins Chiti: Donne in Musica

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FOCUS // The Digital Music Market Today

The Digital Music A SNAPSHOT

The Music Information Center Austria (mica) is co-ordinating the project. DMET – Digital Music Education Training, with the support of the Culture 2000 programme of the European Union. The main goal of DMET is to create a curriculum for digital music business affairs, providing artists and labels with the knowledge they need to take advantage of the new marketing and distribution possibilities of the Internet. Currently one of the main activities in DMET is the creation of a “consolidated body of knowledge” on the digital music market. The following article gives an example of these topics, mainly focusing on the present situation of the music industry and the problems they are struggling with. Some days ago the “Digital Music Report 07” was published, a manual offering information on the global development of the digital music market. It is being published by the IFPI (International

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Association of Phonographic Industry), an organisation operating world-wide, representing its members’ (Major Companies and Independent Labels) interests. The successes of 2006 were as follows: 798 million single track downloads passed the virtual cash-desk. The profits doubled to approximately $2 billion. All in all, a happy season for the music industry. Further market growth is to be expected within the next years, especially the mobile music sector will be playing a leading role here. This is exactly what happens in Austria as well: the market grew by another 50 % due to increasing turnovers in the online sector. Around 6.2 million downloads have been registered in Austria, with – again – Mobile Music playing a very important role. The bad news: Sales on the physical market are still decreasing, even in Austria. The digital market turnovers cannot compensate this regression. What do these results mean to the music industry? It is losing money. The questions are: What will the reaction be and who will be held responsible?

Over the past few years the guilty party was located pretty quickly. It was not situated in the executive suites of music trusts, but at home, sitting in front of the computer, downloading the latest music hits from BitTorrent or Kazaa – for free. It seemed to be the easiest and most effective way to simply take them to court, if we take into account that e.g. in Germany, still 70 % of all internet traffic falls upon file sharing networks. In 2004, the IFPI started their counterstrike by admonishing or suing thousands of file sharers. This year, even more extended measures have been announced. On the one hand, 1000 lawsuits per month are planned, and on the other, the internet service providers – the companies enabling internet access in the first place and hosting the clients’ personal data – shall be obliged to work more closely with the music industry. At this moment, 870 million files are floating through P2P networks, an upward trend. Did the lawsuits against file sharers actually turn out to be positive results, John Kennedy, CEO of IFPI, is asked in a BBC news interview: “I wish I could sit here and inform you about a decreasing number.” So far, so good.

The Digital Music Market Today // FOCUS

Market Today Next problem: DRM – Digital Rights Management. DRM was developed basically to “protect the artists’ rights”, without any doubt a praiseworthy idea. But its development proved that DRM was and is primarily used to tie clients to a certain system (i.e. iTunes), but also for the sake of controlling the distribution of music files in everyone’s home. Two different approaches, accompanying one another. The bottom line is: The shortcomings in inter-operability and the restrictions in the rights of usage oppose the basic idea of DRM – to “protect the artists’ rights”. Using restrictive measures will finally provoke the internet users to seek other possibilities to get what they want. There are plenty of possibilities. Supervising by technical means such as DRM always requires a certain kind of hierarchy – something that became obsolete in the world wide web. Concerning DRM, lots of decisions will be taken in the near future. The majors slowly start pondering on if it was really that clever to propagate DRM that much, they even started offering small numbers of mp3 downloads. Consumer organisations as well as the European Union called upon big players such as iTunes to loosen copy protections or offer music files compatible to any audio players. At the music fair MIDEM, taking

place in Cannes every year, the renouncement of DRM was demanded emphatically as well. Download stores like eMusic.com prove the obsoleteness of restrictive copy protection measures. In the USA eMusic – solely providing mp3 files without DRM – is the second best selling mp3 platform behind iTunes. Recently, the online service was started successfully in Europe. Another example for online distribution alternatives is the Download Platform Manymusics.org, which was developed by IAMIC (the International Association of Music Information Centers) and the mica. It offers only MP3-Files without DRM and works with all kind of genres out of the Independent-Sector. Since December 2006 the Platform has been the first place to go for Independent Labels and Self-marketing Artists in Austria. There also is an alternative to DRM: Digital Watermarking. This means that the data is embedded in a certain file, i.e. an audio file, that has reliable information on who bought it. With the file comes a licensing key to unlock it. Up to now, Digital Watermarking has been hardly used. The music industry here often argues that these procedures are too insecure. It seems clear that it won’t take a long time before this mode of proceeding is being cracked, just the way it happened to DRM. Suing people for illegal file sharing didn’t prove itself effective, it appears

instead to be an endless battle against windmills – even though the IFPI often states that it is used plainly to draw public attention. And the uselessness of DRM is proved by the major industry itself, since mp3 downloads rise there, too. But it’s not only the majors struggling through all these difficulties, but also the independent labels and distributors that are severely hit. In the physical world, there was one medium a whole business model was built on. Now, this model will soon be out of order, and it’s not easy to get one’s feet on the ground again. The internet offers numerous unexpected possibilities to earn money, which is good and bad news at the same time. It means that the music industry is required to permanently adhere to new ideas and concepts in the progress of the world wide web’s development. And small units like self-marketing artists and independent labels are often able to adapt much faster to these new circumstances than the majors, which could give them a competitive advantage on the digital music market. // Peter Balon (Austria) Peter Balon is the product manager of the Manymusics.org platform and is involved in the DMET project. Manymusics.org also serves as download platform for the ExTra! project (“Exchange Traditions”, cf. page 8).

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What about choir scores, copyright, protected works, authors’ rights?

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choir scores, copyright, protected works ... // FOCUS

“The issue of the author’s rights was first raised by the French playwright Beaumarchais, who reacted to the fact that comedians drew profit from staging theatrical works – including his own plays – under the pretext that theatre had a monopoly, without the authors receiving payment for this. On his initiative, a bill was passed on January 13, 1791, acknowledging the author’s right for the first time ever.” („Droits d’auteurs: Que dit la loi ?”, article by André Blin, Polyphonies Nr. 8, November 2007, page 7) © Kristina Schäfer for EUROPA CANTAT XVI This right has been gradually acknowledged worldwide but is not always sufficiently protected. Young Singers at the Festival EUROPA CANTAT XVI in Mainz 2006. The protection duration changes from one country to another (70 years following the author’s death in Europe, 50 years in other countries, 70 + 14 years and 274 days in France if the author was born before 1914, and 70 + 8 years and 122 the work and consequently protected. The ‘out of copyright’ days if the author was born between 1918 and 1939 – war years only applies to the manuscript. The contemporary edition of count double if the author ‘died serving France’ …). This is most a work which is now out of copyright and which was not later confusing, but not the point of this article. published, becomes an ‘editio princeps’ again, and will be Choirs are often tempted to believe that a score is just protected for 25 years again (such is the case of Lotti’s Credo, a piece of paper which can be reproduced. However, issues published in 2002 under Thomas Hengelbrock’s copyright, concerning the copying of scores relate to the property of a as well as some works by Delalande transcripted by Lionel work, which, like any other product, is not only protected but Sawkins, a musicologist who won his case against Hyperion, also brings in revenue to the artist and those who invested who was denying his intellectual property right, etc.). We money in circulating the product. The publisher, who invests should also be aware that libraries have full powers to allow money in this business, not only endeavours to help choirs or forbid the broadcast of the works they preserve. and offer a highly valuable musical material. He also The enforcement of the protection of a work endeavours to support both, creation in general is defined by a number of laws; this does not Choirs are as well as authors and composers in particuapply to scores only but also to any product lar, by promoting and protecting their work of the mind. They are somewhat annoying often tempted to in a way they would not be able to achieve. to read; to sum them up, it is important We only mention the problem of Internet to know that “any reproduction of a text believe that a score music downloads. Since we know these websites or/and music protected by a copyis just a piece of quite well, we know that these scores, supposright – without the authorisation of its edly out of copyright, are generally copied out owner(s) – is counterfeiting”. (This also paper which can be (on a computer ) from a published document. In applies to oral works, dramas, choreogreproduced. more precise terms, we should not use the word raphy, audiovisual and graphic works, ‘score’ but ‘work’. This form of counterfeiting is photography, applied arts, software, etc.). not only graphic; but also concerns the whole use of The protection and the property of the work. Some conductors or choirs members, experts works were at the core of major debates (refusal of the Internet ‘overall licence’ in order to protect in the use of computers and music software, upload – most of authors and beneficiaries). Nevertheless, it is still possible the time in all good faith – publishers’ works in MIDI Files, e.g. sound realisations, separate parts, playbacks … There is one to make a copy of a protected work for a strictly personal software which is even able to ‘sing’ the text which is typed beuse, but this copy must not be brought out of the house (or neath the stave! These internet users acting like Santa Claus all the room) of the person owning the original document. say the same thing: putting this digital material at everybody’s The above comments also concern the adaptation and disposal can serve musically poor choir members and help conharmonization of protected works (Chansons, pop songs, ductors preparing the rehearsals … etc., though the collection and transcription of popular music We have to be aware that a Renaissance choir work, are sometimes protected as well). In order to be allowed to published by a real, registered publisher, is actually a tranharmonise a protected song, the authorisation of the pubscription made by an expert and requiring a thorough lisher or the beneficiary owner of the work is required. The knowledge. This work on a manuscript cannot be plagiarised same applies to protected texts set to music. Some ownafterwards. The same applies to music of other periods. ers will not let their texts be adapted or set to music. Publishing essential choir works by composers who are now Actually, such a debate would not take place if everyout of authors right (e.g. Bach, Vivaldi, Pachelbel, Banchieri, one was aware that without new publications allowed by Haydn, etc.) requires the (sometimes expensive) purchase of contracts between publishers and authors and/or composmicrofilms, or even the making of a microfilm by the acers, the circulation of these creations would be hampered. credited photograph of some library, or a stay in a foreign // Francois Harquel (France) country in order to work on a manuscript which could not be Director Editions A Coeur Joie duplicated. Sometimes, the piano reduction of an orchestral The choral organisation A Coeur Joie is a member of Europa Cantat. score or the keyboard realisation of a continuo are part of

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WORKING GROUP YOUTH // Youth empowerment?

Youth empowerment?

YES! But… how?

Three examples of involving the future of our music

Vocal ensemble ‘Half Past Nine’ in the frame of the music festival Februari Muziekmaand. © Rico van Houten

New impressions from all over the world enter our living rooms with one single mouse click. Not in three dimensions and in real life, but in two dimensions within the scope of our own local society. New impressions come and go at a fast tempo. The worldwide Web is just one part of the innovative and fast changing society: new ways of entertaining, new rules in exchanging information and the different (cultural) contexts in which people should function. Young people, young musicians grow up and get quickly acquainted with these fast changes around us. They struggle and learn how to live with the challenges and chances offered by the present society. Moreover

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they are a major part of the future, and what’s more, a major part of the future of our music. It appears that people agree on the necessity of involving this young generation in their daily organisational work, too. But then, a new challenge rises: How to achieve this …? Between all the other new and attractive ways of spending time, there are interesting possibilities to involve this young generation in the current work for music now and in the future. This involvement is mainly based on trust, sharing and support. In this article three different examples of youth participation are illustrated: an international, national and local example, each with its own focus and corresponding character.

Youth empowerment? // WORKING GROUP YOUTH

‘Next Item’ performing at the music festival Februari Muziekmaand. Member of the folkmusic group ‘The Gonnagles’ performing in the frame of the music festival Februari Muziekmaand.

Jeunesses Musicales International

Trust: Youth in decision-. making bodies Jeunesses Musicales International (JMI) is the world’s largest youth and music network and strives to “enable young people to develop through music across all boundaries”. Part of this development is the possibility for young people to contribute to this large organisation on all levels, including in the decision making bodies. It is written in the JMI statutes that among all board members, three persons should be aged under 30 years, one which is chosen as a vice-president of the executive board. It is a major recognition of the importance of youth empowerment. This investment appears to be fruitful: more young delegates visit the annual meetings and conferences and feel connected to the work of JMI. 3 www.jmi.net

NOBU-voices (Norway)

Share: Learning from the . experienced NOBU, the Norwegian Children and Youth Choir association, aims to create the opportunity for all children to participate in all kind of choir activities, regardless of their background. NOBUvoices is a group of young (aged under 20) and active choir singers in connec-

tion with NOBU. Young possible members are introduced by the board and become a so-called “NOBU-voice” for a period of two years. During these two years the members learn about the work of the organisation and about the great diversity in the choral music scene, by observing meetings, bringing support during events, following courses on basic organisational matters and by talking with the national and international experienced people. Together with NOBUboard members they reflect on those activities. It is a combination of sharing knowledge and experiences with a real young and curious generation and of involving their “voice” for the development of future events and policy regarding vocal music for the next generation. 3 www.nobu.no

Februari Muziekmaand Enschede (The Netherlands) Support: Young independent . initiatives

The third and last example is the support of a “young” independent organisation. The foundation Februari Muziekmaand is a local music festival initiated by a group of university students. In 4 years time it grew from 4 concerts in the month February on the university campus to a festival with over 100 concerts throughout the city. The festival grew thanks to support from the local government and some professional music organisations in the city. Besides

sufficient financial means, this support consists mainly of providing relevant information and contacts, and being available for questions and discussion. Without focusing on a special style or genre but with special attention for amateur arts and using mottos like “more than sum of parts” and “let the music speak”, the festival and its organisation created a dynamic event and started the debate about the role of amateur arts within the local music scene and the role of music in the city: a debate that is to be continued in the future. 3 www.februarimuziekmaand.nl Trust, sharing and support are the main abstract ingredients for involving this next generation today. The cases above offered concrete examples of the use of these ingredients for youth participation: You have the chance to provide the next example! For more information on youth participation or one of the cases: The Working Group Youth is waiting for your questions, ideas and new young colleagues! // Daphne Wassink (The Netherlands) Member of the Working Group Youth of the EMC. She studied Science and Innovation Management and won in 2002 the ‘Schuijer Campus Culture Award 2002’ for combining high level achievements in both academic (electrical engineering) and cultural (choir music) work. 3 wgy@emc-imc.org

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CULTURAL POLICY // EU Comunication on Culture

EU Communication on Culture In Spring 2007, during the German EU Presidency, the Directorate General of Education and Culture of the EU Commission (DG EAC) intends to publish a “Communication on Culture”. A “communication”, in the terminology of the EU is an official document transmitted by the European Commission to other European institutions, which introduces ideas or plans for new programmes or policies. Although it has no direct legal effect, history shows that communications are often the first step in the direction of important new developments and changes. The creation of the Culture 2000 programme, for example, was preceded by a communication. The 2007 “Communication on Culture” intends to prepare for a cultural policy in Europe that reaches far beyond financial support to cultural cooperation projects. In autumn 2006, the DG EAC opened an online consultation to prepare this communication. Cultural operators in Europe were invited to participate in the consultation. The DG EAC gave a clear sign of willingness to reinforce the dialogue with the actors from the cultural sector. Some technical challenges had to be met when filling in the online questionnaire, as for many questions it was not possible to answer freely, but selections from a given list had to be made and place for comments was very limited. The contribution by the European Music Council was prepared in close exchange with the European Forum for the Arts and Heritage (EFAH): Excerpts of the questionnaire for the online consultation and EMC answers:

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IMPORTANT CHALLENGES Are art and culture linked to the process of European integration? Art and culture form a decisive component of individual identity. It is essential to encourage the development of multiple identities e.g. on local or national level and at the same time at European level. Art and culture can help raise the awareness of different identities that coexist in Europe. Only in the awareness of this rich diversity, can a European identity grow.

b Which are the most important cultural challenges for Europe? 1. Intercultural dialogue is a crucial prerequisite for social cohesion and equal chances in Europe. Cultural and social integration can only take place in a respectful way if intercultural dialogue is facilitated on community level. 2. Cultural diversity is closely linked to intercultural dialogue and constitutes the richness of Europe. 3. Enlargement of the EU is an important process, as being member of the EU provides privileges in terms of economy, freedom of travel, etc. It is a danger to exclude European countries that are not EU members from the EU member states. 4. Deepening of European integration 5. Emergence of a European identity and citizenship

Does culture play a role in individual personal development and social cohesion in Europe? Cultural expression is a human right that has to be accorded to every human being. Cultural activities are important instruments to obtain social competence. Skills like communication, tolerance and curiosity are indispensable for a peaceful co-existence. Culture, especially music, is an important medium to train those skills. Cultural expression has to be an integral part of all school curricula, for all ages, in every EU member state. Financial and structural support has to be provided to grass roots level projects.

b Does culture play a role as catalyst for innovation and knowledge? In line with the EU Lisbon Declaration, culture has to be acknowledged as part of this knowledge development process. Creativity is a prerequisite for innovation and inherent in cultural activities; every citizen, especially children and youths, has to have access to cultural activities in order to assure knowledge development in European society. Cultural activities have to be included in all measures for lifelong learning.

EU Comunication on Culture // CULTURAL POLICY

THE CULTURAL SECTOR, COMMUNITY POLICIES AND COOPERATION IN THE EUROPEAN UNION

INTERNATIONAL ASPECTS AND CO-OPERATION WITH INTERNATIONAL ORGANISATIONS

Which are the most important challenges for the cultural sector in the European Union? 1. Community policy for culture, . Community culture programmes The existing legal basis (art. 151 of the Amsterdam Treaty) needs to be fully conceptualised and implemented. Until now, the EU’s varied direct and indirect support to cultural activities via specific actions and programmes has led only to an EU cultural policy ‘by default’. 2. Legal and regulatory environment The special role of culture has to be acknowledged when formulating laws and regulations for cultural goods and services (authors’ rights handling, service directive). 3. European agenda for culture Within its political agenda, the EU has to develop a coherent explicit cultural policy, which would then flow into strategy and programming. Such policy should have a strong statistical and research basis, a sufficiently funded programme with focused objectives, and a crosscutting agenda in other policy areas. 4. Cultural cooperation with third countries Intercultural dialogue does not stop at the borders of the European Union. In order to guarantee and facilitate this dialogue it is essential to involve third countries in cultural cooperation projects. The financial means that are currently provided for cultural activities are far too low, both on an EU as well as on a national level. 5. Financing of culture As the role of culture plays a crucial part in European society, solutions have to be found. More publicprivate-partnerships, more private funding and sponsorship and also more resources provided from public bodies are necessary.

Which are the Community policies that have the greatest impact on the activities of the cultural sector at European level? 1. Culture There is a strong need for a European Cultural Policy in order to push forward the European process. 2. Civil Society 3. Education and Training 4. Youth We strongly believe that recognising the central place of culture in our societies should translate into a concrete and coherent transversal policy strategy as recommended by article 151.4 of the Amsterdam Treaty. Such a mainstreaming agenda should be based on systematic data collection, regular results measurements and appropriate funding. Synergies between culture and education have to be used.

b In addition to the Community policies and areas mentioned above, have you identified other fields in which coordination or cooperation at European level could significantly contribute to the fostering of the cultural sector? The concerted EU participation in the negotiations of the UNESCO Convention on Cultural Diversity should open the way to a European monitoring of its implementation. Next to the coordination of national efforts, new EU projects which promote policy synergies such as between culture and social policy, home affairs or development policy should be identified and supported. The cultural sector’s expertise in promoting cultural diversity and intercultural co-operation should be used in this process.

What is the scope of your cooperation activities with third countries (outside the EU)? Which should be the objectives of the European Union in its relations with third countries in the field of culture? The EMC belongs to the network of the International Music Council. An unlimited „cross border“ information exchange and mutual participation in cooperation projects should be possible. Visa procedures for project participation need to be facilitated and travel costs for participants from outside the EU should be eligible for EU funding if the action takes place in a country that is eligible in the respective framework programme (“Culture 2000”).

b What is your experience of relations/cooperation with other international or regional organisations active in the cultural sphere? The EMC has close links to UNESCO through the International Music Council. These consist in research executed on behalf of UNESCO and different advisory activities. Cooperation with the Council of Europe is – at the moment – limited to information exchange. As the EU is the only institution that has the power of legislation, closer cooperation and higher respect of convention, chartas and other documents prepared by the Council of Europe or UNESCO would be appreciated. // rj

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CULTURAL POLICY // INTERCULTURAL DIALOGUE

The news of the past few years has not been short of stories . telling us that people from different ethnic and religious backgrounds in Europe don’t all happily co-exist. We have seen the ‘race riots’ in Brussels in 2006, in Birmingham in 2005 (and earlier incidents in Northern English cities), the violence in the Banlieues of Paris in 2005, the unrest following the murder of the Dutch film-maker Theo Van Gogh in 2004, and the outrage over the Mohammed cartoons. However different these events might have been in their details and precise causality, they have all been wake-up calls to reflect on the different integration models in Europe. Multiculturalism and equality and the separation of religion and state; tolerance and indifference; liberal values and common threads to identity are hot issues across Europe. The problems in focus exhibit economic and social dividing lines, which call for corresponding policy solutions. International politics has its repercussions too. A greater investment in people’s intercultural competence, however, is also needed – enhancing curiosity and openness towards each others’ cultures and the ability to engage with them – creating communication between cultures and facilitating participation in joint cultural explorations.

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The opportunity

The European Commission has responded to this need by deciding on a European Year for Intercultural Dialogue in 2008, which will focus on increasing EU citizens’ and inhabitants’ appreciation of diversity; and on enabling them to cope with and benefit from diversity. The European Cultural Foundation (ECF) together with the European Forum for the Arts and Heritage (EFAH), on the other hand, have jointly initiated a cross-sector civil society alliance for intercultural dialogue: The Civil Society Platform for Intercultural Dialogue aims to develop and share the practice of intercultural dialogue in a longer time frame, while providing a concrete response from civil society to the European Year of Intercultural Dialogue in the hope of heightening the impact and effectiveness of the Year beyond 2008.

The European Year of Intercultural Dialogue 2008 is the first thematic European year to be designed and implemented by the European Commission’s culture unit. It is not just the cultural sector being called upon to engage. Indeed one declared intention of 2008 is to ‘mainstream’ intercultural dialogue across European policy areas. The cultural sector should be the first to use this opportunity to contribute to public policymaking. After all, there have been many cases, where cultural conflicts have crystallised around the arts or their censorship, sometimes selfimposed. Take the cases of Salman Rushdie’s Satanic verses (1988); the film Submission by Theo van Gogh and Ayaan Ali Hirsi (Nov. 2004); the play Behzti in Birmingham’s Repertory Theatre (Dec. 2004); the Danish Jyllands-Posten Mohammed cartoons (Sept. 2005); or the performance of Mozart’s Idomeneo at the Deutsche Oper Berlin (Sept. 2006). The capacity of the arts to bring cultural conflict to the fore, but also their role in mediating and defusing conflict, call for reflection and adapted policy measures. The Civil Society Platform for Intercultural Dialogue is mobilising organisations from the arts and cul-

INTERCULTURAL DIALOGUE // CULTURAL POLICY

ture and from the fields of education, youth, social affairs, human rights, migration and anti-discrimination to engage in a collective learning exercise by sharing concepts, approaches, and practice of intercultural dialogue across sectors of society. The main aim is to develop, on the basis of exemplary practice, the understanding and potential of the arts and culture in bridging differences and contributing to open but cohesive societies. Ultimately, the platform project aims to translate the learning into policy orientations that are recognised in sectors other than the cultural, and to be taken into account in policy formulations at the various levels of government. In recognising the rich contribution made by foundations to intercultural dialogue, the Network of European Foundations (NEF) has joined – and financially supports – the alliance.

The Challenge Creating a platform, which unites such varied sectors with diverse interests as, for example, the creative industries, migration experts and human rights activists is a big relationship building exercise. The interested parties need to ‘buy into’ the common purpose and in the process hone its definition. Mutual knowledge and trust need to grow so that effective links across policy sectors can be made and value adding synergy can be achieved. Moreover, the concept of a broad civil society platform must be weighed against the need for efficiency and impact. Representativeness on the one hand, and experience, interest and commitment on the other, must be reconciled as participation criteria. Although it is envisaged that the platform will share its conclusions with political stakeholders – and possibly even advocate for crosssectoral policy orientations – it is important to keep in mind that even with a mission to ‘group voices’, the platform will never make claims to any exclusivity as a civil society representative. Therefore, when the European Commission – which has

taken a close interest in the development of this initiative – held its first consultative meeting (January 17, 2007) on the Year of Intercultural Dialogue, and more precisely on the communication strategy for the Year, it did well to invite the Platform as an obvious partner, but also “other interested parties”. The first meeting of the Platform itself, in November 2006, was a learning exercise. It allowed participants to share their aspirations with regard to intercultural dialogue and to brainstorm on how to collect and share good practice and mobilise other potentially relevant partners. The second platform meeting at the beginning of March 2007 will begin to tackle content in earnest. Discussions on intercultural dialogue as a public policy aim at European, national and local level, and on the arts and social development, will be followed by workshops for which the participants are called upon to collaborate on a number of issues, including the precise formulation of questions and the contribution of examples of practice. The workshops are to focus on cross-sectoral collaboration, to explore the role of art and culture in addressing social issues, to involve representatives from concerned social groups, and to include examples of applied work from the grass-roots of their organisations. They should ultimately be a launch pad for further working parties. The initial choice of workshop topics is: The Roma in Europe; Muslim immigrants in European cities; Intercultural competence, and intercultural dialogue mediated by consumable cultural products (film, music, books etc). While intercultural dialogue is a very broad topic, the platform is due to focus on “diversities in proximity”, i.e. cultural diversity due to old and new migratory flows in urban environments. The platform is a European level initiative exploring examples at local level, where intercultural dialogue is actually happening, not happening enough or no longer happening. How can diversities cease to be (perceived as) “problems” and turned into powerful cultural, social and economic resources?

The Possibilities The need to create cross-sectoral spaces of debate, exchange and learning, on cases of success and failure of intercultural dialogue, has been acknowledged by all interested parties. Options for practical collaboration between platform participants include: Creating a ‘competence bank’ from which each participating organisation would draw when needed; working towards a database on intercultural projects; mapping of participating organisations’ activities on intercultural dialogue (both actual ones and desired ones); and undertaking a comparative examination of the participating organisations’ submissions to the EC’s Call for Ideas on Intercultural Dialogue. Among the envisaged contributions of the platform to the 2008 European Year of Intercultural Dialogue are: A project/event sharing the concrete platform results (practices and policy orientations) leading to a concerted input to the European Commission’s policy formulation on intercultural dialogue for the time after 2008. The European Music Council has followed and participated in the platform from the beginning. Direct contributions from its members, starting with participation in the second meeting, would be welcome. The platform offers the chance to present examples on how music – as a participatory activity and as a “product” – teaches about different cultures, allows them to be experienced, and mediates between them. In return, inspiration from practice in other fields will be available to be taken on board. // Sabine Frank (Belgium/Germany) Co-ordinator of the Civil Society Platform for Intercultural Dialogue 3

For further information and registration: www.efah.org or contact sabine.frank@efah.org

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CULTURAL POLICY // IMC STUDY

IMC Study on the situation of musical diversity in the world A study carried out for UNESCO by the International Music Council looks into challenges and opportunities for musical diversity in numerous countries around the world The study “The Protection and Promotion of Musical Diversity” intends to reveal the situation of musical diversity in the world. It was instigated by Katérina Stenou, Director of the Division of Cultural Policies and Intercultural Dialogue at the UNESCO Culture Sector. UNESCO supports cultural and therefore musical diversity. Its interest in cultural diversity has been present since its inception. It has adapted to changing circumstances over the years but its current interest arises in part from a concern that diversity is being diminished.

The study addresses an issue of great concern to many in the music world and provides an opportunity to explore the many challenges and possibilities for musical diversity. Dr. Richard Letts, the President of the IMC and Executive Director of the Music Council of Australia, was the Principal Investigator for the study. To assist in achieving a global perspective on a global issue, the IMC engaged consultants from representative regions on the five continents. Most of the consultants are associated with the IMC and brought a strong knowledge of the music sectors in more than 50 countries in the Arab

world, Asia, Australasia, Europe, Latin America and Sub-Saharan Africa. In its first section, the study looks into the relationship between musical diversity and human rights. This section searches for situations where musical expression or musical diversity have been repressed by direct government action or action by others directed by government, or by others acting to pre-empt direction by government – and whether, where there is such repression, there are other breaches of human rights. The section “Musical diversity and sustainable development” explores the use of music to assist in non-music

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IMC STUDY // CULTURAL POLICY

economic development, actions by governments or agencies to develop aspects of the music industry or the music industry as a whole, and the use of music to alleviate poverty or the conditions contributing to poverty. Furthermore, the study assesses the potential contribution of musical diversity to the promotion of peace. Another section is dedicated to government standards and regulations that impact positively or negatively on musical diversity. Under the sub-topic “Musical diversity and the imposition of a monoculture”, the study searches for examples of government promulgation of a single musical or cultural identity and any associated constraint on other musical or cultural identities, and examples of similar promulgation by the citizenry or sections of the citizenry. This section also offers a commentary on the potential use and misuse of the new UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions. The section “Musical diversity and issues around personal and community identity” explores the manner in which music workers address musical diversity and how diversity is expressed in various forms of musical creation. This section also identifies examples of the expression of personal or community identity through music. The last section, “Challenges and responses to musical diversity”, represents an extensive exploration of various circumstances in which musical diversity is endangered; and brings to light those good practices and actions which need to be strengthened and widely practised in this field. The report is complemented by an appendix of detailed Consultants’ reports covering more than 50 countries. The following excerpt should offer an indication of the content of the study “Aspects of musical diversity for policy purposes”: “On the face of it, in most societies there is no shortage of musical diversity. A diversity of musical genres is provided by local traditions and current fashions. Furthermore, any population with easy access to the internet can find music from hundreds of traditions, from past centuries to the present. Even in countries less fortunate, the people almost certainly will have access to a variety of musical genres.

It may be that a government seeks to protect only a single genre of music (for instance an endangered local tradition). This in itself is then not a policy in support of musical diversity within that country. However, it does contribute to diversity as between countries, or to global diversity, if it ensures the survival of a genre that might otherwise be lost. So such policies are included in the task So the actions of governments or set out below. A government may have policies indeed, individuals, that in some way that more literally promote musical explicitly support musical diversity will tend mainly to be found where some diversity. For instance, a government may offer financial assistance for the aspect of this diversity is under threat. Further, we might suppose that for continuation of the musics of immithe protagonists, the action is not one grant societies under a broader policy of support to multiculturalism. Some that is simply motivated by intellectual countries have established a governargument or by principle; it will be motiment broadcasting network devoted to vated emotionally by self-interest and perhaps, in particular, by an individual the cultures of immigrant groups. Such policies may be directed specifically at cultural identification with the music: support to the arts, or the arts may be because music is clearly a strong expresbeneficiaries of policies with wider sion of cultural identity, whether it objectives. Perhaps the multiis the identity of teenagers in defiance of or distinction culturalism might even be a Multifrom their elders, or a somewhat inadvertent byproduct of policies that tribal group, or memcultural policies give support separately bers of a sub-group may ask us to a number of tribal within society for groups. whom an identificasimply to tolerate tion with a particular Multicultural our culturally musical genre is an policies may ask us simply to tolerate our important bond or different culturally different statement. neighbour. The result can One threat to loneighbour. cal music comes from be that there are a number globalisation and the internaof parallel cultural streams tional pop industry, as noted. Some within a society that never interact. A more advanced policy may ask us to governments have been persuaded to combat this threat by, for instance, engage with our neighbour, understand the cultural differences and even benefit requiring that broadcasters program from them. More risky, more rewarding. at least a minimum quota of locally produced music and so ensure that Perhaps a musical consequence of the local music retains a share of the local policy of tolerance is that one can search for and visit a Greek club in the Greek audience, even if the remainder is given section of our community to listen to over to imports. But this flies in the Greek music. A musical consequence of face of so-called free trade policies that the policy of engagement with the differare advancing through the WTO and ences might be that one can go to a club bilateral and regional agreements. The US in particular attempts to have these that seeks a broad audience for presentations of music from Greece along with regulations struck down when it negotimusics from twenty other cultures.” ates free trade agreements. It is the threat from these agreements that gave // Richard Letts (Australia) rise to the recent passage in UNESCO IMC President of the Convention for the Protection and together with Promotion of the Diversity of Cultural // Silja Fischer (France/Germany) Expressions, now awaiting ratification IMC Executive Officer by national governments.

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RUBRIKTITEL CULTURAL POLICY // Artikel // GET UP, STAND UP

GET UP, STAND UP 50th anniversary of the Austrian Music Council

Manifesto: „Stand up for more cultural diversity“

The Austrian Music Council (AMC) represents all genres of the Austrian music scene. On its 50th anniversary the present manifesto has been published. It is the outcome of the symposium „MUSIC AND SOCIETY. How does music contribute to society? How does society contribute to music? Perspectives of Austrian music policy“. Music makes vital contributions to society. It is the most important medium for expressing and displaying emotions and fuels identity-shaping processes as well as group experiences throughout all social life-worlds. Austria boasts a rich musical heritage and a great many first-rate musicians and musical talents. In terms of contributions of society to music we ask all public decision makers in the years 2007-2010 to give priority to the following issues:

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5. To give awards to projects that protect and promote the diversity of artistic and cultural forms of expression according to the UNESCO convention. 1. To increase the cultural budget in favour of promoting contemporary music (serious music, jazz, world music, dance, rock and pop music, vernacular music, ...) 2. To invest in a better musical education, particularly in nursery schools and primary schools and to increase the capacity of music schools to accommodate students.

6. To gradually increase the percentage of music made in Austria in the public and private media from currently 20 % (Austrian Broadcasting Company) to a good one-third of the whole repertoire (which constitutes the European average). To import more music from countries that do not belong to the big players in the music industry.

3. To enhance chances of Austrian artists in the marketplace by creating and upgrading training courses covering artistic, creative work of all genres as well as professional music management.

7. To systematically promote the areas of distribution and media in order to create enough space for cultural diversity. To grant tax benefits to companies that observe certain criteria, as is customary in the field of environmental protection.

4. To facilitate cooperation between the ministries of foreign policy, art and education, economy and justice and all music organisations in order to effectively support export initiatives for musicians living in Austria.

Harald Huber (Austria) President of the Austrian Music Council and Board member of the EMC Professor at Vienna University of Music and Performing Arts

European competition for live-electronic music projects // FOR INSPIRATION

European competition for live-electronic music projects The ECPNM – European Conference of Promoters of New Music is hosting a European competition for the composition and interpretation of live-electronic music projects.

The organising partners of this competition are based in different regions of Europe: the Music Academy Tallinn, Estonia; EULEC in Lüneburg / Hamburg, Germany; CEM in Amsterdam, The Netherlands; Aspekte Salzburg, Austria; CEMAT in Rome, Italy; MISO Music, Portugal; Gaudeamus, Amsterdam, The Netherlands. The event is organised in co-operation with EFA – the European Festivals Association. In 2006 the ECPNM called for project proposals demonstrating in an innovative way new possibilities of the connection between instruments and live-electronics. Meanwhile 29 proposals were received, coming from

young composers and musicians from 14 different countries. A maximum of six projects will be selected by a jury (including representatives of the above mentioned organisations); the selected projects will be produced by the applicants and then be premiered during the International Gaudeamus Music Week 2007 in Amsterdam, where the annual General Assembly of ECPNM will take place as well. After the performance one project will be selected as the prize winner. The prize winning project will also be programmed at least during the season 2007/2008 by the organising partners; further performances (including performances of the other selected projects) might be possible within activities of ECPNM members .

Anne Wellmer © Co Broerse

In this way many ECPNM members are directly involved in the beginning phase of the project. The project is however flexible and not on a too large scale regarding production and finances, so that many other members of the association can be involved in the second phase. Thus the proposed projects will get more performances throughout Europe and reach a larger audience through this network. The ECPNM believes that small-scale, multimedia projects like this will become more important in the future than large-scale projects such as orchestras and big operas. The use of the network thus creates better opportunities for young composers and musicians to be heard. // ECPNM c/o Gaudeamus, Piet Heinkade 5, 1019 BR Amsterdam, The Netherlands Tel.+31 20 5191800, fax +31 20 5191801 info@ecpnm.com; www.ecpnm.com

‘Radian‘ © Co Broerse

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FOR INSPIRATION // PROFESSIONAL MUSIC TRAINING IN EUROPE

PROFESSIONAL MUSIC TRAINING IN EUROPE CHALLENGES AND OPPORTUNITIES

The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC), . a European association of more . than 240 institutions for professional music training in higher education inside and outside Europe, has always considered the connection between music training and the music profession as one of the key issues in the music sector. Although this subject has always caused much debate, it seems that at this very moment the professional music training sector is facing more turmoil than ever. Why? There are several developments that are rapidly changing the environment of the music academies.

Changes in the music profession It used to be quite normal for a professional musician to get a fixed position in a music school or a performance ensemble, such as a symphony orchestra or an opera house. You would never become rich, but there was a certain security. This situation is changing. State funding for music is decreasing in virtually all European countries and so is the number of formally organised jobs. There is also a changing attitude

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towards music styles: whereas classical music organisations dominated the music scenes for many years, other styles of music (jazz, world music, pop, rock, etc.) have strongly developed over the years and the employment market of these styles is organised differently than the traditional music styles. The recording industry, another important source of income, appears to be in trouble due to a decreased demand. The AEC does not belong to these organisations that suggest doomsday scenarios for the music profession in the future; we simply observe a change in how the music profession is structured and organised. As a consequence, we increasingly see the emergence of what is called the ‘portfolio career’ in the music profession, which means that musicians combine several types of professional activities in order to make a living. They must perform music at a high level, but also be able to teach, to engage in management and to operate in a constantly changing and increasingly international professional environment. In this situation, the musician will be self-employed and might never have a fixed contract with a particular organisation, which puts a much greater demand on the entrepreneurship of the individual.

It is clear that training institutions have to adapt to this new reality in order to ensure that their graduates will be sufficiently prepared for the profession. This can be done by looking very closely at the training programmes and decide whether they offer the breadth of knowledge and skills that will be required by future graduates in the profession. At the same time, the training institutions are also faced with increased competition in the music profession in relation to performance, where quality standards are higher than ever. The training institutions are therefore faced with a dilemma: how to construct a study programme in such a way that there is sufficient breadth for the majority of students, while at the same time ensuring that some highly talented students receive the kind of specialised support that will enable them to survive in the fierce international competition in music performance?

The Bologna Declaration Process The European ministers for education signed an important document in Bologna in 1999. This ‘Bologna Declaration’ has the aim to establish a ‘European Higher Education Area’ by 2010 by making European higher education more transparent, competitive and

PROFESSIONAL MUSIC TRAINING IN EUROPE // FOR INSPIRATION

comparable through the introduction of several structural measures, such as the introduction of a uniform 3-cycle system (Bachelor/Master/Doctorate) in all European countries, the use of credit points and the Diploma Supplement, and a Europe-wide approach to quality assurance. One of the main reasons for this process was to resolve the existing problems at European level with the recognition of studies and qualifications. The professional music training sector, which has been integrated into higher education systems in most European countries during the past decades, is now being strongly influenced by the Bologna Declaration Process. How do these two developments, which seemingly have no connection to each other, interact? Because of the ‘portfolio career’ of the future musician, issues in relation to the recognition of qualifications (which until now never received much attention in the music profession) are suddenly seen with a renewed sense of urgency. The AEC regularly receives emails from musicians, who, for whatever reason, have moved to a different European country to build a professional life there, only to find out that teaching in a music school or a private teaching practice (one of the pillars of their ‘portfolio career’ that would give them the possibility to make a living) is not possible due to problems with the recognition of their qualification.

The AEC sees it as its main aim to support its members in these processes. Firstly, it has initiated in a substantial information campaign about ‘Bologna’, which has resulted in the only informational website that approaches the ‘Bologna Process’ from the perspective In addition, the higher education of a particular discipline, in this case framework implemented by the Bologna music: www.bologna-and-music.org. It Declaration Process with the 3-cycle syshas also developed many handbooks and tem (Bachelor/Master/Doctorate) gives supporting documents, which can assist more opportunities to institutions to ofinstitutions with the implementation fer flexible programmes. While offering of the ‘Bologna’ principles. At the same students the basic tools with which they time, it must be pointed out clearly that can approach the various activities they while the AEC sees the overall ‘Bologna will encounter in the profession during Process’ as a positive development, it the first study cycle, opportunities for reis being very active at the political level training and updating could be offered to ensure that within these large higher to professionals in other cycles as part education developments, the needs and of a ‘life-long-learning’ philosophy specificity of music are not forgotten in the music profession, which by using a highly music-specifhas been conspicuously abic approach to the ‘Bologna’ We developments. Secondly, sent so far. The tension in its ERASMUS Thebetween offering a very increasingly broad programme matic Network for Musee the emergence versus a highly spesic ‘Polifonia’ (www. cialised programme of what is called the polifonia-tn.org), it mentioned above has established, in ‘portfolio career’ cooperation with the can be approached European Music Counby using major/minor in the music options in study procil, a working group that grammes that are tailored studies the latest trends profession. at the individual needs of the in the music profession. student. It is in this way we see The group, which includes EMC Board members Einar Solbu and Timo that institutions across Europe are Klemettinen, aims at the identification using the ‘Bologna Process’ as a moment for a profound reflection on and observation of changes in the music the aims and structures of their proprofession through site visits, interviews grammes. and research. The information collected will result in a series of reflections on what kind of implications these changes may have on professional music training. 2010 is an important year for the ‘Bologna Process’. What will music training and the music profession look like in 2010? It is difficult to say, but the AEC is working very hard to find out – and to be prepared! // Martin Prchal (The Netherlands) AEC Chief Executive www.aecinfo.org, aecinfo@aecinfo.org

RCM Chamber Ensemble © AEC

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FOR INSPIRATION // European Ensemble Academy 2007

European Ensemble Academy 2007 On the occasion of the German EU Presidency and to mark the 50th anniversary of the signing of the Treaties of Rome, the German Music Council will in 2007 be initiating a “European Ensemble Academy”.

‘BuJazzO‘ © Holger Jung

The focal point of this musical work and concert project will be the gathering of the younger generation of Portuguese, Slovenian and German musicians. In the course of a 10-day working phase and a subsequent concert tour throughout Europe, contemporary serious music, European jazz and pop and rock music will be intermingled, with works composed especially for the Academy being developed and performed in a joint effort. As from January 2007, Germany, Portugal and Slovenia will successively hold the Presidency of the Council of the European Union. This political constellation will provide the framework for a major musical project, which is being supported to a large extent by the Federal Cultural Foundation of Germany. Political and musical cross-border links are the basic idea and motivation behind the “European Ensemble Academy”. The German Music Council will be giving some 60 young musicians the opportunity to transcend national borders and meet up with artists from different European cultural environments. The most notable contemporary musical genres – new music, jazz, rock/pop will be united in the Academy under one roof. Three ensembles from these three different musical fields will be formed especially for the project: the “ensemble perspective”, the “European Movement Jazz Orchestra” and “Basement Pop”. With the cooperation and under the direction of renowned artists and instructors such as Udo Dahmen, Sian

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Edwards, Mauricio Kagel, Henning Rümenapp, and Manfred Schoof, the musicians will initially devote themselves to their “own” musical idiom. A fourth ensemble, “ensemble 07”, will bring together musicians from all three stylistic areas. In addition to the compositions and arrangements of established composers, the Academy’s programme plans to spotlight the works of the younger generation of composers, and works have been commissioned from up and coming Portuguese, Slovenian and German composers. The composer Moritz Eggert will be making a new instrumental arrangement and adaptation of one of his works for the unique group of musicians making up the “ensemble 07”. From 15-24 March 2007, the ensembles will be rehearsing in the Vocational Centre Eichholz near Bonn. Subsequently they will travel throughout Europe with the programmes they will have developed and act as Ambassadors of Music. Concerts will be held in Berlin, Bremen, Brussels, Cologne, Lisbon, Ljubljana, Zagreb and Rome. The “European Ensemble Academy” project will be continued by Portugal and Slovenia in cooperation with the German Music Council. // Deutscher Musikrat Gemeinnützige Projektgesellschaft mbH Weberstr. 59, 53113 Bonn; Fon: +49 228 2091-0, Fax: +49 228 2091-200; www.musikrat.de

15 March 2006 – 24 March 2006 Working Phase Bonn, Bildungszentrum Eichholz 22 March 2006 General Rehearsal/School Concert Dortmund, Konzerthaus 24 March 2006 Opening Concert in the Presence of State Minister Bernd Neumann Bremen, Glocke 26 March.2006 Concert Berlin, Konzerthaus 27 March 2006 Concert Ljubljana, Cankarjev Dom 29 March 2006 Concert in the Frame of the EU Day in Cologne Köln, Gürzenich 29 March 2006 Concert Rom, Europäische Bibliothek 24 April 2006 Concert Brüssel, Palais des Beaux Arts 27 April 2006 Concert Lissabon, Gulbenkian 28 April 2006 Concert in the Frame of the Music Biennial Zagreb, Lipinsnki Hall

ArtiSTAS EN RUTA // FOR INSPIRATION

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sic u M e ive anc i ll vat A n no ion An I cat -Edu y r t us

+++ Liverpool Institute for Performing Arts and AIE form innovative Music Industry–Education Alliance +++ Artistas, Interpretes o Ejecutantes (AIE) is a Spanish collection society whose mission it is to distribute royalties due to performers for the public dissemination of their work as instrumentalists or vocalists. As part of their overall mission they re-invest a portion of their resources into support for artists, performances and education. To this effect they help provide subsidies for festivals, performances, industry events and an ambitious scholarship programme providing yearly support to over 130 students studying in schools and universities in Spain, EU, USA and the UK. A unique feature of AIE’s overall programme is an initiative titled “Artistas en Ruta”. This is, literally, Artists on the Road. This programme

provides tour support, on a yearly basis, to a series of Spanish musical artists, allowing them to access new publics around Spain. Since its inauguration in 1995 the programme has involved some 250 artists, 85 venues and has produced nearly 1,000 concerts reaching over 100,000 persons. In 1999, in an agreement with the Liverpool Institute for Performing Arts (LIPA), AIE expanded the scope of its “En Ruta” initiative. Under the terms of the agreement an artist selected by AIE travels annually to Liverpool to prepare a concert series in collaboration with students on LIPA Music Degree programmes. After rehearsal and an initial concert in Liverpool, the artists and student band travel to Spain where they undertake a five-city tour as well as extensive TV, radio and press activity. From 2000 to 2006 the AIE-LIPA agreement has brought 7 Spanish musical artists to the UK to work and tour with music degree students. Under the mentoring and coaching of these experienced artists, over 100 LIPA students have benefited from engaging in the professional practice of working and touring with established performing and recording artists.

This unique example of good practice in the integration of industry and education has allowed the UK public to experience previously unknown Spanish artists and music, it has allowed students to experience new cultures, new languages (the project has undertaken repertoire in Spanish, Basque and Catalan), and provided exposure to new and differing work practices and the discovery of new places – LIPA students have played tour dates in over 15 Spanish cities since the inception of the programme. Clearly the future of music in the EU can benefit from closer collaboration between industry bodies and education in the mould of the AIE-LIPA alliance. // Arthur Bernstein (U.K.) The Liverpool Institute for Performing Arts (LIPA) is a member of EMC member EMMEN (European Modern Music Education Network). 3

www.aie.es & www.lipa.ac.uk

WINTER 2006-2007 // SOUNDS IN EUROPE

FOR INSPIRATION // THE POVERTY REQUIEM

THE POVERTY REQUIEM

AN ARTISTIC MANIFESTATION, A DEMOCRATIC COMMUNITY-ARTFORM, A VISUAL SYMBOL OF A JUST WORLD

The first performance of the Poverty Requiem in Nairobi, Kenya by a local choir of more than 200 singers. © Daniel Maissan

The idea of the Poverty Requiem was conceived from the need to let two thirds of the world population feel – rather than just know – how the other one third struggle daily to survive. The concept is to let anyone involved as performer or audience realise that poverty is unnecessary and can be solved – if the levels of economic, social, political and gender justice are improved. In this sense the Poverty Requiem is an artistic manifestation against poverty and for the achievement of the millennium goals and a just world in a wider sense. The Poverty Requiem is a vocal work which consists of five movements, separated by a rondo-theme. These movements express the different ways poverty affects people: suffering, anger, mourning, humour and hope. The Requiem is intended for a large choir of an unlimited number of singers, two soloists, a percussion ensemble and possibly a dance ensemble. It has been composed and written in such a way that its basic artistic conception can be put together in different ways by groups of performers all over the world. It can be performed by amateur and professional singers and dancers combined, because it includes different layers of artistic

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complexity. It is designed to be inclusive, allowing children and performers of any artistic level to work together towards a common result. Different components of the Poverty Requiem can be minimised, left out or maximised, depending on the composition of a particular ensemble of performers. The performers absorb the material with the help of audio and visual examples and instructions that are published on the Poverty Requiem website. This makes it possible for every singer to prepare at home, and limits the number of full repetitions to a minimum. Any performance of the Poverty Requiem has been conceived to visualise the white band, the symbol used by the Global Call for Action against Poverty. A choir of about 400 singers, dressed in white stand in open-air in a circle which measures 50 meters across. The audience (up to a thousand people within a fifty meter diameter) sits inside the white circle of singers. A raised platform is located in the middle of the circle. Here you find the percussion ensemble, possibly a small dance ensemble, the conductor and a sound system to amplify the voices of the two soloists. The two solo singers (an alto and a soprano) are transported in opposite directions inside the white circle of singers, standing on the back or front of bicycles (the

Dutch ‘bakfiets’, rickshaws or other taxibike constructions). As they pass by, the choir at that point changes its rhythm or melody, creating sound waves around the circle; an extra-ordinary experience for performers and audience alike. Composer Peter Maissan conducted the very first performance of the Poverty Requiem during the World Social Forum in Nairobi, Kenya last January. A choir of more than 200 local choir members, adults and children, performed the Requiem after a mere 8 hours of rehearsal. „It was such a great joy to sing the Poverty Requiem!” said one of the Kenyan choir members. “You know what it means to be poor so when you sing it, it relieves you from up till down.“

One of the choir members in the hot Kenyan sun. © Daniel Maissan Inspired by the Poverty Requiem and interested to join? The Requiem will be performed a number of times in 2007 on different occasions and in different locations around the world. On www.povertyrequiem.org you can hear the audio, download the scores and text and read and watch instructions on how to perform and organise your own Poverty Requiem. // The Poverty Requiem was suggested as best practice by Europa Cantat. 3 Poverty Requiem Central Coordination Spuistraat 239, 1012 VP Amsterdam, The Netherlands, T. +31 622543767, www.povertyrequiem.org

NO CHANGES, NO FESTIVALS // FOR INSPIRATION

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to position themselves as cultural tourist projects. I think it is logical that they become urban cultural total projects, cultural events. With a multitude of disciplines within an attractive public-oriented framework. This multitude is surely not only reflected in what happens on stage texts accessible to their public. Or is it or in the music but also in the exhibirather a new interpretation of a classic tions. But this doesn’t prevent the need composition of, say, Stravinsky or Bach, of looking for a clear specificity. One has or does one strengthen the quality by to strive to distinguish oneself within an putting the production and presentation ever increasing and competitive offer. on an international level? This specificity mainly lies within the A festival that chooses for a clear own – thus often urban – context. An topic that it continues to fill and apold, historical town will organise itself proach with a curious alertness will in a different multidisciplinary way remain essential. One may indeed say than let us say a town with an idyllic, that romantic beach in a seductive bay. The this is a first prediction of the fusame difference occurs when someture of festivals. Whether where in northern Europe one chooses theatre, jazz one chooses to set up a A festival or third-world movies programme in the dark or literature, piano autumn months than that chooses for recitals or old muwhen in the South a clear topic that sic. Whether one one chooses for the chooses a specific hottest summer it continues to fill form; presentations months. and approach with of churches in a The specificity typical park. Or capsurely offers enough a curious alertness turing the festival in reasons to organise a recognisable time oneself in a distinctive will remain frame: a few weekends manner. essential. on a row, or spread over In short, each festival three autumn months or in that is concerned about dealing one focused short period of let us say in a permanent way with ‘changes and 10 days. Or choosing to go for a specific challenges’ has a future in store. But approach of the public, searching certain also festivals alertly specialising in maktarget groups or a complementary maxiing clear choices of let us say one single mum diversity. And within all this lookdiscipline. The larger festivals, on the ing for a very personal combination. other hand, will only survive if they turn Once again: if you realise all this into urban multidisciplinary events. out of an innovating and inquisitive And in the meantime we witness passion you will guarantee the future of the birth of yet more festivals, year after your festival. year. In this way we will shortly have a I think that this is one choice that permanent festival over the entire Eurowill withstand time. pean territory. Another choice rather deals with The future promises to be very the reconsideration of mainly larger beautiful, indeed. initiatives with an official aura. These // Hugo De Greef (Belgium) festivals – that are often originally initi Secretary General European Festivals ated by the government – link themAssociation (EFA) selves to a city, a region and desire to take to heart the double track of culture 3 www.efa-aef.eu and tourism. These festivals that – al info@ efa-aef.eu though out of a cultural concern – want

no festivals

For festivals, festivals involved in arts, it is almost impossible to talk about ‚chances and challenges‘. For the simple reason that it continuously and essentially deals with solicitudes related to festivals. At least with respect to these festivals that are really concerned with their mission and desire to fulfil it permanently in the most alert manner. In this way, one could in fact simply divide festivals in two groups. On the one hand, the festivals that are just filling in a programme on regular intervals and that are not concerned about the contemporary, future-oriented alertness of the offer. And on the other hand, and let’s talk mainly about them, the festivals that want to think ahead, that are always asking questions and looking for answers. It is these festivals that receive an audience that grows with them, an audience that creatively cooperates in the festival’s future. Therefore the first question is not what the ‘chances and challenges’ are for festivals, but rather: an alert and contemporary festival may only define itself as such if it permanently chooses, with respect to the contents and with its programme, for “challenges and chances”, and is in fact open to repeated ‘changes’. Hence that one rather must discuss ‘each festival separately’ and that one has to judge them as continuously striving for the most exciting, the most surprising. Festivals that are looking for a permanent contemporary quality and that are prepared to changes. Whether it is in a completely innovative dance performance or in finding new forms to introduce an audience to dance. Whether it is in a keen production of a classical theatre text or rather in the endeavour to make international

WINTER 2006-2007 // SOUNDS IN EUROPE

EMC REVIEW

Musical Diversity and Social Inclusion of migrants in Europe review and prospect ‘Cultural diversity’, ‘European cultural identity’ and ‘inclusion of minority cultures’ are top priorities for many music organisations in Europe. Cultural operators and political decision-makers are conducting a significant discussion on how European cultural identity can be defined; and how diversity – including influences from outside Europe – contributes to it. The European Music Council takes part in this debate and offers concrete activities to promote cultural diversity, integrating minorities in a sensitive and respectful way. During 2006 the EMC organised conferences, formulated recommendations and open letters, and launched the EU-funded project “ExTra! Exchange Traditions” in order to raise awareness on the importance of a diverse cultural life for our society in Europe. EMC 2006 Annual Conference: Turning Points: Music – Youth – Diversity, Malmö, Sweden, in cooperation with the Swedish Music Council and its partners More than 100 representatives of the European and international music life met at the end of April 2006 in Malmö, Sweden, to attend the EMC Annual Conference. The Swedish Music Council provided a welcoming framework for the event. The conference focused on questions like: How can we intensify an intercultural dialogue that equally involves all partners? With what means can we specifically address young people with migrant backgrounds? In which way can musical projects contrib-

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ute to an integrative European society? What tools are necessary to protect musical diversity? The EMC conference provided a platform for best practices illustrating the richness of a European society with various cultural influences. The model projects presented by EMC members as well as live concert performances demonstrated how music projects can involve young people with migrant backgrounds in European society. In the Norwegian ‘School Concert Concept’ for example, musicians work for one day with school classes in socially deprived areas. The day ends with a public concert, in which musicians and children together present the results of the work in a playful and improvised way. The children are both audience and performers. Another project “Roots and Routes”, takes place in eight different European cities (Amsterdam, Barcelona, Budapest, Florence, Cologne, Larissa, Lille and Lisbon): talented young people with various “roots” come together in workshops and masterclasses to find new “routes” to stages, internships and training. The power of cultural projects

of this kind lies in creating a community and living in it. Many youngsters are often deprived of this essential experience – they are outsiders in the societies in which they live. During the conference, lectures and discussions touched upon international or Europe-wide tendencies to liberalise the market of musical products and services, e.g. the General Agreement on Trade in Services (GATS) of the World Trade Organisation (WTO), or the EU proposals concerning changes in the handling of authors’ rights. These tendencies constitute a big threat to musical diversity worldwide. The participants of the EMC conference decided to address the European institutions to request that cultural values be prioritised against commercial values in order to protect cultural diversity. EMC open letter, advocating for cultural diversity To define a European identity is one of the most challenging tasks of a united Europe. As expressed by José

EMC REVIEW

Manuel Barroso on several occasions, there seems to be consensus that the diversity of culture unites all Europeans. Moreover cultural diversity is very high on the EU institutional agenda, the EU has voted for the approval of the convention with one voice. Therefore, it is even more astonishing that the EU itself has developed proposals to liberalise the cultural market, which contradict the UNESCO convention. The possible implementation of a new system for handling authors’ rights in line with the EU proposals would most probably severely damage the diversity of music in Europe; and only serve to strengthen the most successful commercial music productions. The European Music Council has expressed deep concerns about these threats to cultural diversity in a letter to various EU institutions. This letter requires the UNESCO 2005 Convention and § 151 in the Amsterdam Treaty be taken into consideration when making decisions concerning the handling of authors’ rights within the EU. MIX IT! Young People with migrant background in music projects As a follow-up of the EMC Annual Conference “Turning Points: Music – Youth – Diversity”, the symposium “MIX IT!” took up the issue of respectful integration of migrants in European society and adopted recommendations that were disseminated to politicians on European, national and local level. These recommendations claim in 10

points that the right to cultural education needs to be an integral part of any curriculum, that musical projects in formal as well as in non formal settings should receive appropriate structural and financial support, and that people with different backgrounds and origins should be equally involved in musical projects. Musical activities for a wide range of young people are an important tool particularly for social inclusion. Different traditions – that are not necessarily “from far away” but might just reflect the unknown in the own tradition – raise awareness and curiosity. Children and youngsters are especially motivated to appropriate those different cultures or establish new traditions. The elitist idea, that cultural activities are just a privilege for the upper-classes, needs to be abolished. Outlook: UNESCO Convention in force – EU Year of Intercultural Dialogue 2008 The above mentioned UNESCO 2005 “Declaration for the Protection and Promotion of the Diversity of Cultural Expression” has been ratified by 30 signatory parties. It should enter into force by March 18 2007. IMC and EMC have strongly encouraged their members to advocate on a national level for a quick ratification of the Convention. This first step has been reached in an overwhelmingly short time frame. This, however, does not mean it is time to sit back and observe. On the contrary, now the important and probably much more effort-consuming task follows – to make sure that national governments implement the convention by legislative steps and activities, using the tools provided by the convention for the protection of cultural expression. The preparation of the Year of Intercultural Dialogue, declared by the EU for 2008, and the year itself, will provide opportunities to stimulate national legislation through cooperation projects practicing intercultural dialogue, and celebrating cultural diversity. // rj

Kouame Sereba performing with a school class from Malmö in the frame of the EMC Annual Conference 2006.

MIX IT! The symposium “MIX IT! – Young People with Migrant Backgrounds in Music Projects” adopts the following recommendations for political decision makers at local, regional, national and European levels: 3 Artistic Expression is a human right. Young people from migrant backgrounds deserve particular attention. Music should never be the preserve of a privileged social elite. Any elitist concept of culture has to be challenged. 3 As artistic expression is a human right, it is as fundamental to the basic school education as reading, writing and arithmetic, claims the UNESCO World Conference on Arts Education (Lisbon, March 2006). Making music and singing need to be seen as an integral part of any curriculum from nursery to secondary school. Cultural diversity has to be included in these curricula. 3 Cooperation between formal and non formal music education is essential for the acquisition of intercultural skills. The cultural scenes themselves offer a wide range of projects with integration aspects in popular and other music styles, which respond to the environment and context of children and young people. These projects on grass root level, which are created by artists, organisers, labels and other cultural operators, should be well recognised and supported financially and structurally. 3 Traditional university programmes do not provide the skills and knowledge needed for the work in multicultural societies. Universities shall change their programmes in order to produce learning outcomes that enable the students to teach music in culturally diverse surroundings. 3 People from different cultural backgrounds should be involved in teaching and leading music projects. Appropriate artistic and pedagogical training should be provided. Artistic and pedagogical competences, not diplomas, should define the recognition. 3 People from different cultural backgrounds should be involved in the planning, organising and managing of music projects and in music education. 3 Mobility is the oxygen of culture and intercultural dialogue. Appropriate funding and accessible visa regulations have to be provided for cultural operators. 3 Musical diversity and intercultural competences have to be learned, not the various musical cultures. It is important to propose music projects in ethnically and linguistically mixed groups. 3 Platforms for cultural exchange and space for intercultural discussions have to be provided. 3 The media should strengthen their role as mediator and present the richness of various musical cultures.

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REACTIONS & OPINIONS

Reactions and Opinions

MIX IT! – Recommendations for a better inclusion of young people with migrant background into the European society In the frame of the EMC symposium “MIX IT! – Young people with migrant background in music projects”, recommendations for a better inclusion of young people with migrant background into the European society were adopted. The recommendations were sent to European ministers for culture and to ministers for integration. Here are some quotations from their answers: In its integration programmes the Ministry of Labour, Social Affairs and Family of the Slovak Republic focuses on reducing exclusion, discrimination and unequal treatment. One of the important aims is a significant support of children and youth within the integration programmes. This is why we have welcomed the initiative of the European Music Council the recommendations of which, from the symposium MIX IT!, fully correspond to the understanding of the Slovak Republic and its integration programmes. Viera Tomanová Minister of Labour, Social Affairs and Family, Slovak Republic

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Diese Empfehlungen sind sicher ein wichtiger Beitrag auch zur kulturpolitischen Diskussion. […] Im Rahmen meiner politischen Tätigkeit werde ich gerne versuchen, in meinem Wirkungsbereich darauf einzugehen. Auch das Jahr des Interkulturellen Dialoges 2008, das seitens der Europäischen Kommission ausgerufen wurde, wird dazu einen wichtigen Beitrag leisten. Franz Morak Staatssekretär für Kunst und Medien Österreich (bis Januar 2007)

U Für die Hessische Landesregierung ist die gesellschaftliche Integration von Zuwanderinnen und Zuwanderern sowie deren Kindern eine zentrale politische Aufgabe, die viele Bereiche der Landespolitik betrifft. Ich stimme Ihnen zu, dass insbesondere gemeinsame Aktivitäten im musischen Bereich gegenseitiges Verständnis und Integration fördern können. Hessisches Kultursministerium, Deutschland

U Sachez que je soutiens de nombreux projets à destination des jeunes dans le domaine de la musique et que je partage votre analyse et vos recommandations. La culture et la musique en particulier produisent incontestablement des effets en matière d’épanouissement des jeunes de l’immigration ou non. Soyez assurés

que je serais attentive à vos recommandations dans la mise en œuvre de la politique culturelle de jeunesse. Fadila Laanan. Ministre de la Culture, de l’Audiovisuel et de la Jeunesse, Belgique

U I would like to express my gratitude to You and Your colleagues, as well as to all participants of the Symposium for the recommendations concerning a better inclusion of young people with migrant background into the European society. The recommendations contain various new ideas and practices of social inclusion, using youth, culture and music. I would like to assure You that we will take into consideration the results of the symposium. Oskars Kastens. Minister for Social Integration, Latvia

U Pour ma part, je puis vous assurer de toute mon attention sur ces questions, qui devraient trouver une résonance toute particulière lors de l’année européenne du dialogue interculturel, qui aura lieu comme vous le savez en 2008. Jean de Saint Guilhem. Directeur de la musique, de la danse, du théâtre, et des spectacles, Ministère de la Culture et de la Communication, France

REACTIONS & OPINIONS

Access to music projects whether formal tuition within school hours or outside school hours is already available to children regardless of their country of origin. […] The Government launched in 2004 a Music Manifesto developed in collaboration with music educators, the music industry, musicians and arts organisations. Julie Sealey Public Communications, Department for Education and Skills, UK

U Please allow me to truly thank you for your kind letter. Including young people with migrant background into the European society is certainly a very important subject. The role of culture in this process must not be underestimated. Raivo Palmaru Minister for Culture, Estonia

Statement – by the Music Council of the Netherlands The Music Council of the Netherlands operates under the umbrella of the CNV-Kunstenbond (trade union of artists): Working within the EU allows people to move around. However, free trade market rules on the one hand and too many tax regulations on the other threaten the music sector. Free market rules might on the long run endanger cultural diversity in Europe. It is important to always keep in mind that music cannot only be handled as commercial good, but also needs to be seen as a value in its own. Complicated tax regulations on the contrary discourage musicians to travel, and the current tax system is not at all adapted to a European labour market. We assist our members in new forms of life long learning for new opportunities. Where possible we advice musicians from the Netherlands and from abroad about their rights and fair payment. The biggest challenge is the needed tax-reform of the EU. And in this matter we request: let the artist pay taxes in the nation he lives. Leen la Rivière Chairman Music Council of the Netherlands www.continentalart.org

The intercultural perspective in various fields of culture is an issue of actuality. I particularly appreciate the fact that the recommendations are in line with the European Union position regarding the cultural diversity and its activities in this area, in which Poland is actively involved. Music projects are of incomparable value in spreading the spirit of intercultural dialogue and harmony. Krzysztof Olendzki. Secretary of State in the Polish Ministry of Culture and National Heritage

U EMC Advocacy Letter about authors’ rights Sent to the Commissioners of the DG Internal Market, Competition and Education and Culture In this letter the EMC expresses its concern about the recommendation prepared by the Directorate General “Internal Market” and the preliminary decision of the Directorate General “Competition” about new regulations on how to handle performing rights for the Internet (online distribution), broadcasting (radio and TV) and mechanical licensing (permission to produce records, films, etc.). I can assure you that the Commission has taken into consideration the cultural aspects involved and all the above mentioned considerations in the two Commission initiatives mentioned above. However the Commission also has to ensure that competition in the internal market is not limited to a degree that is not necessary to ensure

cultural diversity or that limits competition to an injustifiable degree, in particular in view of technological evolution in the sector. I wish to assure you that the Commission will continue to take cultural aspects into account in applying the competition rules of the EC Treaty. Arianna Vannini. Head of Unit, DG Competition

U As you know, the full implementation of Article 151 of the Treaty, and in particular its fourth paragraph requiring the Community to take cultural aspects into account in all its policies, is not only a clear legal obligation, but also one to which I personally attach great importance. […] The Commission, and my services in particular, will pay specific attention to the effects of the implementation on cultural diversity. Ján Figél Commissioner, DG Education and Culture

U The Commissioner believes that a vibrant market for music online can make a significant contribution to the strengthening of cultural diversity in Europe. The Recommendation is aimed at making a contribution to achieving that goal. The Commission is monitoring developments closely. In this, your views would be most appreciated. Helen Blake Cabinet of Commissioner Mc Creevy, DG Internal Market

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A selection of European and international music events in the upcoming year This list does not claim to be exhaustive.

Workshops/Trainings/Academies m March 4th International Competition for Young Choral Conductors 8–12 March 2007, Budapest, Hungary Contact: Liszt Ferenc Academy of Music (LFZE) (Note: “Choral Conductors’ Competition”); Lisz Ferenc tér 8.; 1061 Budapest ; Hungary; T: +36 30 9415598; F: +36 1 4110039; ecceec@EuropaCantat.org; www.europacantat.org/ecceec European Ensemble Academy 23 March–28 April 2007, Bonn, Germany Workshops and concerts of different ensembles (jazz, rockpop and contemporary music). Contact: Deutscher Musikrat; Weberstr. 59; 53113 Bonn; Germany; T: +49 228 20910; F: +49 228 2091200; info@musikrat.de; www.musikrat.de m May 14th Bucharest International Music Competition–Violin & Composition 7–13 May 2007, Bucharest, Romania Contact: Bogdana Horatiu, Programs Director, Jeunesses Musicales Romania; C.P. 13-63; Bucharest 13; Romania; T: +40 722 383 542; F: +40 21 323 66 00; jmrluigi@dial.kappa.ro; www.jmEvents.ro 29th International Music Week for Contemporary Music 13–20 May 2007, Lüneburg, Germany Contact: EULEC, Fortbildungszentrum für neue Musik der Stadt Lüneburg; An der Münze 7; 21335 Lüneburg; Germany; T: +49 4131 309 390; F: +49 4131 309 390 m June European Academy for Young Choral Conductors 10–16 June 2007, Stockolm, Sweden Contact: Europa Cantat, Haus der Kultur; Weberstr. 59a; 53113 Bonn; Germany; T: +49 228 9125663; F: +49 228 9125658; info@EuropaCantat.org; www.EuropaCantat.org m July European Summer Academy 9–13 July 2007, Paris, France Cité de la Musique, Pédagogie et Médiathèque; 221, avenue Jean Jaurès; 75019 Paris; France; T : +33144844484; ; ac-europe@cite-musique.fr; www.cite-musique.fr

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International Summer Academy 16 July – 25 August 2007, Salzburg, Austria Contact: Universität Mozarteum; Schrannengasse 10a; 5020 Salzburg; Austria; +43 662 6198; +43 662 6198 3033; summer.academy@moz.ac.at; www.moz.ac.at Dartington International Summer School 21 July – 25 August 2007, Dartington, UK Internationally renowned artists, inspirational courses and concerts, all styles and abilities. Contact: Dartington International Summer School; The Barn, Dartington Hall, Totnes; Devon TQ9 6DE; UK; T: +44 1803 847077; F: +44 1803 847087; info@dartingtonsummerschool.org.uk; www.dartington.org/index.php?s=summer-school 27th International Christian Artists seminar 29 July – 2 August 2007 A collection of appr. 100 different masterclasses, workshops, learning modules by teachers from all around Europe. Contact: Continental Art Centre; Robert Kochplaats 342; 3068 JD Rotterdam; The Netherlands; T: +31 10 4568688; F: +31 10 4559022; info@continentalart.org; www.continentalart.org Summer Academy of the Holland Music Sessions 29 July – 19 August 2007, Bergen, The Netherlands Contact: The International Holland Music Sessions; P.O. Box 250; 1860 AG Bergen; The Netherlands; T: +31 72 582 13 00; F: +31 72 582 13 09; info@hollandmusicsessions.com; www.hollandmusicsessions.com/summer-academy m August 17th International Summer Academy 12–25 August 2007, Prague-Vienna-Akademy Master courses and workshops for European musicians. Contact: International Summer Academy PragueVienna-Budapest; Johannesgasse 8; 1010 Vienna; Austria; T: +43 1 711555110; F: +43 1 711555199; sommerakademie@mdw.ac.at; www.mdw.ac.at OPUS XXI Academy for Contemporary Chamber Music 29 August – 9 September 2007, Avignon, France Contact: Landesmusikrat Hamburg (LMR HH); Mittelweg 42; 20148 Hamburg; Germany; T: +49 40 645 2069; F: +49 40 645 2658; info@landesmusikrat-hamburg.de; www.landesmusikrat-hamburg.de

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m September 4th European Academy for choral conductor and singers 2–9 September 2007, Fano, Italy Contact: FENIARCO; Via Altan, 39; 33078 San Vito al Tagliamento (PN); Italy; T: +39 0434 876724; F: +39 0434 877554; info@feniarco.it; www.feniarco.it

Cultural Diversity–Europe‘s Wealth. Bringing the UNESCO Convention to life. 24–28 April 2007, Essen, Germany Contact: Christine M. Merkel, German Commission for UNESCO; Colmantstr. 15; 53115 Bonn; Germany; T: +49 228 604970; merkel@unesco.de; www.unesco.de

International Gaudeamus Music Week 2007 3–9 September, Amsterdam, The Netherlands Composers‘ competition for the young generation. Contact: International Gaudeamus Music Week 2007; Piet Heinkade 5; 1019 BR Amsterdam; The Netherlands ; T: +31 20 519 18 00; F: +31 20 519 18 01; www.gaudeamus.nl

m May 51st General Assembly of the World Federation of . International Music competitions 1st week of May, Geneva, Switzerland Contact: World Federation of International Music Competitions; 104, rue de Carouge; 1205 Geneva; Switzerland; T: +41 22 321 3620; F: +41 22 781 1418; info@wfimc.org; www.wfimc.org

m October Festival europalia.europa 3 October 2007 – 5 February 2008, Brussels, Belgium A four month multicultural festival in the heart of Europe. Contact: Festival europalia.europa, Gabrielle Coppée; Rue Ravenstein, 23; B 1000 Brussels; Belgium; T: +32 2 507 85 95; F: +32 2 513 54 88; info@europalia.be; www.europalia.be 33rd festival Neue Musik Lueneburg 21–28 October, Lüneburg, Germany Contact: 33rd festival Neue Musik Lueneburg, EULEC–European Live Electronic Centre; An der Münze 7; 1335 Lüneburg; Germany; T: +49 4131 309390; F: +49 4131 309390; erdmann@neue-musik-lueneburg.de; www.neue-musik-lueneburg.de

Conferences/Symposia/Meetings/Seminars m March La Rencontre de Sevilla 8–11 March 2007, Sevilla, Spain Financing the Culture in Europe: which partnership between the public sector and the private sector? Contact: Association of European Cities and Regions for Culture; 8 villa d’Alésia; 75014 Paris; France; T: +33 1 56 54 26 33; M: +33 6 33 61 67 27; F: +33 1 45 38 70 13; rafael.mandujano@lesrencontres.org; www.lesrencontres.org Musikmesse Frankfurt 28–31 March 2007, Frankfurt, Germany International trade fair for musical instruments, music software and computer hardware, sheet music and accessories. Contact; Messe Frankfurt Exhibition GmbH; LudwigErhard-Anlage 1; 60327 Frankfurt am Main, Germany; T: +49 69 75 75-0; F: +49 69 75 75-64 33; info@messefrankfurt.com; www.musik.messefrankfurt.com m April Changes: Chances and Challenges. Music and the Future 19–21 April 2007, Barcelona, Spain Annual Conference of the European Music Council. Contact: European Music Council; Weberstr. 59a; 53113 Bonn; Germany; T: +49 228 96699664; F: +49 228 96699665; info@emc-imc.org; www.emc-imc.org

Culture Creative Industries in Europe–. Coherent Policies in a Global World 3–4 May 2007, Berlin, Germany Contact: Bernd Fesel, Office for Cultural Policy and Economy; Deutschherrenstr. 85; 53177 Bonn; Germany; T: +49 228 5347743; ; bf@kulturpolitik-kulturwirtschaft.de; www.kulturpolitik-kulturwirtschaft.de EAS Congress 10–13 May 2007, Pitea, Sweden Contact: European Association for Music in Schools, Insitut für Musikpädagogik Wien; Metternichgasse 8; 1030 Vienna; Austria; T: +43 1 71155 3703; F: +43 1 71155 3799; eas@mdw.ac.at; http://eas.punkt.at Euro-Mediterranean Youth Parliament 26 May – 3 June 2007 Contact: Setareh Khalilian, Federal Foreign Office, Division 610; Werderscher Markt 1; 10117 Berlin; Germany; T: +49 30 50007262; ; 610-1@diplo.de; www.goethe.de Creative Europe–The Power of Culture in European Cities 31 May – 1st June 2007, Hamburg, Germany Contact: Werner Weber, Office of the Federal Government Commissioner for Culture and the Media, Division K34; T: +49 30 186813528; K34@bkm.bmi.bund.de; www.bkm-eu2007.de m June Culture.powers.europe.–Europe.powers.culture 7–8 June 2007, Bonn, Germany Contact: Dr. Norbert Sievers, Association for cultural policy; Weberstr. 59a; 53113 Bonn; Germany; T: +49 228 201670; F: +49 228 2016733; post@kupoge.de; www.kupoge.de General Assembly of the European Festival Association 7–10 June 2007, Gent, Belgium The EFA annual General Assembly 2007 will take place in Brussels at the invitation of the Flanders Festival and the Festival de Wallonie. Contact: European Festivals Association (EFA); Kleine Gentstraat 46; 9051 Gent; Belgium; T: +32 9 241 8080; F: + 32 9 241 8089; info@efa-aef.eu; www.efa-aef.eu

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m July 39th World Conference of the International Council for Traditional Music (ICTM) 4–11 July 2007, Vienna, Austria Contact: University of Music and Performing Arts Vienna, Institut für Volksmusikforschung und Ethnomusikologie; Anton-von-Webern-Platz 1; 1030 Vienna; Austria; T: +43 1 711554207; ictm@mdw.ac.at; www.ictm2007.at 17th Annual IASJ Jazz Meeting 2007 8–13 July 2007, Sienna, Italy Contact: IASJ Service Bureau; Juliana van Stolberglaan 1; 2595 CA The Hague; The Netherlands; T: +31 70 315 1484; F: +31 70 315 1518; info@iasj.com; www.iasj.com International Folklore Festival Veliko Tarnovo 21 July – 4 August 2007, Veliko Tarnovo, Bulgaria Contact: International Folklore Festival Veliko Tarnovo; 3 Nezavisimost Str.; 5000 Veliko Tarnovo; Bulgaria; T: +359 62 630223 ; F: +359 62 630223; info@cioff-bulgaria.com; www.folklorefest.com m September Popkomm 19–21 September 2007, Berlin, Germany Contact: Popkomm GmbH; Messedamm 22; 14055 Berlin; Germany; T: +49 30 3038 3009; F: +49 30 3038 2149; info@popkomm.de; www.popkomm.de m October 2nd World Forum on Music and 32nd General Assembly of the International Music Council 11–16 October 2007, Beijing, China Contact: Silja Fischer; International Music Council; Maison de l‘UNESCO; 1 rue Miollis; 75732 Paris cedex 15; France; T: +33 1 45 68 48 50; F: +33 1 43 06 87 98; imc@unesco. org; www.unesco.org/imc World Music Screenings at WOMEX 24–28 October 2007, Sevilla, Spain Filmmakers, musicians, producers, distributors and broadcasters may submit any world music programme that has not been presented at WOMEX. IMZ will make the final selection; Contact: IMZ–International Music + Media Centre; Stiftsgasse 29; 1070 Vienna; Austria; T: +43 1 889 03 15; F: +43 1 889 03 15 77; office@imz.at; www.imz.at m November Europa Cantat General Assembly 16–18 November 2007, Utrecht, The Netherlands Contact: Europa Cantat; Haus der Kultur, Weberstr. 59a; 53113 Bonn; Germany; T: +49 228 9125663; F: +49 228 9125658; info@europacantat.org; www.europacantat.org AEC Annual Congress November, Strasbourg, France Contact: AEC; PO Box 805; 3500 AV Utrecht; The Netherlands; T: +31 30 2361242; F: +31 30 2361290; aecinfo@aecinfo.org; www.aecinfo.org

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m January 2008 MIDEM 27–31 January 2008, Cannes, France International Music and Publishing Market; Contact: MIDEM; 11 rue du Colonel Pierre Avia, BP 572; 75726 Paris Cedex 15; France; T: +331 41 90 45 70; F: +331 41 90 45 70; info.midem@reedmidem.com; www.reedmidem.com

Festivals/Concerts m March Musica Nova Helsinki: Focus Finlandia 10–17 March 2007, Helsinki, Finland Contemporary music festival. Focused in 2007 on Finnish composers. Contact: Musica Nova Helsinki; Lasipalatsi, Mannerheimintie 22-24,; 00100 Helsinki; Finland; T: +358 9 6126 5100; F: +358 9 6126 5161; musicanova@musicanova.fi; www.musicanova.fi m April 10th International Choir Festival Tallinn 2007 19–22 April 2007, Tallinn, Estonia Contact: Estonian Choral Association; Roosikrantsi 13; 10119 Tallinn; Estonia; T: +372 627 4451; F: +372 627 4450; kooriyhing@kul.ee; www.kooriyhing.ee m May Eurovision Songcontest 2007 12 May 2007, Helsinki, Finland Contact: www.eurovision.tv 62nd International Music Festival Prague Spring 12 May–3 June 2007, Prague, Czech Republic Contact: Prazˇ ské Jaro, o.p.s.; Hellichova 18; 118 000 Prague 1; Czech Republic; T: +420 2 57312547; F: +420 2 57313725; info@festival.cz; www.festival.cz Songbridge 15–20 May 2007, Basel, Switzerland Songbridge is a non-competitive forum for international co-operation between children‘s / youth choirs and contemporary composers. Contact: International Center for Choral Music c/o JeanMarc Poncelet, Executive Director; Av. Jean 1er, 2; 5000 Namur; Belgium; iccm@ifcm.net; www.songbridge.net IX European Youth Music Festival 2007 18–21 May 2007, Budapest, Romania Meeting of young ensembles (12 - 25 years old). Contact: IX European Youth Music Festival 2007; Vörösmarty u. 65 Pf. 55; 1390 Budapest; Romania; info@festival07.com; www.festival07.com 32nd International Music Festival Janacek 21 May – 8 June 2007, Ostrava, Czech Republic Contact: IMF Janacek May, o.p.s.; 28. ríjna 124; 702 000 Ostrava 1; Czech Republic

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m June Florence Youth Festival 29 June – 27 July 2007, Florence, Italy Contact: Tamsin Stirk; Via Gramsci, 10; 50014 Fiesole; Italy; T: +39 055 597026; F: +39 055 5979139

55th International Choir Competition Guido d‘Arezzo 2007 22–26 August 2007, Arezzo, Italy Contact: Fondazione „Guido d‘Arezzo“; Corso Italia, 102; 52100 Arezzo; Italy; T: +39 0575 356203 or 23835; F: +39 0575 324735; www.polifonico.org

m July Roskilde Festival 5–8 July 2007, Roskilde, Denmark Contact: Roskilde Festival; Havsteensvej 11; 4000 Roskilde; Denmark; T: +45 46 36 66 13; F: +45 46 32 14 99; info@roskilde-festival.dk; www.roskilde-festival.dk

Beethovenfest Bonn 24 August – 23 September 2007, Bonn, Germany Contact: Internationale Beethovenfest Bonn gGmbH; Poppelsdorfer Allee 17; 53115 Bonn; Germany; T: +49 228 2010 30; F: +49 228 2010 333; info@beethovenfest.de; www.beethovenfest.de

World Cultures Festival 20–30 July, Gannat, France Contact: Association Nationale Cultures et Traditions; 92 route de Saint Priest - BP 58; 03800 Gannat; France; T: +33 4 70 90 12 67; F: +33 4 70 90 66 36; cultures-traditions@wanadoo.fr; www.gannat.com

m September International Haydn Festival 2007: Haydn and the Romantics 6–16 September 2007, Eisenstadt, Austria Contact: International Haydn Festival; Esterházy Palace; 7000 Eisenstadt; Austria; T: +43 2682 61866; F: +43 2682 61805; office@haydnfestival.at; www.haydnfestival.at

m August XIXth Choralies 2007 1–10 August 2007, Vaison la Romaine, France International Choir Festival; for all ages and all countries. Contact: CHORALIES A Coeur Joie; BP 9261, Les Passerelles, 24, avenue Joannès Masset; 69264 Lyon Cedex 09; France; T: +33 4 72 19 83 40; F: +33 4 78 43 43 98; acj.fatima.derbal@wanadoo.fr; www.choralies2007.com Young Euro Classics 3–20 August 2007, Berlin, Germany Concerts by young musicians from all over Europe. Focused on contemporary music. Contact: Meierottostr. 6; 10719 Berlin; Germany; T: +49 30 88471390; F: +49 30 88471392; ; www.young-euro-classic.de Lucerne Festival 10 August – 16 September 2007, Lucerne, Switzerland Contact: Lucerne Festival; Hirschmattstraße 13 P.O.Box; 6002 Lucerne; Switzerland; T: +41 41 226 44 00; F: +41 41 226 44 60; info@lucernefestival.ch; www.lucernefestival.ch Riga International Sacred music festival 14 August – 8 September, Riga, Latvia Contact: Riga International Sacred music festival, c/o State Choir Latvija; Kalku iela 11A; 1050 Riga; Latvia; T: +37 1 722 3839; F: +37 1 722 3839 ; maris.o@inbox.lv; www.music.lv/choirs/Latvia

Warsaw Autumn 21–30 September 2007, Warsaw, Poland 50th International Festival of Contemporary Music. Contact: Polish Composer‘s Union; Rynek Starego Miasta 27; 00-272 Warsaw; Poland; T+F: +48 22 831 0607; festival@warsaw-autumn.art.pl; www.warsaw-autumn.art.pl ULTIMA Oslo Contemporary Music Festival 27 September – 14 October 2007, Oslo, Norway Contact: ULTIMA Oslo Contemporary Music Festival; Kongensgate 4; 0153 Oslo; Norway; T: +47 22 42 99 99; F: +47 22 42 42 18; info@ultima.no; www.ultima.no m October Xth NYYD International Music Festival 12–21 October 2007, Tallinn, Estonia Contact: Xth NYYD International Music Festival, Eesti Kontsert; Estonia Ave 4; 10148 Tallinn; Estonia; T: +372 614 7700; F: +372 614 7709; info@concert.ee; www.concert.ee m November 11th International Festival of contemporary music with Zdeněk Lukáš´s Prize 2–4 November 2007, Pardubice, Czech Republic Open for all categories. Contact: Festival secretariat; Sukova třída 1260; 530 02 Pardubice; Czech Republic; T: +420 466 501 146; F: +420 466 500 764; vlastislav.novak@quick.cz; www.iuventuscantans.com

Festival Ensemble Stuttgart 2007 17 August – 16 September 2007, Stuttgart, Germany Contact: Bachakademie Stuttgart; Johann-Sebastian-BachPlatz; 70178 Stuttgart; Germany; T: +49 711 619210; F: +49 711 6192123; office@bachakademie.de; www.festivalensemble.com

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COMING NEXT

COMING NEXT ... EMC Round Table on Cultural Policy 10 May 2007 Many organisations active in the field of cultural policy coexist in Europe. Exchange and cooperation between these organisations leave space for improvement. An approach seems to be adequate especially between organisations representing the creative industries and organisations representing the not-for-profit sector. Synergies could be used in a more efficient way by better coordinating the different lobby activities and by acting with joint forces, whenever a consensus on a political issue can be reached. This round table aims to strengthen the cultural sector by sharing experiences and by developing measures for cooperation. The invited experts will represent European music organisations from both the creative industry sector and the not-for-profit sector and European cultural organisations active in the field of cultural policy. The invitation will also be extended to directors of culture departments in national cultural ministries. Contact: European Music Council; Haus der Kultur; Weberstr. 59a; 53113 Bonn; Germany; T: +49 228 96699664; F: +49 228 96699664; info@emc-imc.org

Summer Academy for music students organised by the Cité de la Musique, Paris 9 – 13 July, 2007 The summer academy addresses music students from all over Europe. In four different master classes the students will gain in-depth knowledge of Ottoman classical music, Andalusian classical music from Morocco, Music from Transylvania, and Sabar drums from Senegal. The master classes mainly approach music students with very little or no experience in these kinds of music. The aim is to act as a mind-opener towards the variety and richness of the diverse musical traditions that exist within Europe and beyond. As the presented musical traditions belong to cultures in which oral transmission plays a decisive role, the summer academy will provide chances for “classical” music students to discover other repertoires and other ways of learning. The four master classes are led by internationally renowned teachers. Contact: Cité de la Musique, Pédagogie et Médiathèque; 221, avenue Jean Jaurès; 75019 Paris; France; T : +33 1 44844484; ac-europe@cite-musique.fr; www.cite-musique.fr

2nd World Forum on Music 11 – 16 October 2007, Beijing, China The International Music Council invites you to attend its 32nd General Assembly and 2nd World Forum on Music to be held in Beijing, China, October 11-16, 2007, and organised in collaboration with the Chinese Musicians’ Association. The General Assembly will include business sessions for members’ delegates as well as capacity building workshops especially designed for IMC members on advocacy, income generation and information strategies & practice. The aim of the workshops is to make IMC members better equipped to act proactively as advocates for music in their own environments and within their special fields of interest. During the 2nd IMC World Forum on Music, participants will be given the opportunity to become acquainted with and learn from invited experts and to share knowledge and experiences within the membership. The four sessions will deal with: 3 ManyMusics – the UNESCO Convention: protector and promoter? 3 Music and development 3 Intellectual property rights 3 Music delivery in the future Furthermore, participants will be offered an exciting artistic and social programme generously staged by the Chinese Musicians Association. Contact: Silja Fischer; International Music Council; Maison de l‘UNESCO; 1 rue Miollis; 75732 Paris cedex 15; France; T: +33 1 45 68 48 50; F: +33 1 43 06 87 98; imc@unesco.org; www.unesco.org/imc

Dear reader of Sounds in Europe, This issue reflects a wide range of statements, views and opinions. We heartily invite you to comment on the articles published in this magazine. What has inspired you? Which aspects would you like to discuss in more detail? What made you angry? Where do you agree? We are looking forward to read your contributions, Your EMC Team

WINTER 2006-2007 // SOUNDS IN EUROPE

acknowledgEments We would like to thank all authors for their valuable input to the magazine and all who have provided us with texts, photographs, 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 2000 Programme of the European Union Patricia Adkins Chiti Peter Balon Arthur Bernstein Kathrin Deventer Silja Fischer German Music Council

Sabine Frank Steen Frederiksen

Hugo De Greef FranĂ§ois Harquel Linda Hendriks Leen La RiviĂ¨re Richard Letts Timm Lotz Markus Koehler

Juliette Powell Martin Prchal David Price Marrije Prins Laura Sallinen Rineke Smilde Maria Vall Daphne Wassink

Members of the European Music Council: National Music Councils/National Music Committees in: Albania // Armenia // Austria // Azerbaijan // Belgium (Flemish) // Belgium (French) // Bulgaria // catalonia // Cyprus // Czech Republic // Denmark // Estonia // Finland // France // Germany // Greece // Hungary // Israel // Italy // Latvia // Luxembourg // Monaco // Norway // Poland // Portugal // Romania // Serbia // Spain // Sweden // Switzerland // The Netherlands // Ukraine // United Kingdom music ORGANISATIONS: Arbeitsgemeinschaft Europäischer Chorverbände (AGEC) // Arthur Rubinstein International Music Society // Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen // borusan foundation (turkey) // Cité de la Musique Paris // CHROMA, Association pour le développement de la chanson, du rock et des musiques actuelles en Seine-Saint-Denis // Europa CantaT – European Federation of Young Choirs // European Association for Music at School // European Association of Youth Orchestras // European Broadcasting Union // European Conference of Promoters of New Music // European Federation for National Youth Orchestras // European Festivals Association // European Modern Music Network // European Music Schools Union // European Society for Ethnomusicology // European String Teachers Association // European Union of Music Competitions for Youth (MCY) // Fondation Calouste Gulbenkian // Fondazione Adkins Chiti: Donne in Musica // Gaudeamus Foundation // Gruppo Strumentale da Camera v. l. Ciampi // Institute for Music Theatre Research // International Association of Music Information Centres // International Association of Schools of Jazz // International Confederation of Accordionists // International Confederation of Electroacoustic Music // International Confederation of Musical Societies // International Council of Organisations of Festivals of Folk and Traditional Art // International Federation for Choral Music // International Federation of Chopin Societies // International Federation of Musicians // International Forum for Contemporary Choral Music // International Holland Music Sessions // International Music and Media Centre // International Music Critics Association // International Society for Contemporary Music // Jeunesses Musicales International // Le Parnasse // Opus Centrum // World Federation of International Music Competition