Music and Social Change by International Music Council

MUSIC AND SOCIAL CHANGE IMPRESSIONS FROM THE 4TH IMC WORLD FORUM ON MUSIC

1 / INTRODUCTION AND KEY SPEECHES

2 / SESSION REPORTS

3 / WORKSHOPS

4 / LIST OF PROJECT PRESENTATIONS

5 / AFTERTHOUGHTS AND REFLECTIONS

1. INTRODUCTION & KEY SPEECHES

The IMC World Forum on Music was the held first to be held in Europe. It consisted of three days full of music, lectures, workshops, project presentations and networking and exchange around the Forum’s main theme “music and social change”. In total the Forum included 25 sessions with 56 speakers and an attendance of approximately 300 participants from 50 countries. The theme of “music and social change” was timely, given how international and European cultural policies have evolved in very recent years. For the past two years, UNESCO has faced massive disruptions as a result of political decisions that have and will have an impact on the UN organisation’s structure and activities in the field of culture and education. At the European level, the new budget for 2014-2020 has been subject to harsh negotiations. The EU’s new culture programme “Creative Europe” will again support the cultural sector but brings about challenges for the future of a number of music networks. Our sector has witnessed how political debate on budgets can end up with hard negotiations and shrewd exchanges between the different budget lines. More than ever, our efforts to advocate to intergovernmental organisations such as UNESCO and the EU are essential for demonstrating that music has the power to bring people together in ways that result in positive social change (in all its meanings) for the world in which we want to live.

THE CONTEXT

4th IMC World Forum on Music - Music and Social Change Knowledge and experience can be shared in unique and powerful ways when motivated individuals and representatives of music organizations meet to discuss music and social change. This is precisely what happened as a result of the marvelously successful 4th IMC World Forum on Music, held in Tallin, Estonia (September 26 to October 1, 2011).

Planning and organizing this free celebration of music in the world was a challenge that required a maximum investment of time, energy and attention from the IMC and its partners. But the results and achievements were worth the effort!

Nearly 300 people from various musical fields and genres from Asia, Africa, Oceania, Europe, the Arab world and the American continent, were joined by world renowned personalities such as the Senegalese singer Youssou Nâ&#x20AC;&#x2122;Dour and the president and CEO of the International Music Products Association (NAMM), Joe Lamond.

Thanks to the exceptional synergies across different sectors created during this high level forum, these issues were tackled from an impressive variety of different theoretical and practical approaches and from perspectives ranging from cultural, political and psychological to economical and sociological.

The Forum was for the first ever organized in Europe and importantly, it was held at a European Capital of Culture. It focused on the issue of music and social change. As stated by IMC President Frans de Ruiter, this theme â&#x20AC;&#x153;has many layers [and] is not just about reaching out into communities of all kinds and any natureâ&#x20AC;?. It was therefore important to deal with this topic in a relevant and efficient way, in a period of changes in international and European cultural policies. Key issues included:

The forum reaffirmed that music is a powerful tool for bringing people together and a vital means of bringing about positive social change in all its meanings. Change of this nature depends on the social sensitivity and activity of musicians to jointly make efforts supporting this powerful concept locally and around the world, and also on the willingness and readiness of societies to use this possibility.

How are music and social change related? How does music affect social change? How does social change affect music, music lovers and music makers? What lyrics and what musical words are needed to convince governments and donors to take action for music and development in complete and vigorous harmony? (Henrik Melius, Forum program coordinator)

With the help of music we can bring people together, and when people are together there is more communication; When there is communication, there is a better understanding and more respect; And once there is better understanding and more respect we can realistically aim for more humane societies in which we can coexist peacefully. (Timo Klemettinen, Chairman of the European Music Council)

The six days of the Forum were subdivided into 25 sessions of a variety of formats â&#x20AC;&#x201C; panel sessions, workshops, round table discussions and project presentations - allowing for 56 speakers to partake in this global knowledge-building platform on music and society in the 21st century.

The Singing Revolution Is Not Just A Buzzword Rein Lang (Minister of Culture of the Republic of Estonia) It was an honour to welcome all of you in Tallinn. After Los Angeles (in 2005), Beijing (in 2007) and Tunis (in 2009), this is the first time that the IMC World Forum on Music was held in Europe. As Tallinn was the European Capital of Culture in 2011, it was logical to organise this Forum in the city. With its long tradition of music Estonia is also a good place to develop ideas which connect music with social changes. In 2011 we celebrated the 20th anniversary of the restoration of Estonian independence. Indeed, the Singing Revolution from 1988 to 1991, which Estonia is famous for, is not just a buzzword. This was a really miraculous change in the minds of our people, who gathered together to sing beloved patriotic songs, through which they experienced the essence of freedom, and became ready for political changes. As a matter of fact, we can go back even further in our history and talk about the tradition of Estonian song festivals dating back to 1869. This was definitely a highly important event of the period of so-called national awakening, but also one of the main reasons behind the success story of Estonian culture, which we are proud of today. Song festivals strengthened the national identity and also set the base for further political processes until the declaration of the Republic of Estonia as an independent and sovereign state in 1918.

That is why you find so many people in Estonia who are convinced that music is not just a beautiful art form, but also a very powerful tool with which to change the whole of society. We have many talented musicians who are capable of shaping the music life not only in Estonia, but also in many other and much larger countries. Our conductors have directed leading orchestras from Sweden to Columbia, and the music of our

composers is spreading across the world. I am also proud of the folk, jazz and rock groups who have found grateful audiences even in the most distant places on Earth. Therefore, our state is prepared to finance the running of two opera theatres with their soloists, choirs and orchestras, one professional chamber choir and one male choir, the national symphony orchestra and early music ensemble, but also the state concert agency with concert halls in four Estonian towns plus a fully renovated church as a brand new venue in neighbouring Saint Petersburg, Russia. Our taxpayers, which there are far fewer than one million, give their highly valued active contribution also in many theatres. We also have a university to take care of the education of young musicians and actors, namely the Estonian Academy of Music and Theatre, to whom I am very thankful for organising this event. All of these state or public institutions and many more private initiatives represent both the high quality and diversity of our music life, as well as the conviction of our people about the important role of music in Estonian society. I would also like to thank the International Music Council and European Music Council together with the Estonian Music Council, who gave their full efforts to prepare an interesting and useful event for the exchange of ideas which was a real success. You are warmly welcome here in the future to discover the talents of Estonian music, to discuss the problems and solutions of music life in the European and global context, or simply just to have a good time here in Estonia.

Culture and Development Strategies at UNESCO Video message at the 4th IMC World Forum on Music

Francesco Bandarin (UNESCO Assistant Director – General for Culture; Director of UNESCO’s World Heritage Centre since 2000) I am very pleased to extend my warm greetings to the participants of the 4th IMC World Forum on Music. I thank you for your kind invitation to attend this gathering in person, but as UNESCO’s Executive Board is currently in session, it was not possible to send a UNESCO representative to Tallinn

to participate directly in your discussions. Please accept our sincere apologies. I would first like to express my gratitude to the International Music Council for its longstanding cooperation with UNESCO. Over the course of the past six decades, our two organisations have joined forces on numerous occasions to promote music as a tool for development, social cohesion, reconciliation and networking among cities worldwide. I am delighted to note that this year you have chosen to explore a timely topic that is high on UNESCO’s agenda, namely “culture and development”. UNESCO is convinced that cultural diversity constitutes a rich source of exchange, innovation and creativity. We believe it can serve as a unique motor for sustainable development in a world marked by daunting global transformations, economic and social instability and conflict. More specifically, UNESCO recognises the tremendous potential of music as a transmitter of culture and identity, a vehicle for mutual understanding, social cohesion as well as a source of economic empowerment for local development. Enabling the fullest possible range of cultural expressions in a globalized marketplace has emerged as one of the most pressing issues of the 21st century. New technologies are creating global audiences. But with new opportunities come new challenges. As you are all aware, the entire landscape of the musical industry has been transformed: from creation and production to distribution. Unfortunately, unequal access to regional and international markets and resources negatively impacts the ability of creators from developing countries to disseminate their work. For all of these reasons, the promotion of cultural diversity has been designated one of UNESCO’s top priorities. The UNESCO Universal Declaration on Cultural Diversity, adopted unanimously by the international community ten years ago, qualifies the defence of cultural diversity as “an ethical imperative, inseparable from the respect for human dignity”. I am pleased to report that UNESCO now stands on the forefront of global efforts to integrate culture into development strategies and programmes. Through the Millennium Development Goals Achievement Fund (MDG-F) financed by Spain, UNESCO in close collaboration with its UN partners are implementing 18 joint programmes in developing countries designed to illustrate the central role of culture in achieving the MDGs. Moreover, the landmark

UN resolution on culture and development, adopted by the General Assembly last December, owes much to UNESCO’s unwavering advocacy work. During the past year, UNESCO has consolidated the repositioning of culture in development through partnerships and a range of analytical, normative, technical, and operational initiatives and tools. Multiple donors support UNESCO’s operational projects that promote local development such as the Creative Cities Network which features a sub-network on music. And of course, we are looking forward to the 2012 UN conference on Sustainable Development (Rio +20) in Rio de Janeiro to demonstrate with hard facts and figures the integration of the cultural dimension in development. There can be no success without the involvement of local communities. Strategies must capitalise on cultural values and local traditions to mobilise community participation in all initiatives. Besides empowering local communities, cultural industries encourage innovation, support skill development, and generate entrepreneurial capital at the grass-roots level. Moreover, economic empowerment of women frequently results in a multiplier effect with community gains and economic growth. It is also essential to build partnerships between the public sector, the private sector and civil society. Also crucial is the role of professionals as key actors of the civil society is fundamental. A final additional lesson: the cultural dimension in development reinforces national ownership of development initiatives by ensuring responsive and context-appropriate development policies aligned with national development priorities. In closing, allow me to reaffirm UNESCO’s commitment to pursuing its longstanding collaboration with the International Music Council. I thank you for your attention and wish you much success in your deliberations.

KEYNOTE PRESENTATIONS

Youssou N’Dour

(Senegalese singer, composer, businessman and candidate to the Presidential elections 2012 Senegal) Music and development: this is a subject I like and it gives me pleasure to talk about it, even though it also causes me a little pain. I am saying this for the simple but good reason that I am convinced that in many African countries they have not yet understood that music, dance, visual arts, handicraft and fashion are pillars of the creative economy. Music – my domain – like the other sectors, is a motor of growth. It is up to us to design plans and ambitious and reliable projects so that music can ensure the creation of employment and of course also social inclusion. In today’s present we no longer live in an era where it was about ‘l’art pour l’art’ – art for art’s sake. I would like to use an image – imagine a train with two track rails – one rail is the creative element, the other is the system, the support – the train can only function with both rails. Today, there is cultural enterprise and show business. And unfortunately there is also a profound lack of knowledge about the tools of development and also the professions of the artists. Those who govern us should attend meetings such as this – and we should have more such meetings to make our governments understand their role. When I travel in Europe, in the United States or in Asia, I can see that these countries are increasingly optimizing their potentials in the field of creative economy. They have

sales figures that correspond to complete national budgets in some of our countries, or might even be double or triple the amounts. In the United States, where I was recently, hundreds of billions of dollars are generated by the creative industries and music represents a big part of these cultural industries. It is complicated because music has no priority. Our governments put the priority on other important issues such as education or childrenâ&#x20AC;&#x2122;s health. But should we lean back and say this is ok? No, we have to defend and explain the importance of the arts. It is necessary to involve the governments. They must understand that it is paramount to support national producers. They also have to stabilise the art sector in order to protect musicians and artists in general, as well as artistic creation. The governments must make sure that their citizens get the chance to play a role in the world music market. Also, after what we heard today, governments should back the travels of artists and we should negotiate with governments for the support of the free circulation of artists and works of art. This is even more important since the world market of creative economy is in full boom, with a

progress of more than 8% per year since the year 2000. The sales figures went from a total of $ 227,4 billion in 1996 to $424,4 billion in 2005. If we look at the details of these sales figures you will not be astonished to find that China and the USA top those exporting creative goods. They are followed by Italy, India, Thailand and Mexico â&#x20AC;&#x201C; where is Africa? I remain convinced that Africans can find a good place in this ranking; it is not that the talent is missing. On the contrary, Africa has invaluable potential. What is lacking is the political will for growth, and the will to secure the creative capacities of its artists in general and its musicians in particular. We have content, talent, creativity and the history of Africa â&#x20AC;&#x201C; we should and could have a good position. But there is no recognition. We are suffering, not only from piracy, but also from interior and exterior constraints connected to investments and commercialisation. It is not me saying this, but the United Nations Conference on Trade and Development (UNCTAD): that export from the developing countries is slowed down by the reluctance of the regional and multilateral institutions

to offer credits to the creative industries of these countries. The business paths and the distribution channels are concentrated on a very small number of big conglomerates in the developed countries. This leads to the paradox that important developing countries, not only import foreign music but also recordings of local music. I come back to my picture of the train: the other continents, America, Europe, Asia, they have 2 rails. In Africa we already have the first rail, but what about the second? I plead to this assembly, which has a high credibility, and many people listening to you, to become active. However, I am happy to see that the increased downloading of music from the Internet and via mobile telephones is currently changing the situation. But I would like to repeat my regret about the fact that despite our wonderful talents and our enormous artistic heritage our continent has contributed less than 1% of the world export figures of creative products during the 2002 – 2005 period. The field is vast, we know that. There is much to be done in order to make sure that music will go hand in hand with development and that development be at the service of music. I am still convinced that it is by building a “new Africa” mentality that music and development will go together.

We must serve the creators, not kill the creation. I therefore suggest to this assembly to put a fund in place for the promotion and dissemination and creation of African music in order to let it contribute to the efforts of development, because music, as I said, does not have priority for funding in our countries at the moment. The new technology and especially the telephone companies could contribute to this fund. We know that today the mobile phone is the most important vector, especially in our cultures of oral tradition. Further thoughts could go into the possible place of such a fund and the frame of possible contributions to it. I thank you for your kind attention.

“Music touches all of us - it is the motivator of our lives”, Joe Lamond (President and CEO of NAMM)

NAMM´s agenda places importance on empowerment through music education in schools and public places, as demonstrated by ongoing advocacy for music education in the core curriculum and through the creation of its lifelong learning and recreational learning programmes, where young and old learn to include music making in their daily lives. The idea is not only to encourage and support children, teenagers and young adults in making music, but also to raise awareness amongst the older generations that music making can be a recreational form of expressing oneself as part of an active senior life as well as in healthcare settings. . Numerous studies sustained that music making has a positive effect on elderly persons decreasing the risk of Alzheimer´s and Dementia. This leads to the next important and challenging project which NAMM is currently working on which relates healthcare to music, two topics that have not been connected much so far; The aim is to reduce healthcare costs by establishing music as a tool for healthy living, a concept supported by research on the beneficiary effects of music making reducing solitude, lowering stress levels and the effects of Alzheimer´s and Dementia. With the results of this study and its strong advocacy work, NAMM seeks to position music making as a critical element in lowing health care costs in the US. : “We can contribute to reducing the costs for health care when music is part of the solution”, as Joe Lamond said in Tallinn. The motivation for these plans and projects can be found in NAMM´s revised vision (2011) that states: “We envision a world in which the joy of making music is a

also united by a belief in music and that ultimately, in our hearts, we want to change the world, to make it better. NAMM´s success in producing trade shows for its members produces resources that allow it to invest in music research, in music education advocacy, government relations efforts that represent the industry and its interests, and public service efforts such as www.supportmusic.com, a coalition effort to advance access to music learning for all children. NAMM participates in and supports important global gatherings such as this. We seek to continually raise awareness and promote the value of music for all. NAMM members make and sell the instruments that give voice to artists; they both lead and follow societal trends. “And with the global music community working together like this,” Lamond concluded, “I’d put our chances on future success at around 100%!” and “Being human means to make music - we always have and always will”. NAMM is the international music products association based in New York, California and Russia. Founded in 1901, NAMM is the global, non-profit organisation that serves 9000 company members representing hundreds of thousands of individuals. precious element of daily living for everyone; a world in which every child has a deep desire to learn music and a recognised right to be taught; and in which every adult is a passionate champion and defender of that right.” Lamond emphasised the creative energy and passion that is integral to the music products industry and the people who are often in the background making instruments and creating new technologies. The music industry has been built on the visionary leadership of individuals who created pivotal changes in access to music or the means for personal expression through music. These include Mr. Ikutaro Kakehashi of Roland Japan who ignited the electronic music revolution with the creation of ‘midi’ and offered it royalty-free as an open source technology available for any product. Another is Remo Belli, founder of the Remo drums, and the inventor of the synthetic drum head that was integral to the rock and roll revolution. As Remo has been known to say, ‘there were not enough cow hides in the world to accommodate the need for drum heads required by the rock and roll generation that emerged after the Beatles arrived in the USA February 1963’. The energy exemplified by these and so many others in the music products industry are indicative of the varied paths that are taken in music – many branches of the same tree. Organisations represented by individuals at the Forum are

The NAMM Trade Show The core business model of NAMM´s trade show is called “circle of benefits”, which helps to raise both money and NAMM`s popularity globally. How does it work? - The first stage is the income of the NAMM Trade show. This income allows the funding of initiatives, programmes and industry charities; those in return increase the demand for musical products on the market, which helps the industry to grow. This in turn helps both the trade show grow as well as its income, which then allows more funding and therefore makes the wheel turn successfully. The annual trade shows that unite the industry in a business-to-business music market are held annually in Anaheim, CA every January, uniting over 95,000 music industry professionals and 1450 exhibitors in trade and enterprise. A smaller Summer NAMM held in Nashville, TN focuses on community-based music retail businesses. NAMM also collaborates to offer professional develop training at Music China (Shanghai) and is co-producing Prolight and Sound NAMM Russia and NAMM Musik Messe Russia to be held from 16-19 May 2012 in Moscow.

2. SESSION REPORTS

Composition and Performance: Blurring Borders Chaired by Frans de Ruiter (the Netherlands), with panel representation from Marje Lohuaru (Estonia), Isabel Replumaz (France), Taavi Kerkimäe (Estonia), Frederik Schwenk (Germany), Johan Falck (Sweden) and Elo Masing (Estonia). A practical second part of the session involved Juan Parra Cancino (Chile) highlighting issues concerned with computer music.

QUESTIONS: •

What drives graduates of our programs to excel as musicians in an ever changing and evolving music profession?

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How are institutions dealing with the gradual blurring of roles between composers and performers?

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How can institutions explore new forms of engagement that actively incorporate into the content of training programs of future musicians, the differing roles of composer and performer?

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What can we do to ensure that contemporary music is sufficiently funded to be a vital part of the cultural life of countries well into the future?

The session involved a lively sharing of ideas in which presenters and audience discussed a range of aspects concerned with different perspectives of ‘composition as performance’, and ‘performance as composition’.

KEY POINTS: •

The nature of ‘composition as performance’, and ‘performance as composition’ deserve more attention

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Collaboration between institutions and across the subdisciplines of music can result in innovative ways for training future musicians

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The means by which contemporary musicians are composing and performing music is constantly evolving as they react to modern technology and encompass new ways of thinking and working musically into their professional practice

Marje Lohuaru explained an innovative and important European joint Masters degree titled “Contemporary Performance and Composition” (CoPeCo), which is offered cooperatively across four European universities who share their collective expertise. The aim of the project is to develop a new platform for contemporary music proceeding as a means of developing current European practices. The innovative feature of the project are that it is an international up-todate cross disciplinary approach involving different forms of cooperation, that it involves active cooperation between the departments of performance and composition, and that it integrates improvisation, experimentation, new technologies and new media, and arts management into the course content. Following Marje’s presentation, representatives of the schools that are participating in the project were invited to reflect on the success of the project and their individual roles in shaping the program.

Isabel Replumaz discussed the Lyon Conservatoire’s focus on contemporary music and composition, and explained how this program offers an innovative summer academy for contemporary music where performers and composers are able to work collaboratively. Taavi Kerkimäe spoke of the long-term cooperation between Estonia and France through the Erasmus program. He specified that the strength of Estonia’s academy of music and theatre is the contemporary music creation field, which is fast evolving in this country. Frederik Schwenk spoke about his experience of the FrenchGerman double masters degree directed by composers from both institutes. This program provides students with opportunity to benefit from the diverse teaching and disciplinary structure of two high-ranking institutes, thus making it possible for students to broaden their sphere of influence through bilateral experience and encounters with composers, performers and conductors. Finally, Johan Falck spoke of two joint master programs for Scandinavian folk music and jazz of the Royal academy of Stockholm that has been conducted with schools in Finland and Denmark. The particularity of those programs is to allow entire groups of students to move from one institution to another institution.

Elo Masing who is undertaking her PhD at the Royal Academy of Music in London, emphasized the current need and relevance for composer/performer collaboration, in a time when performers view most contemporary compositions as strange and uncomfortable to perform. The challenge of this collaboration is either to have the composer conforming him or her self to what is playable and apprehensible for most players, or sticking to creativity regardless of the comprehensibility of the composition, which may result in disappointments on both parts. Elo believes that improvisation can bring performers and composers closer together, help create new ideas and ways of playing, and provide a role to play to the performer in the process of composition itself. Several composition projects led her to use graphic scores to work on the composer/performer collaboration: her purpose was first to explore the connection between a sign on a score and the corresponding sound by the performer, that is the relation between the sound imagined by the composer in his head and the sound created by the performer; it was then to

find a common denominator between dance and its musical accompaniment, which led to the invention of a new form of notation for strings that is easily readable by dancers. In the second formal part of the session, Juan Parra Cancino, a Chilean PhD student who is studying in the Netherlands, spoke about computer music as a musical activity that demands the fusion of the roles of composer and performer, and at the same time a separate knowledge of each of their contribution to the final product. He raised the problem of creativity being denied to computer music when the creative ideas of the composer of this type of music are not put to the test of performers. He thus presented two projects aimed at reevaluating the role of the interpreter and calling on his own creativity in the world of electronic music. The session was closed by a discussion between the chairs of the collaborating universities of the CoPeCo project, the speakers and the audience. Questions raised dealt with the motivation of graduates emerging from such academic programs and the “monetization” (funding, etc.) of contemporary music in general. The issue of the practical implementation of blurred borders between composers and performers was also discussed.

Ever Evolving Music Education, Information and Communication Technologies Engaging Music Educators

He also suggested that music teaching should move from usual teaching patterns to conversational and interactive styles of education using for example listening as a tool for learning.

Chair Matti Ruippo (Finland) with panel representation from Christianne Orto (U.S.A.), Fred Rees (U.S.A.), Otto Romanowski (Finland), and Xie Jiaxing (China)

Matti Ruippo introduced the session topics after Xie’s talk. The topics were the same mentioned earlier here as key points.

KEY POINTS:

Christiane Orto pointed out that the greatest potential in the use of music technology is that it allows for sharing information and expertise worldwide. A music educator in London need no longer be teaching in isolation or without desired resources and expertise when a percussion teacher could involve videoconferencing from New York or even another part of town. Manhattan School of Music (MSM) uses and develops cutting-edge, synchronous e-learning technologies. She insisted on the difference between pedagogical tools, which they propose, and current technological tools, such as Skype, which do not allow quality teaching at high level. MSM uses the technology to import or export educational resources; expand student learning & curriculum; spread the reach of the arts globally; and advance key institutional initiatives such as recruitment, remote auditioning, new revenue streams and reimagining the music profession in the 21st century. They also support the teachers to take over their new role, such as teaching through video conferences, which gives them the possibility to increase the number of students.

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The technology is ubiquitous throughout the world.

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The technology serves as a fundamental engine now driving the worldwide music industry.

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The technology is readily assimilated by young learners wherever it is available.

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The technology is gradually revolutionizing how we conduct our business.

QUESTIONS: •

How to engage music educators with readily available new resources?

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How can local teachers adapt and compete to remain useful?

This session was intended to bring practitioners and presenters together, with the purpose of proposing ways that will engage music educators with the readily available versions of resources demonstrated in this session. Xie Jiaxing explained that e-learning has not only increased technical means but also changed the perspectives and paradigms of music education: it brought deep changes between teachers and students, as well as in the teaching and learning processes themselves. Due to these changes, music teachers have lost their position as information source; the traditional mode of learning music through scores is made uninteresting; students master new music making styles; the class concept is greatly extended. Xie’s solutions would be that the teacher should become a guide for musical lives, get acquainted with media technology, and focus on finding resources to focus on their own heritage.

Fred Rees described live interactive video music instruction with multiple sites. He provided an evaluation of this style of distance education for music students. He also provided several outcomes: cohort effect among online students; a second dialogue between students during a live online class in the chat room while the instructor is lecturing or students are presenting; online students tended to perform better than on campus students; students’ presentations at a distance were often more inventive than on campus students; students in the course from non-traditional music disciplines (e.g., audio engineering, multimedia production, studio recording, music technology, film and film music production, music for games, music business) added their expertise to the classes. Finally he discussed his department’s Telematics Collective, which is a live interactive musical performance. Otto Romanowski stated from an educational point-ofview that students with access to contemporary technology

gravitate toward it intuitively. He opened the broad array of music making and learning applications for mobile devices: some traditional tools (notation, hyper instruments), replacement for others (sequencers, synthesizers) and add new instruments, approaches and concepts (virtual instruments, distant activities). He showed demos of some tools which allow creating music with ready-made loops by playing and recording oneself or in collaboration with other musicians. The discussion was arranged between each presentation. After Christianne’s session the main interest was in the practical things like costs, provided languages, and other things, which are of course shown in their pages. The next discussion was about the Indianapolis online courses: does the second classroom mean any hassle to the class? Fred convinced that once you are accustomed there are no problems. Though, in the beginning, for the teacher the overwhelming simultaneous discussions lines and other data channels might be confusing. The last topic was about the proper age for the distance studies. In practice the students are young adults. But e.g. in the courses in Indianapolis it’s quite normal to have also teenage students online. In the end the discussion was about the need of teacher training. Not only about the skills but also about the stance of the teachers.

Formal and Informal Music Learning Contexts in Schools and Communities Internationally Chair by Gary McPherson (Australia) with panel representation from Josephine Mokwunyei (Nigeria), Liane Hentschke (Brazil), Lee Higgins (USA/UK), and David Elliott (USA). KEY POINTS: •

Humans have been making and enjoying music for at least 50,000 years and much of this activity has occurred informally within social settings that enable various forms of active musical engagement to be transmitted from one generation to the next.

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As the 21st Century begins to unfold it has become clear that there are important questions surrounding how music educators world-wide might harness and integrate the practices evident in informal music making to enhance and ensure the validity of formal music education.

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New and emerging technologies have and will continue to dramatically change conception of music.

QUESTIONS: •

- What lessons might be learned from how societies have traditionally imparted music knowledge to their next generation?

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How will the internet and other forms of technology open up opportunities for communities internationally to be even more musically aware and involved than might ever have previously been imagined or conceived?

This session involved presenters and the audience in a discussion focused on understanding and reflecting on informal and formal music learning contexts in schools and communities internationally. These included reflections on the role of formal music education at a time where most young people are increasingly immersed in communities of learning via the internet and other forms of technology and where music as a subjects is often marginalized within schools. Additional issues concerned how communities practice music and what this means for formal education at all levels, plus the extent to which we provide our music teachers with sufficient resources, support and training to cope with the rapidly changing environment.

Josephine Mokwunyei showed how formal and informal music education coexist in contemporary African societies where formal music is learnt in schools and informal music is performed and transmitted orally from generation to generation among homogeneous groups in rural and urban communities. Formal music education in Nigeria still essentially involves teaching and learning of western classical music and is largely restricted to a few privileged people who are musically aware and therefore in a position to understand and appreciate it. For Josephine, key issues include how to blend this still new foreign type of music with the generally accepted more popular African music forms that the continent is richly endowed with and which represent its cultural identity. Her presentation provided recommendations for music education at all levels, within a context where suitable educational principles are still emerging that reflect adequate local content and the diverse range of artistic practices evident in African society.

music. These results point to the critical need to rethink music education in schools and to engage students in what they believe are meaningful music learning activities that are related to their own personal ways of learning and how they current use technology to make and consume music. Lee Higgins focused on community musicians and how they move in and between many diverse settings. As an active intervention between music leaders and participants, community musicians facilitate group music making experiences in a variety of environments such as health, prisons, youth associations, and centers for those who have physical and mental impairment, as well as schools and colleges. Community musicians emphasize people, participation, context, equality of opportunity, and diversity. Lee showed how musicians and music educators throughout the world work in these ways and how they will actively identify themselves as “community musicians” if they are connected to local, national, and international organizations that support, advocate, and name “community music.”

Liane Hentschke spoke of her recent research showing the difference in level of motivation between children and youth within the Brazilian context. Her research shows that students who have music education classes as part of their formal education are those who attributed the lowest levels of interest, importance, and usefulness to the subject. This contrasts with music making outside the school context where the young display a much higher level of valuing of

David Elliott focused on ways of improving music education in and for the 21st-century. He described the default settings of traditional school music practices and/or integrating formal and informal strategies in school and community music programs. For David, this means going much deeper to interrogate, alter, and expand conceptions of the core values of music education and community music. He also stressed the need to educate future music educators who conceive and practice music education as a form of praxis—music education conceived as the integration of musical actions,

reflections, and ethical attitudes aimed at the transformation of people to create a socially just world. In other words, David believes that “music education as praxis” pivots on “putting music making to work” for the betterment of students and societies everywhere. This view suggests that music and the other arts should not be separated from everyday life and that music should not be placed on an “aesthetic pedestal,” isolated for contemplation in concert halls and consumed via CDs and the Internet. These activities are acceptable as far as they go but the deepest values of music, according to David, lie in the dynamic, social-experiential activities through-and-in which music is made, experienced, and “put to work” for democratic, social, political, cultural, ethical, and other transformative values.

A healthy discussion of the presentations concluded the session, with key questions focusing on how to define formal and informal music education. Included were reflections on the role of formal music education with descriptions of how music is being marginalized within schools as young people become increasingly immersed in communities of learning via the internet and other forms of technology. Panel members considered what this means for formal education at all levels within a world in which new and emerging technologies have and will continue to dramatically shape conceptions of music plus how communities will practice music in the future. There was general consensus that formal music education will need to evolve within a rapidly changing context where only a small proportion of our youth are willing to devote the enormous amount of time required to master traditional instruments, despite their appreciation and participation in the informal music sector.

In this regard David Elliott argued that the role of formal music education should be to (a) provide democratic access for all school-aged children who desire the opportunity to benefit from the myriad values of music education (personal, cognitive, affective, social, cultural, and ethical) and (b) to empower students to put their formal musical instruction to work for social justice—for the positive transformation of themselves and their societies. At present, formal music education in many nations is being marginalized, if not devastated, by at least two major forces. The first force is worldwide economic problems. The global financial problems have caused governments to make deep cuts in all areas of life, including education. These cuts have been especially devastating for school music programs, the values of which are poorly understood by bureaucrats, advocates, the general public, and music teachers themselves. The second force is “musicalintellectual” inertia. By this we mean that when and where music teacher education programs exist, they are usually dominated by and operating under the unexamined assumption that “music” equals Western European classical music. This assumption has two related consequences for formal music instruction, which end up compromising (if not negating) its huge potential for personal and social satisfaction and transformation. The first consequence is the idea that “real music” equals autonomous works of fine art (i.e., European masterpieces) that can only be taught in large and highly selective school ensembles (e.g., bands, orchestras) via pedagogies that are teacher-directed and undemocratic. The second, related consequence is that all popular, world, and/or mass entertainment musics are viewed as simplistic, deviant, “bad,” or “not real music,” and, therefore, unaligned with the traditional values and standards of academic subjects. Where the latter view prevails, popular and world music activities and media, which the majority of children and young adults prefer and engage in outside schools—e.g., selfdirected pop performing, improvising, and composing; guitars, music software, iPad apps; rock and hip-hop ensembles; iPad

orchestras—do not exist in schools. Thus, the majority of students fail to engage with or participate in formal music instruction and programs die. The upshot is that, unless formal music education evolves to provide balanced music curricula for the majority of students, and unless teachers rethink narrow notions of “music,” formal music education will remain its own worst enemy. It will remain blind to what most people see clearly: that the dominant forms of music and musical activity today do not centre on Western fine art music, but on popular musics, instruments, and ensembles, and continuously evolving classical-popular-world music hybrids.

Hannele Lehto moderated this session and gave an introduction to topic by presenting her theory of fair culture which is based on the equal realization of cultural rights and inclusion in cultural signification as well as the understanding of cultural rights alongside civic, political and economic human rights.

Fair culture: Preconditions for music as tool for social change Chaired by Hannele Lehto (Finland) with panel representation from Ahmad Sarmast (Afghanistan), Reem Kassem (Egypt), Féthi Zghonda (Tunisia), Lusia M Jorge Grullón (Dominican Republic), Brett Pyper (South Africa) and Aarne Saluveer (Estonia). KEY POINTS: •

Fair culture is the application of an ethical dimension to cultural policy. It stands for •

the realization of cultural rights, and rights concerning participation, access, freedom of expression, and the protection and promotion of cultural diversity

•

the inclusion of everyone in cultural self-expression, irrespective of age, gender, disability, or ethnic religious and cultural background.

QUESTIONS: •

Do art and culture primarily have an intrinsic value or should they be seen through their instrumental value?

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How can cultural rights stimulate activities that involve music as a tool for social change?

This session focused on diverse ways of using music as a tool for social change with examples from various countries.

Ahmad Sarmast presented the Afghan National Institute of Music (ANIM), which was the first Afghan music school established since the fall of the Taliban and which promotes Afghan and Western music while focusing on disadvantaged groups like girls, orphans and street children vendors. Features on the ANIM in international media as well as the attention received at the IMC World Forum on Music have helped to create a positive image of Afghanistan whilst supporting social change at the same time. Lusia M Jorge Grullón moved the emotions of the audience by presenting Fil-Armonia’s way of fighting against violence and the culture of poverty in the Hispaniola Island. She explained that music education is being implemented as a tool for social development for populations in critical living conditions in ways that provide hope and a new aesthetic vision. Above all, music allows the population to discover and develop new values and skills as they attempt to move away from a world of violence, crime and addiction, and to dream way above their present limitations and conditions.

Reem Kasseem, from Egypt, presented how, at the very heart of the Jasmine revolution, musicians and artists use artistic productions to discuss social problems and call for positive changes. She showed how they partook in the demonstrations by performing on the street, thereby challenging local policies prohibiting public performances and gatherings. Facing the unrest and insecurity directly after the stepping down of the Egyptian president, Reem and her AGORA organization have created a festival that allows everyone to have access to musical productions. Her organization is now pushing for the introduction of music education in government schools as a means of helping children develop their skills and to face the psychological distress resulting from the revolution.

Fethi Zghonda, from Tunisia, explained how governments have since the independence financially promoted and protected music in all its forms as a means of masking the real social malaise. During the revolution, music emerged as a catalyst for solidarity, with people from all levels of society gathering to sing long forgotten patriotic songs. Fethi raises the question about the role of music in Tunisian society and if it will be able to play a social role in the future compared to the high financial investment in the past which did not encourage freedom of expression or democratic principles.

Brett Pyper, from South Africa, explained that today’s world is looking for activism that goes beyond policy making and supports spaces for public artistic intervention for a more fully and just social order. Today, the South African language of domination, Afrikaans, is by a majority spoken by people from the previously oppressed black group. The language is today redefining its meaning through music as a vehicle for creativity, empowerment and reconciliation. The festival in Afrikaans Brett uses the medium of music to highlight the deeply shared cultural connections that exist between communities that were separated under apartheid. It is here that music plays a crucial role in reconciliation as it speaks of common origins.

Aarne Saluveer opened his presentation with a quote by the Estonian musicologist Jaan Ross: “Music speaks truth and connects people”. He explained the strong link in Estonian history between social change and music by presenting the lost established tradition of joint song celebrations in Estonia, the biggest success of which occurred in 1989 when Estonians non-violently freed themselves from Soviet occupation with the Singing Revolution. This happening as well as the big sing celebrations which engage about 20,000 singers exemplify how great a role music plays in society and how it can lead to social change. Music and musical practice are highly dependent on the context in which they are created, performed and listened to – in the field of cultural studies music as a tool combines the aesthetic with the socio-cultural and as such the intrinsic and instrumental values of music, especially if talking about music as a tool, the intrinsic and instrumental value cannot be separated. Putting the concept of Fair Culture and the term “music as a tool” together and tracing it back to the original question of the session “Can Fair Culture be a pre-condition for music as a tool for social change?” What exactly is their relation? Fair Culture is a concept that should take into account the ethical aspect of cultural policies, such as accessibility, participation, cultural self-expression. “Music as a tool” looks at the intended outcomes and in the presented cases the major objective is to bring about “social change”. On the one side there is a concept of cultural policy and on the other side an artistic expression with an instrumental value – the artistic expression will proceed regardless of the cultural policy in place, if any. So it is rather the absence of a culture policy in

the spirit of Fair Culture that created conditions to use music as a tool for social change. If the social changes aimed at through such projects will be successful, they might actually work for installing new cultural policies that may then follow the concept of Fair Culture. Therefore, the title for the session should rather have been: “Music as a tool (for social change): a pre-condition for Fair Culture?”

Implementing The Seoul Agenda: Goals for the Development of Arts Education Chaired by Larry O’Farrell (Canada) with panel representation from Timo Klemettinen (Finland), Robert McLaren (Zimbabwe), Mary Luehrsen (U.S.A.) and Georges Poussin (France – via video presentation). KEY POINTS: •

The universal right to music education

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The importance of research

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The need to interpret the Seoul Agenda in each country and region of the world

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The need to advocate for music education

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The importance of policy and planning

QUESTIONS: •

What is the future of music education in the context of a changing world?

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What value will the Seoul Agenda have as a touchstone for research and advocacy?

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Are the goals of the Seoul Agenda realistic in all settings? How can we assure that adequately trained teachers are engaged in music education?

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How can partnerships be initiated in support of music education?

This session involved presenters and the audience in a discussion focused on understanding and reflecting on

informal and formal music learning contexts in schools and communities internationally. These included reflections on the role of formal music education at a time where most young people are increasingly immersed in communities of learning via the internet and other forms of technology and where music as a subjects is often marginalized within schools. Additional issues concerned how communities practice music and what this means for formal education at all levels, plus the extent to which we provide our music teachers with sufficient resources, support and training to cope with the rapidly changing environment. Timo Klemettinen, after outlining the Seoul Declaration and the Bonn Declaration, explained that governments and legislations should ensure music education in all its settings, continuous professional training for practitioners – “if music education is taken seriously, the music education practitioners must have adequate training”, sufficient, sustainable and cross-over funding for projects supporting the social benefits of music making and traditional music education. Timo explained that in May 2011 the European Music Council (EMC) invited actors from the field of music education to discuss about the implementation of the UNESCO Seoul Agenda and Goals for the Development of Arts Education. The main task of the seminar was to explore how the Seoul agenda can be adapted to music education in Europe. Timo argued that profound changes have taken place in western societies over the last few decades. Three aspects are particularly important to take into account in teachers training: immigration which has altered the cultural texture of most societies, technology which has made the globe gradually smaller, and globalisation which on one hand is threatening cultural diversity, on the other hand has enhanced awareness of the values of local communities. As a whole there is a great need for a new specialized teachers’ further training. Music schools are related to the local community and publicly funded or heavily supported institutions. These schools are often expected to offer services also for new target groups. The basic tool for obtaining a position in which music school can relate proactively to contemporary society, environment, migration and sustainable development is an open and continuous dialogue with political decision makers. Of particular importance is building partnerships across social and health sectors.

One of the key questions is the legal status of music education and everyone’s rights to receive it. Many European countries have cultural policies which in various degrees are aimed at ensuring the right for all people to express themselves freely through artistic means and participate in music education. There is however a great need to ensure necessary and

access to arts education as a contributing factor in the renewal of education, 2) the fostering of high quality in arts education, and 3) the application of arts education to resolving social and cultural challenges. The third goal is of particular relevance to this conference. Robert McLaren presented the African perspective of a special report entitled An Approach to the Implementation of the Seoul Agenda in Africa. He tried to see whether a realistic platform for realization of the agenda’s goals exists in Africa and what would be the best way to work towards this realization. Robert suggested that raising awareness, changing mindsets through advocacy and conducting research could all be part of a proactive action plan which could be implemented. This report identified the following issues, raised at the Conference, as being key for the development of arts education in Africa. 1. Road Map and Seoul Agenda: As the Tswana song has it, ‘tsela dimatlapa/kogae gokgakala’. The road may be rocky and we may be far from home’ but our efforts to get there are guided by the Road Map and the Seoul Agenda. 2. Transformation: Prevailing educational policies and methodologies, largely inherited from the colonial period, need to be re-thought. 3. Research: Research in and on arts education needs to be actively encouraged and findings practically applied, in advocacy, in the curriculum and in the development and implementation of arts education policy, paying special attention to the next issue.

appropriate facilities and resources to enhance access to music education in every European country. Larry O’Farrell then provided some context for the discussion on the Seoul Agenda by explaining the structure of the action plan. In this plan, each goal is supported by a number of Strategies, and each Strategy is, in turn, partitioned into specific action items.

The Seoul Agenda: Goals for the development of arts education is a major outcome of the 2nd UNESCO World Conference on Arts Education, held in Seoul in May of 2010, in close cooperation with the Republic of Korea. This document is an action plan designed to inspire and guide the improvement and expansion of arts education around the world. It presents a range of strategies and action items centered around three goals concerned with 1) universal

4. Traditional theory and practice: Modern education should be rooted in traditional theory and practice, which in turn should be recorded and integrated into current arts education training and learning. 5. Informal and formal arts education: Informal arts education should be supported and close co-operation and synergies between the formal and the informal sectors and Government and civil society encouraged.

6. Arts and social transformation: The power of the arts to make effective interventions in social transformation should be acknowledged and promoted. This power is one of the reasons governments and authority in general downgrade and marginalise the arts. At the All-Africa Theatre for Development Workshop in Murehwa, Zimbabwe, in 1983, a government official compared theatre for development to fire – you may cook with it but it can also burn the house down.

Action Plan - With the above key issues in mind, all of which are reflected both in the Road Map and the Agenda, Stephen Chifunyise, a well-known authority on arts, education, policy and intangible heritage in Africa, and Robert McLaren prepared an Action Plan, which included a Summary of the Road Map.

Mary Luehrsen’s presentation on “Research and Policy; development of an advocacy agenda” was at the same time informative with wide statistical evidence, and highly enjoyable due to the amusing music students quotes she presented (e.g: “The most dangerous part about playing cymbals is to do it near the nose”). She addressed current music research and ways in which it is informing policy activity. This includes the commissioning of national studies that look at music and arts education access in the United States and the formulation of revised and new policies nationally, regionally and locally, especially within the context of current economic uncertainties. She explained that music research supported by the NAMM Foundation and disseminated by leading researchers in the field are critical to NAMM’s advocacy efforts and support the development of federal policy and legislative advocacy activity. Via a process that is advised by an independent research advisory board, funded research summaries culminate in the publication of research outcomes in peer-reviewed research journals. As applicable and in collaboration with researchers, new knowledge revealed via research is disseminated to policy and advocacy communities and to the general public. To date, NAMM has funded over 3 million (US dollars) in music research about the impact of music learning for various age groups - form birth through the end of life. NAMM also supports public opinion polling that describes the context in which advocacy activities can take place and assess the knowledge base of a statistically valid sample that represents a general knowledge base within the public about the importance and/or benefits of active participation in music. The panel presentation addressed current music research and ways that it is informing policy activity, including the commissioning of national studies that inform music and arts education access in the United States and the formulation of revised and new policies nationally, regionally and locally, especially within the context of current economic uncertainties. Georges Poussin, chief of the UNESCO Division of Arts and Cultural Enterprise, speaking via video recording, concluded the session by welcoming the positive results of the First and Second World Conferences on Arts Education (held in March 2006 and May 2010). These conferences highlighted the importance of high-quality arts education for all and the strengthening of cooperation among various stakeholders. Georges used this opportunity to thank NGOs in general

and especially the IMC and its Members for their strong commitment, work and effort put into these conferences and in the implementation of the resulting Agendas, which still remain crucial for the ongoing successful promotion of the projects of the cultural sector and future conferences. With this in mind, he assured UNESCO´s attention and presence for joint work on future projects in the cultural sector.

must look at all related technologies with which the music industry interacts, depends upon and benefits from. •

Music is an abstract and nearly virtual art form. Recorded music is particularly perceived as being adapted to a virtual and dematerialized state and its dissemination is impacted tremendously by all forms of distribution (e.g., internet, streaming, file sharing) that emphasize its dematerialized state. This has enormous implications in how society perceives remunerating recorded music, as it is no longer represented and perceived as a physical object that can be quantified, monetized, coveted and collected

•

The current state of recorded music distribution will transform itself beyond recognition in the coming years. This is already currently having enormous ramifications on the traditional business models, the roles and relationships within the recorded music industry, the monetization of recorded music and the role of the artist/ creator in the entire process.

•

Emerging practices provide new opportunities and impetus to the artist/creator in taking control and ownership of their recordings, its funding, its distribution and its ultimate outright ownership. The traditional recording companies role and function can and will shift in this new paradigm, if they choose to adapt and facilitate a new business model more suited to the dematerialized world of selling recorded music.

•

Asia, and particularly China, will play an ever more important role in the creation, performance and

Music Exports: Technology – the Great Leveler Presentation by Kevin Kleinmann (France), followed by a panel discussion chaired by Kevin Kleinmann, with panel representation from Marje Lohuaru (Estonia, Estonian Music Development Center), Peeter Vähi (Estonia, Composer/ Festival Director), Kadri Tali (Estonia, Director of the Estonian National Symphony Orchestra), Roger Press (Great Britain, Founder of Classical.com), Juko-Mart Kõlar (Estonia, Executive Director Music Export Estonia) and Kristina Kuznetsova-Bogdanovitš (Estonia, Estonian Academy of Music and Theater - Cultural Management Program Coordinator) KEY POINTS:

•

Technology has always been one of the most important driving forces behind music and at the forefront of music development throughout all cultures and societies.

•

In order to predict and chart the path of future music development, in all of the above aspects, and gauge its impact, both social and economic, as well as its role in society and the future of all associated industries, we

•

consumption of all types of music. A nation’s music consumption and all that it inspires will move in tandem with its technological development, particularly in internet broadband technologies and how widely available that technology is throughout its territory.

•

Estonia, a small nation of less than 1.3 million inhabitants, has emerged as a global powerhouse in music education, creation, performance and management. It was stated that music forms an intrinsic part of the Estonian national identity, something that has existed for more than a century. Estonia sees music as a global language that they can export and a tool that both enhances their image and positions them on the world map.

Roger Press underlined the fact that music is intellectual property and its transformation into possibly being perceived as being software began already in the early 90’s, when Netscape created the first internet browser for free, giving the user a tool to unlock free intellectual property. This was then followed by Napster, which was created by one young individual in the United States that allowed internet users the possibility to exchange music files for free. This was the start of music being perceived as software and at the same time the beginning of the start of the new recorded music paradigm and all that has subsequently come with it. He also addressed the question of the power of the internet in the creative musical process, believing that the internet has actually increased creativity by allowing interaction and discovery more easily and opening up the world to anybody with a computer. He also spoke about the power that many free services have over existing paid services, sighting the success of the online news blog ‘The Huffington Post’ which today has far more readers than the traditional New York Times newspaper. He drew parallels here with free music on the internet to provoke interest and create careers.

QUESTIONS: •

Music has been commercially delivered in many formats over the past 125 years. Recording companies have always supported and were often actively involved themselves in the development of new formats and new sound carriers, yet they didn’t support internet delivery at the outset, actually strongly resisting it. What was behind this?

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What are the possible future business models for the recording industry and what might a recording company look like in ten years time?

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Who are now the gatekeepers of the new and emerging creative world? What has happened to the role of the editor or “expert” in all of this?

Decades ago, everyone, more or less, listened to the same thing. Now, fragmentation and market segmentation is so intense. Does that increase the creative offer? Will different fan bases ever intersect? Will a style of music ever define a time or a generation again?

Juko-Mart Kõlar emphasized the ever-growing dichotomy between recorded music and live music, stating that they are two totally different things. Live performance and concerts remain the essential source of revenue for a performing musician. Recordings today serve more as promotional tools in order to cultivate an audience, which in turn leads to concerts and tours. Peeter Vähi spoke about the change in the recorded music scene in Estonia since the early part of the last decade. Prior to that recording companies solicited and paid for making recordings with artists, obtaining financial success in the process. Since then, generating sufficient revenues from recordings has become impossible in Estonia and now artists realize that having recordings available online and elsewhere is essential for having a concert career and are willing to pay for making these recordings themselves and offering them to the public in the intention of promoting their careers and concerts.

in the creation of the music have been remunerated through the sponsor, not from the consumer on a unit-by-unit sales basis. In replying to the question as to why the music industry didn’t embrace the internet at first, it was stated that this was because it altered their business model so drastically and indeed threatened the very notion of a business selling tangible units of a product, in their case CDs. It has now become inevitable for them and a new business model for recorded music is emerging, one where music may eventually end up being totally free to the consumer. Kristina Kuznetsova-Bogdanovitš addressed the issue of the importance of training arts management professionals, versed in all of the past and current aspects of the music industry and prepared to face the challenges necessary in forging the future, both for Estonian music domestically, as well as for exporting Estonian music globally. Marje Lohuaru emphasized the fact that in the arts management program at the Estonian Academy of Music and Theater they are, above all, striving for quality in arts management education. She focused on the fact that music management education is also extremely important for performing musicians, both as a way to better manage their own careers and also for those who wish to be both professional musicians and music managers simultaneously.

Kevin Kleinmann concluded that live concerts have always been the mainstay for musicians, but they now realize that without recordings they don’t obtain the necessary exposure and promotion that feeds their concerts and tours. Under the new model, artists don’t expect significant remuneration from their recordings, yet are aware that they cannot maintain successful careers without them. They see them as promotional tools and a way to leave a musical legacy. In this way, recorded music becomes more and more “software” as opposed to product. He spoke extensively about the new merging business model whereby recordings would be paid for by sponsors, who would make the music available for free to consumers, in exchange for either purchasing their product, watching some advertising, or going to the corporate sponsor’s website. In this way, the music is being paid for, albeit not directly by the consumer, but by a corporate payer, who sees a synergy between the artist, the music and their product, brand or corporate identity. The burden of paying for the producing, editing, distributing and promoting of the recording is now taken over by the corporate sponsor. To the consumer, the music is free, but the artist and all involved

Rehearsing for Change: How Conservatoires Globally Seek to Prepare Musicians for their Vision of Tomorrow Chaired by Jeremy Cox (Netherlands/UK) with presentations from Gretchen Amussen (France/USA) and Wang Yaohua (China) and panel representation from Hisham Sharaf (Iraq). KEY POINTS: •

Social change affects the music profession(s) along with everything else

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Conservatoire training of musicians has traditionally been in one predominant genre (Western Classical music) and through one predominant method (the 1-to-1 MasterApprentice model). This model is naturally resistant to change and is posited on the music profession of the future resembling that of the present and past

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Conservatoires across the globe are responding to the impact of accelerating change on this model in a variety of diverse ways. Within this diversity, there is a shared recognition that the musicians of tomorrow will need to be adaptable, resourceful and able to do more than just play one kind of music very well for the entirety of their careers

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Conservatoires must therefore address innovation as well as tradition in their curricula, and each must find their own balance, appropriate to regional circumstances, between these contending forces

QUESTIONS: •

What kind of musical training best prepares young musicians for an as-yet unknown musical future?

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What is the optimum balance in such training between the perfection of established skills and the development of capacities to respond to new situations and unforeseen musical contexts?

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What are the regional variations in global perceptions about the relative importance of tradition and innovation?

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Are there underlying commonalities amidst the diversity of our visions of tomorrow and of our respective ideas about the best way to prepare musicians for this?

This session focused on the implications of accelerating social change for higher music education (HME) institutions across the globe. These included how a 200-year old and changeresistant teaching model might be adapted to 21st century needs but also how, in regions where the institutionalized teaching of Western Classical music is a relatively recent phenomenon, older musical traditions can both be preserved and retain their vitality. The juxtaposition of these scenarios served to highlight how Western Classical music can, in one context, be the tradition needing to be kept alive and, in another, the imported newcomer and potential threat to tradition. The examples presented showed that, in the same way as conservatoires in Europe and North America are supplementing their rigorous core artistic training with programmes to develop the entrepreneurial skills of their graduates, those in China are recognizing that, to keep alive the traditional music, it must be ingrained in the lives and cultural identities of the musicians who practise it. Although almost diametrically opposite in their orientation, both objectives place similarly expanding demands on the music curricula, and therefore on resou rces, time and the range of competences needed by today’s and tomorrow’s teachers in HME. Introducing the session, Jeremy Cox explored the variety of ways in which conservatoires in different parts of the

world view the future for professional musicians and how HME institutions world-wide are addressing the challenge of preparing young musicians for this future. In the current crisis of a changing profession, with vanishing posts and fewer cultural constants concerning the transmission and reception of music, other skills such as the ability to forge new professional niches might be as important for aspiring professional musicians to develop as core musical excellence. Although the traditional model of conservatoire training is resistant to change, a broader and more diverse training – perhaps also requiring different selection and evaluation criteria - might be appropriate in future. Wang Yaohua highlighted the situation of conservatoires in China, which have a long tradition of excellence in the transmission of music. He explained that musical aesthetics and values are the most important parts of the cultural transmission of any musical heritage. For this reason, Chinese conservatoires should help students discover the aesthetics and understand the values of traditional Chinese music. They should teach them to appreciate and recognize this traditional music from within, and make it a passionate pursuit and lifestyle among young students. He spoke of the effective measures which need to be taken for traditional Chinese music to form the basis for the new era of music cultures with Chinese characteristics, which included the teaching of musical performing arts, theories and aesthetics as well as the values related to the Chinese cultural identity. He also saw such an approach as bringing benefits to a musical landscape in which traditional and Western musics exist side by side.

Gretchen Amussen presented the situation from the perspective of a leading European conservatoire that, despite its august tradition and in common with other HME institutions across the region, is considering how to adapt its training to the present economic and political realities of musicians who are forced to multiply their activities, diversify their skills and invent new pathways to survive. She explained that a key attribute required of the musician of tomorrow is versatility and the ability to master a diverse and constantly evolving “portfolio” career. According to her, the future musician will have to be simultaneously a performer-creator-pedagogue-researcher, a “citizen-musician”, a skilled networker and communicator, and an entrepreneur. Since European conservatoires are key actors in creating and renewing the music profession, it is fundamental for them to become “innovatoires”, while

also preserving their great tradition. Gretchen shared her experiences of working with colleagues on preparing society and the education system for new paradigms concerning musicians’ social integration, their work within traditions, their openness to creativity, to pedagogy as part of their portfolio activity and to audience trends within a globalised market. Responding to the presentations, Hisham Sharaf gave a brief account of the development of conservatoires in the Middle East. Broadly, the pattern was first to teach the traditional music of the region and only more recently to extend the teaching to Western Classical music. He spoke of the problems, especially for women, of the perception of music as a profession in Arab countries. He described the model where Western musicians are engaged to come to these countries work both as teachers and as members of orchestras and saw this as a valuable model for further development. Conversely, the issue of finding experts in traditional instruments who are also trained pedagogues was one of his concerns and reappeared in the discussion that followed. The discussion that followed touched upon the barriers to instituting the kinds of changes being described, especially those which flow from attitudes among teachers within the conservatoires themselves. External reform processes such as those of Bologna in Europe were seen as having played a valuable role in strengthening the hand of those promoting change. Technological innovations, such as distance learning, were also seen as relevant. Further support can be provided by conservatoires keeping close and regular contact with their alumni and taking into account their experiences in shaping curricula. Whilst these examples might be particularly applicable in the developed world, there were also strategies suggested for developing countries. In particular, a stronger partnership between Western pedagogical specialists and traditional instrumentalist/teachers in these countries was seen as a pressing need and one in which the IMC, through its networks and its advocacy activities, might have a significant role.

Music on Troubled Grounds Chair by Henrik Melius (Sweden) with a panel discussion moderated by Karolien Dons (Belgium/Netherlands). Participants: Nir Kedem, Dror Haberman, Mai Dagan and Tal Sadai (Israel); Mohammed Abu Fsesea, Khaldoun Al Azzeh and Dalia Naijjar (Palestine); Petter Rylén (Sweden), and

Anne-Marte Eggen (Norway). KEY POINTS: •

Bringing together young musicians from Israel, Palestine and Scandinavia in a musical setting enables the participants to get to know one another and themselves and understand the human beyond the conflict.

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The project is not about normalisation because things are not normal. Instead it promotes dialogue and demonstrates that music is a powerful tool which can have particularly long-term benefits in the hands of young people.

QUESTIONS: •

To what extent do we believe that young people can make a difference and have the power to change current practices?

Music on Troubled Grounds is an intercultural programme for young musicians from Palestine, Israel and Scandinavia initiated by Spiritus Mundi. The overall purpose is to establish a sustainable platform for cross cultural dialogue through creative musical processes. Music on Troubled Grounds is the follow-up to Our Songs for Tomorrow, a 2009 project which gathered young musicians from Palestine, Scandinavia and Israel in Malmö (Sweden) for ten days of workshops, rehearsals and a concert. This project made it possible for the participants to see the human beyond the conflict and to better understand the situation and culture of ‘the other side’. Upon the initiative of the Youth Advisory Group of the International Music Council, a group of participants from the 2009 project were invited to meet once again in the framework of the WFM and prepare together an interactive musical session as part of the forum programme. Henrik Melius started the session with a short introduction to the Music on Troubled Grounds project. Music is a tool and has created a platform for dialogue, a meeting ground where respect and tolerance and curiosity are a reality. It is not a normalisation project because things are not normal. Neither is it concerned with reconciliation: that happens later when there is peace. The young musicians from Israel, Palestine and Scandinavia then performed two songs together: firstly the Arabic song El Helwa Di and then the Jewish song Shnei Shoshanim.

Karolien Dons moderated a panel discussion in which the participants expressed their pride in being part of a project that for some of them changed their perception of music from mere entertainment into an important tool in conflict situations. Some expressed their difficulty in talking about their involvement in the project back home with friends and family who do not understand its use or have inhibitions about communicating with people ‘from the other side’. The Scandinavians saw their role in the project as using music for a purpose and informing other people about a conflict which is hard to engage with as it is happening far from home. AnneMarte Eggen explained that the project has opened their eyes about other people’s difficult lives, making them realise that ‘the conflict is not a movie!’ The musicians were asked how it feels to have someone ‘from the other side’ playing their traditional songs for this project. Both Israeli and Palestinian participants said that they would never have listened to a song in the other language before, but that learning, teaching, arranging and engaging with each others’ music has changed this. Mai Dagan explained that she grew up with the feeling that people from the other side hate you and that you cannot talk to them. However, when you start playing and singing together communication is so much easier than you think. Asked whether the participants try to spread the message with the music they make, Nir Kedem answered: ‘If no one introduced us before and you didn’t know where we came from you wouldn’t know, you would just think we are the best band in the world!’ He conceded that the main message the musicians can spread is not with the music they have played to an audience in Tallinn, rather through sharing stories, experiences and emotions when they return home: ‘the message is not through the music, it’s through us and who we are’. Responding to the same question, Petter Rylén talked about his great feeling when performing, as if ‘the entire stage was flowing with world peace’. He added that musicians have a responsibility to make ‘music that matters’, not just music for entertainment and money. The final question was whether the musicians thought that especially young people can make a difference and have the power to change things. The answer was of course a resounding ‘yes’! Khaldoun Al Azzeh added that music is a powerful tool with which we can open many doors and communicate with the world: if the younger generations take

up this tool then they can change the impossible to possible. Nir Kedem works mostly as an educator with children and teenagers in Israel and by teaching them Arabic songs he can help them understand this music: the rhythm, phrasing, language and culture. The resulting cultural tolerance and knowledge will contribute to a gradual change in mentality and will help the coming generations reduce their fear of the unknown. Dalia Naijjar emphasised the great value of the days the group spent together in Tallinn in making music and making new friends, but most importantly in discovering their personal skills, for instance in leadership and communication, and how much they as young people have to offer. Upon opening up the panel discussion to the audience, many positive reactions were expressed about the inspiring work that these young people were undertaking. Personal experiences of conflicts in South Africa and Northern Ireland were raised and it was explained how this project will be a source of information for music students at the Afghanistan National Institute of Music to teach them to learn from each other and talk to the outside world. The session then reached its finale with the musicians teaching and singing together with the audience a song entitled ‘Salam’, or peace, in English, Hebrew and Arabic.

value of music as a tool, as a language that can contribute to social change. José Castiñeira de Dios (Argentina) raised the issue of music as tool for social change that shouldn’t be led too far least we might forget the value of music as art and overestimate its power as a means to solve social problems society is not able to solve. He drew attention to those “neocolonial” projects of youth orchestras that are evident in Latin America and that are based on the model of the classical European orchestra which he believed can lead to frustration and exclusion because they threaten the future of youth as they are not adapted to the situation in the 21st century, not open to creativity, and are not targeting the youth in their own social and cultural milieu. Rebecca Lee (UK) talked about her own experience of evaluating national and regional art projects as a consultant and as a practitioner. The participatory evaluation she used highlighted the values such as collaboration, generosity and

Music as a Tool for Social Change – Good Intentions What Outcomes? On Quality and Evaluation of Music Projects with a SocioCultural Impetus. It is obvious that programs need to be evaluated, as this helps to increase the understanding of underlying processes of actions in ways that will optimize them. But to what degree is it possible to measure the social impact of the various inspiring music projects? This was the initial question posed in this session as well as a related issue that was focused on whether the musical outcome or the social interaction is more important. In addition, participants discussed the criterion used for evaluation and for defining the quality of the projects and for whom we might be conducting such evaluation. During the session, these were dealt with from a theoretical as well as from a practical perspective. 30

Erling Aksdal (Norway) opened the session by highlighting both the intrinsic value of music as an art, and the cultural

diversity of ideas. In her view, this type of creative evaluation enables the collective work to continue in the process of evaluation itself. Rebecca stressed that evaluation is about reflecting the complexity of projects: it should speak the same language as the participants, show the ownership over the ideas and the evaluation itself, and bring back the entire process to the participants. Olivier Urbain (France), spoke about different means of measuring the impact of projects using music for social change. She asserted that the impact should be viewed not

only on a targeted artist, but also all around this artist (such as the person selling tickets, the person cleaning up the stage after the performance). He first mentioned ethnographic studies and surveys that could be conducted with special groups and then showed an analysis of school attendance within a population with which projects are conducted. Olivier

also spoke of interviews of people involved in such projects, particularly in terms of the challenges that applying these tools would have to work in a more global, systematic and organized way and how the results available could provide a solid basis on which societies and governments might be able to assess the real efficacy of such projects. Eugene Skeef (South Africa) drew from his Zulu culture in which music has a true power over a spiritual dimension that cannot be fully understood from a formal and structural analysis. In his view, the real essence of music is bypassed when submitted to systematic scrutiny. It has built-in mechanisms, such as the type of involvement and dynamic reciprocal attitude of participants during the performance, from which to assess its effectiveness in context. This is what Eugene calls the transformative power of music. For him, social change is about change in the relationship between people that can only be felt by individuals. For this reason, the only meaningful evaluation of social change through music has to emerge from the experience of participants. Eugene suggested that we should be more concerned about the social impact of losing communal music making, dancing and

other shared creative activities, as these are, in his mind, the most relevant index of the state of our cultures. The session was rounded off with an open discussion, notably raising the issue that “change” facilitated by music may not necessarily always be “good change”, and that the term “social change” should therefore be used carefully.

Wade in the Water – Singing for Social Change This session was arranged by Kristel Pedak (Estonia), Mothomoni Mapela-Mphatja (South Africa), Victoria Liedbergius (Norway), and Kate Declerck (Canada/Belgium), who all come from different backgrounds but have in common impressive experiences of the social power of the voice. Their presentations tackled the issue of the sustainability of the experience of unity resulting from joint singing: Does unity last when the music stops? How can this unity be translated into civic action? Kristel Pedak highlighted the non-violent power of choral singing and gave a historic overview of the Estonian tradition of singing for social change. This tradition reached its peak at the end of the 1980’s when Estonia freed itself from the Soviet occupation through the Singing Revolution without a single shot being fired.

selected for UNESCO’s program “Artists for Peace”. Kate Declerck highlighted another aspect of change as a result of music and singing based on the example of the Fair Play Anti-Corruption Youth Voices, a project successfully organized by the World Bank Institute, JMI Foundation and the Global Youth Anti-Corruption Network. The project aims at mobilizing youth to fight against corruption by participating in contests for songs dealing with corruption or by participating in anti-corruption conferences.

Mothomoni Mapela-Mphatja explained how Africans are united by singing even though they have to face large cultural differences. As a result of the past and present political instability, Africa developed a strong tradition of joint singing for protest, proclaiming social and educational problems, poverty and the ongoing HIV/AIDS problem, and for tackling issues such as climate change or women’s rights. In relation to this, Mothomoni stressed that joint singing provides a strong support for the individual, a source of power and hope driving towards social change.

Based on her experience of the World Youth Choir, Victora Liedbergius explained that unity does not necessarily result from a common fight against social problems, but that it can also simply be celebrated for itself and for the pleasure of sharing great joint experience. Without any speeches or banners, this choir can, according to her, support messages of international peace, brotherhood and vitality of life. As proof of the success of this undertaking, the World Youth Choir was

Music and Development 1. Introductory Panel IMC Board member Timo Klemettinen (Finland) explained that even if the meaning and role of cultural development has been steadily increasing, facts and figures provide a different picture of artistic practice internationally which is characterized by a challenging world economic situation and fewer donors who are willing to contribute to the development of the field of culture. Development is nevertheless the best tool to implement and achieve the 5 musical rights set out by the IMC. In a video message, UNESCO’s Assistant-Director General for Culture, Francesco Bandarin, explained that “UNESCO recognizes the tremendous potential of music as a transmitter of cultural and identity, a vehicle for mutual understanding,

social cohesion as well as a source of economic empowerment for local development”. He exposed the Organization’s operational activities and tools established to integrate the cultural dimension in development and highlighted the priorities of UNESCO for further actions: involvement of local communities, empowerment of women, partnership between the public sector, the private sector and civil society, and involvement of professionals as key actors of the civil society. José Luis Castineira de Dios, from Argentina, provided remarkable thought-provoking impulses about alternative funding of organizations. He then described the financing of the Ibermusica project, which is a cooperation fund for the strengthening of an Ibero-American musical space for the protection of heritage and creation. The project’s fund follows the idea of a non-monetary funding system that is led by a committee linked to every financing participant to which the project needs to give a justification of results in the end. The presentation of Blasko Smilevski (FYROM/Belgium) dealt with the issue of sustainable development and economic prosperity through music. He elaborated on the IMC Music Sector Development Programme which aims to support the countries for the establishment of a lasting and integrated music sector at local, regional and national levels, unifying private and public sector of society. In order to convince prospective donors of the importance of social change caused by music, Blasko underlined the need of careful project’s evaluation to gain striking results.

2. Social Inclusion and Cohesion Session moderator Richard Letts (Australia) asserted that the issue of social inclusion is very fashionable in the present difficult financial and social times. His question to the panel was: Does music have a special role or is it especially effective for social inclusion? For Richard, music plays a unique role in creating identity, be it to differentiate oneself from others or rather to call on shared roots. In that way, music should be used to bring cohesion, even to create a form of empowerment.

María del Carmen Gil (Puerto Rico) presented the recent Música 100x35 project in collaboration with the Venezuelan El Sistema model, which provides music (classical and traditional) education for Puerto Rican economically disadvantaged children. The aim is to use music and creativity to motivate, dignify and give to children the means for social improvement. This project emphasizes prevention for ensuring a healthy life style and improved self-esteem for youth and has become a flagship project of the social transformation model of the Puerto Rican government. Social inclusion and a sense of community are notably promoted by conducting this project in the same location where other more wealthy children are educated. Dag Franzen (Sweden/Spain) spoke of the Music Crossroads project that spread over different countries in Africa characterized by extremely rich musical traditions and potential but no music education and no means to purchase instruments. The project is based on the idea that music is an ideal medium for bringing young people into society and providing them with a sense of self-respect and selfawareness. The project organizes workshops on such issues as composition, musical rights, financial management,

3. Poverty Reduction Session moderator Timo Klemettinen (Finland) explained that by developing life skills, improving creativity, developing cohesion and increasing career opportunities, music education indeed contributes to poverty reduction and to the overall social economic development of countries.

festivals and tours, and also deals with issues such as HIV/ AIDS prevention, gender equality and healthy life styles. Their work also targets families and local communities who do not view music as a positive activity, as well as local political leaders to raise their awareness about the present potential of their youth. The final discussion demonstrated the diversity of views concerning issues of social inclusion and cohesion. Highlighted was the difficulty for projects to be fully inclusive, as groups such as children in state care or people with severe disabilities are still excluded. It was also commented that in African cities, the image of women practicing music is linked with prostitution; their integration in those projects therefore poses a challenge. The issue of the difficulty of obtaining visas for musicians was also raised, and EMC and IMC were particularly called on to globally defend musiciansâ&#x20AC;&#x2122; rights on this issue. Importantly, the link between cohesion and inclusion is currently not sufficiently addressed.

Diana Hopeson (Ghana) presented her remarkable project set up with the help of civil society actors, industry stakeholders and ministries, and affiliated with the Ghana Poverty Reduction Program (which became the Ghana Shared Group Development Agenda). Local partners, European embassies and the EU financially supported the project, as well as specific training programs and concerts. This funding provided a coherent business and managerial approach for local musicians and has motivated the government to undertake research concerning the money and employment that is generated from the music industry, in ways that are now directly support the music industry. Funding also

expertise to allow for the music industry in Congo-Brazzaville to be used for the development of the country. In the lively discussion for this session, participants and speakers focused on the question of sustainability: how will projects continue once funding stops? Importantly, it was mentioned that a lack of money is not always the issue, but rather a disproportioned distribution of it or ignorance of how to use funding properly. It was thus advised that calls for funding should be transformed into calls for human resources and expertise; and local authorities should be “educated” about the potential of the music sector and its need for professionalization. 4. New Markets, Emerging Talents A special highlight of the Forum was a session that was held in the relaxed atmosphere of a nightclub. Before amazing performances by Selam and the African New Voices, the managers of those groups made presentations about their views of development in their musical undertakings. allows for instruments to be bought and trainings to be organized in schools, which bring direct results in terms of improving children’s interest and motivation. Workshops and competitions were also organized, some of these have targeted women, and boosted activity in the creative industry. Projects such as these contribute to improving life conditions of musicians in the region and spread awareness about the local cultural richness. Hugues Gervais Ondaye (Congo-Brazzaville) spoke of the project led in collaboration with the Organisation Internationale de la Francophonie which aims is to gather information about the actors, activities and economic potential of the music industry in order to “educate” local authorities about this potential and convince them of the need to promote it. The project is based on the assumption that the country has a huge musical variety due to its innumerable ethnic groups. It is based on the philosophy that music carries cultural identity and promotes social cohesion; it thus contributes to peace, which is a prerequisite for development. Fighting poverty then requires measures to highlight the creativity and richness of the local cultural heritage, and to develop training, networks, facilities and income generating employment possibilities in this area. Presently authorities are however ignorant of music’s potential, and the official view is that music is a mere entertainment. Hughes called on the IMC to share its

Selam, an incredibly strong initiative based in Ethiopia, is focusing on the strengthening of infrastructure and democratic consolidation in the music sector. It particularly found out that cultural policies in African countries are too vague and that challenges have long been identified, but that concrete actions, notably taking in account the synergies, are missing. In collaboration with local partners, Selam has conducted a number of long term projects that focus on music education at all levels, professionalism by training already established actors in the sector, interest organizations, information passed on to the media and stakeholders, networks and exchanges among artists and festivals.

African New Voices, which is part of Youssou N’Dour’s New Africa mission, strives to change the internal and external perception of Africa from negative to the opposite and to create possibilities for artists to reach a global audience with greater ease. The representative highlighted that music is part and parcel of the lives of African people. Selam called on music producers and festival organizers to “be brave” and program new young artists. Instead of talking further, he then invited two extraordinary musicians, Carlou D. and Suzanna Owiyo, to sing their moving songs filled with messages of peace, harmony and justice. The session thereby highlighted

the astonishing talent housed within African music, which is precluded from developing by the lack of structure and respect for women, by the dishonesty of managers and a common devaluation of music.

The performers were then invited t-o talk about their experiences as artists in today’s Africa. Suzanna Owiyo learnt music from her grandfather. At home, she said, musicians are not taken seriously, so her musical life was particularly tough, especially because she is a woman. After singing in clubs and bars, a performance in front of head of states gave her the drive to look at the music career differently and a desire to prove that she could live by singing, regardless of the difficulties faced by new artists ignorant of their rights. Carlou D. explained that he became a musician out of necessity, because singing was the only thing he could do that pleased others and which allowed him to come up for his family. Love for music came later and it has given him everything he has today. With his music he wishes to go much further and

share the messages hidden in his heart. African New Voices enabled him to do that. Both are today renowned musicians in Africa. The discussion that followed covered many different aspects of the African music market. It highlighted the lack of managing forces in the music sector to support the tremendous number of artists and better organize the programming of concerts. It underlined the need to deconstruct the unified image of Africa and consider the important differences between African regions in terms of status and fame of a same artist. This also runs in parallel with a lack of seriousness given to music, which is also responsible for the poor centralized music education that is offered in African countries. The incomparability of the music markets in Europe and in Africa was also highlighted: they are built up in completely different ways and their development follows different paths. While the European music market faces changes with the decrease of the recording industries, the African market struggles with the audience’s habit of going to concerts for free and its ignorance of the struggle for making a living which artists endure. Even though both markets suffer from violation of existing laws related to copyright and editorial right, in Africa the biggest problems are caused by illegal usage of mobiles, while in Europe they are caused by illegal downloading from the internet.

3. WORKSHOPS

Make Some Noise with the Manifesto for Youth and Music in Europe!

Chair by Claire Goddard (UK/Germany) with contributions by other members of the Working Group Youth (WGY) of the European Music Council: Floriane Cottet (Switzerland/ Austria), Eline De Langhe (Belgium), Karolien Dons (Belgium/ Netherlands), Maiju Kopra (Finland), Katharine Lane (UK), Arianna Stornello (Italy)

KEY POINTS: •

The importance of actively promoting and facilitating youth participation in decision making processes across the music sector.

•

The current concerns and needs of young Europeans as regards lifelong learning, professional training, mobility and dialogue, employment, resources, and youth as a resource as presented in the Manifesto for Youth and Music in Europe.

•

The global relevance of this Manifesto and possible actions to be taken to widen the campaign beyond Europe.

QUESTIONS: •

What are the key issues and barriers facing young people starting out on a career in the music sector?

•

Is the Manifesto for Youth and Music in Europe specific to this region or are the problems raised shared by young people across the globe?

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How can action be taken in particular regions and on a global level to ensure more active youth participation in decision making processes and in shaping the future of the music world?

Musicians, managers, musicologists and pedagogues starting out on their career undoubtedly have an important role to play in the shaping of the present and future music sector. They are, however, often side-lined and their voice is not heard. In order to address this situation, the Working Group Youth of the European Music Council (WGY of the EMC) developed the Manifesto for Youth and Music in Europe, the result of consultation with young Europeans (aged 18-30) from different backgrounds and interests within the music field, as well as organisations across the continent working in the youth and cultural sectors. The aim of the Manifesto is to highlight the issues concerning young people in the field of music and to try to make positive changes throughout Europe and beyond. The Manifesto was launched in spring 2011 and this interactive forum session was part of the campaign to raise awareness of the Manifesto in the run up to a presentation at the Committee on Culture and Education of the European Parliament in November 2011.

but also the need for frameworks and models to realise and optimise both between generations, sectors and geographical borders. Katharine Lane raised issues related to Employment, underlining the fact that the work of highly qualified and talented young music professionals across the continent is to a great extent underpaid and undervalued. Fair remuneration and a legal framework to enforce this are necessary on national and European levels.

The session began with a presentation of the WGY of the EMC and also the Access! Project which started in 2010 with the European Youth Forum on Music and incorporated the creation of and campaign for the Manifesto for Youth and Music in Europe. This was a European project but the WGY believed that many of the issues addressed were common to young people across the world and thus wanted to use the WFM to investigate the global relevance of the Manifesto and possible further steps beyond the borders of Europe.

Maiju Kopra emphasised the importance of Resources. Whilst financial support is of course necessary, also for relatively

The Working Group Youth members briefly presented the six key requirements of the Manifesto for policy and decision makers on a local, regional, national and European level. Karolien Dons spoke about Lifelong Learning, explaining that since a large number of the young people addressed by the Manifesto are still in education or have recently finished their studies, this topic received a high level of response during the consultation. Many emphasised the need for music to be a compulsory aspect of the curriculum in all European schools but also the importance of bridging the gap with music learning outside of institutional settings. Arianna Stornello presented Professional Training, drawing attention to the prevalent frustration amongst students and young professionals that the training they receive from higher education institutes across Europe does not prepare them for the real world of work. One way to address this is to involve students in the development of curricula; another is to help students attain appropriate pedagogical and entrepreneurial skills. Floriane Cottet dealt with the topic Mobility and Dialogue, highlighting the broad scope and meanings of both words

high-risk start-up initiatives, it is the lack of information about young peopleâ&#x20AC;&#x2122;s rights and the opportunities available to them which is the more serious but also more easily tackled problem. Qualified and experienced professionals are important resources and have the responsibility to enable youth participation in decision making in their sphere of influence. Eline De Langhe concluded by presenting Youth as a Resource. Young people themselves are valuable resources in all areas of the music sector. They offer new insights and practices and possess the right attitude and skills to keep ahead. It is therefore a risk not to include young people in decision making processes! Participants representing various generations and continents physically â&#x20AC;&#x2DC;made noise for the Manifestoâ&#x20AC;&#x2122; through body percussion and could also make their voice heard by expressing their experiences and ideas in small breakout

groups. These were invited to explore the following questions: How can we implement the Manifesto in the real world? Can you give positive examples of concrete best practices (existing and future)? Do non-European participants agree with the WGY that much of the content of the Manifesto also applies to other continents? The feedback from the groups was recorded on coloured cubes with each side of the cube representing one topic of the Manifesto. At the end of the session each group presented its cube to the plenum.

importance of international festivals spanning a range of genres to increase exchange, mobility and dialogue, but also the barriers created by visa regulations. A positive example is Edinburgh Festival which was declared visa-free.

The lively discussions proved that many of the concerns and needs raised in the Manifesto do indeed exist outside of Europe, in particular as regards access to music and music education for young people. The importance of intergenerational informal learning was highlighted, with cultural heritage in many regions being based on methods such as grandparents passing on traditions to their grandchildren. Learning and teaching can also work in the opposite direction, however, with children teaching newly learnt information and skills to their parents. Differences and connections between academic and management training were discussed by one group in particular which heard that in Africa management training is mostly connected to academic training, and that in Estonia management training for musicians is only available to special groups. Two groups especially underlined the importance of high quality holistic and multidisciplinary training, and not just for classical music. The necessity for young people to hold more board positions where decisions are made was raised, as was the idea to identify existing youth projects and policies which can be of benefit. Participants from various continents highlighted the

Regarding youth employment, the need for more information for both employers and young professionals (also the selfemployed) was addressed by most of the groups. Positive examples included the South African Employment Equality Act, an Estonian scheme providing financial incentives to those working outside of the capital, and several programmes offering financial support for organisations which provide employment opportunities for young music professionals. This information is an important resource which needs to be gathered and made available online for all.

Intellectual Property Rights Burak Özgen (Turkey/Belgium) presented a workshop on current issues in music copyright.

KEY POINTS: •

A new law in the European Union extended the term of protection for performers and sound recordings with an extra 20 years protection for the performance fixed in the sound recordings

•

Legal debates between the rightholders and technology companies question the exclusive character of copyright

•

The control that creators should legally have over their creative output is of fundamental importance to the future of music

discussed. This law was stuck in decision-making processes for two years due to objections of some EU Member States. The proposal and the final adoption have seen one of the widest controversies in the field of copyright law. While most new digital services, open rights organisations, some music industry groups and many distinguished academics from across Europe objected the term extension, performers’ right organisations welcomed the decision even though they stressed that this initiative still does not answer all needs of European performing artists. Recording companies were at the forefront for arguing for the change, which they believe is needed.

QUESTIONS: •

What are the fundamental principles of copyright protection?

•

Does the rapid change in technology require a fundamental change in copyright law?

•

What should be the basis of fair protection for creators and creations?

This session was designed to firstly provide basic information on the so-called copyright protection, and secondly, to involve participants in an open discussion about current developments and future possibilities around the theme of intellectual property rights. Burak Özgen addressed three issues for discussion purposes, namely ‘the extension of the term of protection in the EU’, ‘recent lawsuits relating protection of copyright on internet’, and ‘the fair music project’. Within those discussions, the existing legal frameworks relating those issues in the continental European and Anglo-American counties was explained. In the first part of the discussions a European law extending the term of protection for the performers of music and the producers of sound recordings from 50 years to 70 years was

An interactive discussion on the pros and cons of such a change took place. The main concern raised by the participants was whether the actual artists would be able to benefit from this extra term of protection or it would rather remain as an extra level of control of major record companies in the market. The provisions of the new law aiming to protect the individual artists, as well as those that pose a threat for over control by companies was also discussed. The second part of the discussion focused on recent case law from around the world relating the new services that usually operate illegally and/or without prior permission and are at variance with the fundamental principles of copyright protection. Copyright is a set of exclusive rights conferred on authors regulating the use of their works. This means that the creator of the work decides if and how his/her work will be used. However, many online usages that should normally fall under the exclusive rights and be subject to prior authorization of rightholders occur without permission of rightholders.

Moreover, many new services dictate subsequent actions to claim protection, rather than a prior authorization, if any protection is sought. The participants discussed what would be the consequences of such a change and whether this would bring a better or worse protection for authors, composers and performers. One of the main aims is to provide better access from the public to creative works, however without proper remuneration, creators’ future can be compromised. Exchange of views took place on various models of payment for creators on different online platforms.

Following those discussions above the Fair Music project as an answer to some of the problems in the music industry was presented. IMC is an active supporter of the project. In many cases one of the core problems of musicians is their contractual relation with the companies that commercialise their works. Regardless of the time, technology and the available rights, musicians need to enter into agreements with music or media companies that enable them to reach the public. And usually, musicians are placed as the weaker party in those agreements, since their negotiation powers are not as strong as big media companies, unless they are widely known or celebrity artists. Fair Music initiative, based on the Fair Trade model, aims to develop common, international standards for the music industry in order to create more fairness and more equality for musicians in their relations with labels, media companies and live venues.

Some other issues relating exceptions to copyright and creative commons licenses were also addressed by the participants of the session for further exchange of views.

Hip Hop as a Tool for Social Change An interactive workshop animated by the Hip Hop artists and indigenous Australian James Alberts created much discussion during the Forum. After gathering information from the audience about their basic knowledge and thoughts about this style of music James explained the present situation within his community: a minority within the Australian population are held back by poverty, criminality, drug abuse and suicide among youth. To support children who grow up facing abuse and poverty, James uses Hip Hop, “which has always been about giving power to the oppressed, about having a voice and being proud of where you come from”.

With volunteers from the audience, James demonstrated the strength of collectiveness and of acting as a group; this is what Hip Hop is all about. He then performed a rap song telling about his own story, his “dream” as conceived among indigenous Australians. James explained that Hip Hop gave him the space to channel and manage aggression and tension, and to develop positive skills and feel like someone who had something to say. As he got involved with youth from his community, organizing Hip Hop workshops, James enjoyed teaching them self expression, creativity, perseverance and confidence in their own abilities. Workshops were also meant to convey to them the importance of education as a means of self-empowerment. Participants recalled the negative aspects associated with Hip Hop and Rap music: rude language, violence, bad

Workshop: An Introduction to Participatory Evaluation Ideas and Methods Rebecca Lee run this workshop with an aim to provide participants with a possibility to explore the participatory evaluation presented previously using some case studies provided by the participants who made an active contribution to the session. Participants then continued in small groups to discuss their personal experience with evaluation, each presenting one positive and one negative example. These examples were then brought together in an open discussion. There was general consensus amongst the group that evaluation can be a positive tool which can help an organization to improve. The condition for this is that the rationale for the evaluation is clear, that everyone involved has a shared understanding of the evaluation’s objectives and that the evaluation remains an honest reflection of the project.

dressing style, supporting macho and aggressive attitudes, glorification of sexuality and disrespect of women. These “gangster” aspects, which are highlighted by the media, are expressions of deep anger and violence within today’s youth, which need to be seen as rebellion but not generalized to all Hip Hop and Rap. A discussion with the audience raised issues such as the difference between conscious and unconscious rap, the link between US and indigenous Hip Hop using indigenous instruments and traditional aspects. The audience was then invited to participate in the same type of work James undertakes with children in his community: select their Hip Hop nicknames in connection with their personal story and interests, list things they like that represent themselves, and use all these to write a short Hip Hop song to be performed in front of everyone. The workshop concluded with James performing acapella one of his own compositions.

4. LIST OF PROJECT PRESENTATIONS

- Three sessions gave the opportunity to IMC members and their affiliates to present projects illustrating one or the other of the topics discussed in the Forum: - Money from Music: Youth Musical Economy and a Model for Youth Advocacy – Australian Youth Music Council. - Concert and Open Workshop in Riga “Photosynthesis in Parks” – Society Radiatori - Composers in the Town – Estonian Composers’ Union - Innovative Approaches to Developing Accredited Employability Skills through Music – Superact - Digital Resources in Vocal Pedagogy – European Voice Teachers’ Association - Music as an Active and Efficient Element for Social Change - Mouna Zraik Sayegh - Fostering a Love of Music – Live Music Now - Trumm-It – Estonian Music Council - The Social Report – Feniarco - The Return of Native Instruments of the Americas (a New Academic Musical Paradigm) – Argentinian Music Council - Youth Music Projects: Technology, Mentoring & Touring – Scottish Music Centre; GLOMUS (Global Network for Higher Music Education) – Sibelius Academy, Finland; Royal Academy of Music, Denmark

- Sing Up: Beyond the Mainstream – SING UP - Interactive Whiteboard Activities in the Classroom – Music Council of Australia - Revitalisation of Indigenous Traditional Music in Uganda – Uganda Musicians Union - Composers Factory – New Music for New Audiences – European Composers Forum - Choral Music and Social Change – European Choral Association

5. AFTERTHOUGHTS & REFLECTIONS

Music as Identity? Claire Goddard, Secretary General EMCY, Chairperson of the IMC’s Youth Advisory Group and the EMC’s Working Group Youth 2010-2012. The role that music can play in finding and expressing identity was a common theme to many of the sessions at the 4th IMC World Forum on Music, not least those coordinated by the Youth Advisory Group (YAG) of the IMC. Hip Hop has always been about making something out of nothing, and it’s always been about giving power to the oppressed, it’s always been about having a voice and standing tall and being proud of where you have come from. This is a quote from James Alberts aka Jimblah, a young indigenous Australian producer/DJ/MC who led the session on “Hip Hop as a Tool for Social Change”. Jimblah is an alias, an identity. For him Hip Hop is “about having your place, your own identity, I think that’s why we have aliases”. In the session he even went as far as to say that “Hip Hop is identity”. Hip Hop, or at least conscious Hip Hop (a subgenre focusing on social issues) is personal: it’s about asserting who you are and standing up for what you believe in. During the session Jimblah gave a taste of the community work that he does back home: the participants created their own alias or Hip Hop identity and used rap to tell their story. Of course, all kinds of music have the potential to empower. But the storytelling tradition upon which Hip Hop is based has nourished a particularly effective form of expression and of communication: it is a way to address social problems head-on and to bring them to the forefront.

If no one introduced us before and you didn’t know where we came from you wouldn’t know, you would just think we are the best band in the world. It may appear that making music together has enabled the participants of the “Music on Troubled Grounds” session to temporarily forget their identities as Palestinians, Israelis or Scandinavians, and that, in singing a song called ‘Salem’, or peace, together with the audience in Arabic, Hebrew and English, a cultural fusion has taken place and a new common non-political identity has been created through music. This is, however, only part of the picture. The songs that the musicians performed together are part of their own culture and in sharing them with each other they were sharing a part of themselves. Music is a form of dialogue and communication: it’s not only Hip Hop which is about “having a voice and standing tall and being proud of where you have come from”. Spiritus Mundi’s “Music on Troubled Grounds” project is not about normalization or reconciliation. The aim is to enable those involved to understand the human beyond the conflict, to get to know one another and themselves, and to promote dialogue. A new non-political common identity as “the best band in the world” may have been forged to some extent but this by no means replaces the specific cultural identity of the individual participants. In fact, through making music together with young people from other backgrounds, the participants have become more conscious of their own existing identity and place in society. So, to make the link with Hip Hop, this new

identity could be seen as an alias. However, an alias does not constitute a completely new person, rather a tool for dialogue, expression and self-discovery. It could be argued that the need to find and assert one’s own identity is particularly strong in young people who are establishing themselves as individuals and as part of society as a whole. But can anyone of any age say that they have reached the end of this journey? Young people may be in particular need of empowerment but they are surely not the only ones! The topics raised by the youth-led sessions at the WFM are universal. And seeing as these ‘youth’ issues are so relevant to us all, it is clear that we must all make sure we listen to what young people have to say!

Through presentations and discussions important issues for the future of music and for the development of society were discussed: Can music be a tool for social change? How do we best prepare musicians for the future? Can music contribute to social, economic and cultural development? How important is arts education in forming tomorrow’s society? And many more. At the end of the Forum, I was asked to give a summary based on what in my view were the most important impulses to take home from the 4th IMC World Forum on Music. It was far from easy to make a limited selection from a programme filled from morning to evening with important, thought-provoking messages from highly knowledgeable, experienced and indeed devoted presenters and discussion partners. I was given five minutes in which I offered the following summary: My main message is: this has been a great conference! It has shown the magnitude of our vision and visions for music in society, and it has encouraged us to – personally and in our local settings – celebrate our small victories in making the five musical rights prevail. Somebody defined or described music as “the sounds that you think you’ve heard”. In the course of the last few days, I think I’ve heard – in addition to a lot of very nice musical sounds – twelve verbal sounds – a chromatic scale as it were. I will share them with you, and add an important post scriptum.

The sounds that you think you’ve heard: A personal summary Einar Solbu, Dean Emeritus, Faculty of Performing Arts at the Oslo National Academy of the Arts and former President of the International Society for Music Education (ISME).

In his introduction to the programme of the 4th IMC World Forum on Music, IMC President Frans de Ruiter discussed the complexity of the Forum’s main theme, “Music and Social Change”. The fact that this theme “has many layers”, as de Ruiter puts it, was clearly demonstrated by the multitude and diversity of the sessions we were invited to participate in over five days in Tallinn, Estonia in late September 2011.

Music and social change is in fact about individual people. I’ve heard many touching stories about individuals for whom music is not only important but vital; and about groups of individuals for whom music is vital – for each individual as well as for the room between the individuals that we call community or society. Such rooms created by music are unique rooms. We know that, and our main task is to invite others into these rooms to experience them. Human rights are high on the international agenda, whereas cultural rights, musical rights, which are a fundamental part of human rights, are ‘under-developed’. We should all fly the musical rights flag as high as we can! In order for people to express themselves and communicate through an art form, certain conditions need to be in place; for instance eight tanks to protect a music festival (as we heard from Egypt). At the same time artistic activities create conditions for a humane, just society. Our awareness of this is very important!

Tanks can protect music (Egypt). But tanks can also be overcome by music (Estonia)! Music/art as a tool is a very complex concept, a concept that can even be dubious. Tools are often used to manipulate – one way or the other. True art is not manipulative! True art is searching for truth and truths! How can the impact of music be assessed and measured? I have heard of numerous objectives for music making and consequently similarly many criteria for making assessments. At the end of the day the most reliable criterion is perhaps simply to see when the listener or participant starts smiling or even dancing! That indeed is a sign of genuine response to the complex and wonderful world that music is. Social inclusion pre-supposes many things, one of which is knowledge. For music to function as a vehicle of social inclusion, one must learn musical languages. More on music and arts education later. But first: A hard core issue: Festung Europa! Festung Schengen! The visa issue must be solved! Present practices, as experienced every day by travelling artists, contribute clearly to social exclusion!

actively in all parts of the world. But, however important and helpful they are, as long as the ideas and principles of these (and other similar) documents live their own lives outside of the big arenas where principles and policies and philosophies for education of children and people in general in the future are being developed, designed and shaped, music and arts education will always be frosting on the cake, and its potential in larger educational contexts will never be exploited. A speaker told us the other day that you can use any animal skin as a drum top as long as you remove the animal first! In the case of music education, the important issue seems to be to put the hide back on the animal in order to obtain a vital, comprehensive and holistic education in which music and art play an irreplaceable part. Post scriptum: One of the most encouraging aspects of this Forum is the active participation of young people. This is new in the IMC’s history! A great thanks to the IMC’s Youth Advisory Group and the EMC’s Working Group Youth for being so visible and audible these last few days, and for the work they have put into planning and running several of the Forum sessions!

Now more on music education: One of the most important aims for music education is to provide people with voices – musical voices – with the help of which they can express themselves and communicate with others. Music education must set the stage for everybody’s voice to be developed and heard. It seems tempting to construct a divide between formal and informal music education. That is hardly productive. We should focus on nurturing critical reflection around all types of music education – music education in which the individual learner/participant must be in the centre, in other words, music education characterised by human care! A viable music education curriculum should include adequate local content – to ensure relevance and validity. Even more important: a viable music education curriculum must be made important, important relative to our own time and the cultural and social contexts in which we live (which obviously is different from one place to another). The UNESCO Road Map on Arts Education and the Seoul Agenda are very important documents that should be used

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IMPRINT Editor: International Music Council Maison de l’UNESCO 1 rue Miollis 75015 Paris France Tel. +33 1 45 68 48 50 Fax +33 1 45 68 48 66 www.imc-cim.org info@imc-cim.org www.facebook.com/International.Music.Council Edited by: Gary McPherson, Silja Fischer Assisted by: Davide Grosso Contributions from: James Alberts, Jeremy Cox, Frans de Ruiter, Simone Dudt, Claire Goddard, Kevin Kleinmann, Timo Klemettinen, Rebecca Lee, Richard Letts, Victoria Liedbergius, Mary Luehrsen, Gary McPherson, Henrik Melius, Larry O’Farrell, Burak Özgen, Marianne Pasty-Abdul Wahid, Matti Ruippo, Dudu Sarr, Blasko Smilevski Photo credits: Vahur Lốhmus © International Music Council. All rights reserved. Design and layout by 234lab / Wouter Dons