Music Rights Champions

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Friday, 16 September 2016

The Five Music Rights represent the core values of the International Music Council. They have been guiding, since their proclamation in 2001, the work of the IMC and of its network comprising some 1000 music organisations in 150 countries of the world.

In 2016, 15 years after the proclamation of these rights, the IMC wishes to give new impetus to their promotion by appointing IMC Five Music Rights Champions, with the purpose of increasing the visibility of these core values and putting them ‘on the radar’ of musicians and music-lovers around the world as an expression of concerns they share with the IMC.

Five Music Rights Champions

Dr. Ahmad Sarmast was born into one of Afghanistan’s most important musical families. Trained in trumpet and piano, he studied in the Soviet Union and Russia during the 1980s and 90s, becoming a refugee in Australia when Afghanistan’s Islamist parties began to forbid musical performance and persecute musicians. He learned English as an adult in Australia, eventually becoming the first Afghan to earn a Ph.D. in music.
In 2010, he founded the Afghanistan National Institute of Music, known by its acronym ANIM. Under his leadership, ANIM defied Taliban threats to teach boys and girls alongside one another, training them in Afghan and Western classical instruments and performing traditions. The school drew students from a range of economic and social backgrounds with an emphasis on those from disadvantaged backgrounds, and across all of Afghanistan’s ethnic groups. He also formed Afghanistan's first all-female orchestra, Zohra, as a student ensemble of ANIM.

Credit Choeun Socheata-min

Arn Chorn Pond was born into a family of artists, but in 1975 was sent to a children’s labor camp. Under the instruction of a Master Artist, he survived by playing propaganda music. He escaped, spending time at a refugee camp in Thailand, before aid worker Peter Pond adopted him in 1980. He was educated in the US, and started up several community projects in his new country. In the 1990s, Arn returned to Cambodia to find his former teacher and to rebuild the artistic legacy of his family. After seeing the desperate conditions faced by Cambodia’s remaining Masters, Arn was moved to help. In 1998, along with a group of dedicated people from the US, he created the Cambodian Masters Performers Program, which grew into Cambodian Living Arts (CLA).
Expressing his gratitude for the nomination, he evoked his “dream for Cambodia and [...] for the world to have children carrying musical instruments, to sing, to dance and be able to learn in the future how to love - instead of carrying guns like I did”.

Credit Caroline Purday

Dame Evelyn Glennie, is a Scottish percussionist and the first person in history to successfully create and sustain a full-time career as a solo percussionist, performing worldwide with the greatest conductors, orchestras, and artists. Her vision is to teach the world to listen, to improve communication and social cohesion by encouraging everyone to discover new ways of listening.
When nominated to champion the Five Music Rights she said: “It is the aims of total inclusiveness and people’s right to be exposed to music in its myriad of forms that I wholeheartedly believe in and wish to advocate as much as possible”.

Credit Inaki Marconi

Ramy Essam is an Egyptian musician known for his appearances in Tahrir Square in Cairo during the Egyptian Revolution of 2011. His songs became the anthems of a whole generation of young Egyptians ́ struggle for a better future. 

Credit Ketebul Music

Tabu Osusa is a key player in the East African music industry. A Kenyan native, he is the founding Executive Director of Ketebul Music and for the last 30 years has been involved in the music industry as a promoter, producer, composer and band manager.

In his words: “I feel that the fourth right is the most fundamental because it touches on the basic need to promote the diverse musical traditions of the world and at the same time giving all the artists an equal opportunity to be heard and promoted within a global platform.”

Music Council of the Arab World

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Wednesday, 29 June 2016

Altough a Music Council of the Arab World does not yet exist as such, a MOU was signed in 2013 and gives the mandate to the Arab Academy of Music to act as regional music council and to develop a membership stategy to bring a Music Council of the Arab World into life.

The AAM is a specialised body of the League of Arab States that concerns itself with the various aspects of music throughout the Arab World. Specifically, the AAM Articles of Association define the Academy’s mission as “developing and universalising music teaching and disseminating music culture, collecting and preserving the legacy of Arab music, (and) fostering and promoting Arab instrumental and vocal production.”

It also concerns itself with the following specialised fields: music research, studies, planning, education, information and criticism, as well as the various musical professions, the role of music in the communication and programming media, and the manufacture of instruments. The AAM congresses usually provide an opportunity for dialogue and networking among the Arab states vis-à-vis their achievements in the field of music in general and Arab music in particular.

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COMTA History 1995 - 2004

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Monday, 25 April 2016

COMTA Activities 1995- 2004

During the decade, a series of National Music Council were established in the region: Republica Dominicana, Ecuador, Colombia, Mexico, Costa Rica, Cuba, El Salvador, Guatemala, Venezuela , Bolivia, Uruguay, Paraguay , Chile and latinamerican and Caraibeans countries Meetings in Mexico, Cuba and in Rosario (Argentina) with the presence of the former Secretary General of the IMC, Mr Guy Huot and the sponsoring of the IMC and the Encuentros Foundation of Argentina.

In 1995 , during the General Assembly of the IMC in Korea, Alicia Terzian as a President of the CAMU as well as a organizer of the “Music Council of the Three Americas” (COMTA), proposed the official approval of the all the members presents at the General Assembly of this new Regional Council embracing all 3 Americas.
Altough not yet established as an independent legal entity, the IMC assembly in Korea officially approved the COMTA group with a large majority of votes and appointed Alicia Terzian as Secretary General.

Under her presidency the TRIMALCA 1993 and 1997 were organized in Argentina, joining delegates from all the country members of COMTA.

In 1996 Prof. Terzian organized an International Congress and Seminar about the “Musical Baroque in Latin America” under the COMTA auspices and with the cooperation of the Camping Musical Bariloche, the Festival of Organ and International Centre for Conservation of the Patrimony. In this event held in Bariloche and Buenos Aires and important specialists of the latinamerican baroc were presents coming from Peru, Mexico, Bolivia, Colombia, Venezuela, Guatemala, Argentina, Brasil, Uruguay, France as well as the responsible for the Project “World Atlas of the Baroque Music of the UNESCO”, Prof. Alberto Basso (Italy) and Dr. Elena Cattarini-Leger, director of this Project before the UNESCO.

In 1997 and together with the Encuentros Foundation, the CAMU orgnize the 4th National Congress of Musical Education and the 1st Meeting of Presidents of National Music Councils of the Three Americas (COMTA). These events had the presence of the IMC Secretary General and the Presidents of the Music Councils of El Salvador, Venezuela, Cuba, Colombia, Costa Rica, Guatemala, Bolivia, Brasil, Chile and Uruguay.

In 2001 the Encounters Foundation invited the CAMU to organize the “Pan American Forum about the Condition of the Musician” with the participation of the International Federation of Musicians and their delegates from all over the world as well as IMC members from Canada, USA, Mexico, Guatemala, Costa Rica, República Dominicana, Cuba, Venezuela, Colombia, Ecuador, Brasil, Chile, Paraguay, Uruguay, Bolivia, Panama and Honduras and all the Argentine provinces.
During this Forum was held the 3rd Regional Meeting of Presidents of the National Councils of Music from the Three Americas (COMTA) and they were devoted to “The national identity through the music of oral tradition, the creation and the musical education”. Prestigious personalities of the field of music of the Three Americas, Europe and our country attended the Forum.

In 2001 Terzian invited outstanding musicians, educators and personalities from all areas of the Argentine musical life to realize a research which outcome was a document called: “MUSICAL POLICY FOR ARGENTINA” (POLITICA MUSICAL PARA LA ARGENTINA ), which was presented before the COMTA.
On December 7th, 2001 ,this document was approved by the Government of Buenos Aires City and was presented before the TRIMALCA that took place in Asunción, Paraguay later on, in September 2004 under the sponsoring of the International Music Council.

In 2004 the CAMU organized together with the Fundacion Encuentros and COMTA, different workshops led by musical personalities from the MERCOSUR about: “Music of oral tradition of the MERCOSUR and contemporary techniques of creation in primary and secondary school”. 300 music teachers from the country participated in the workshops which were funded by the Encounters Foundation.

In March 2005 the CAMU and COMTA organized workshops in Buenos Aires : “An approach to indigenous cultures in Argentina” and dedicated to music professors of primary and secondary schools of Argentina. The topics were: Candombe and murga, Ethnic instruments to apply in the classroom, Oral tradition, Puppets and music, Music, dance and mapuche habits, Music, dance and wichi guaranies habits, the sonorous art of guaranies Mbya Apitiré of Misiones, Improvisation with percussion, The Argentine musical tale in the school, Rioplatense percussion in the school, Voice techniques, the School choir, Eutonia, Music and PC.

In the field of Musical Education the following aims were achieved:

- Musical policies in the Latin American countries. Globalization.
- Research on new methodologies due to the changes in the education programs and new Technologies.
- How to achieve an effective action of music in schools to benefit the community.- Promote the recognition and international equivalence of Diplomas given by official Argentine Conservatories, Universities, etc.
- Create a musical repertoire of composers in every country.
- Develop an action through radio and television such as “music schools adapted to local features” (rural schools )
- The music and homeless children.
- New Technologies to help music teacher in all levels.

In the field of the Multiculturalism the following aims were achieved:

- The Ethnic music of each country or cultural region and its presence in the community.
- The influence of African music in Latin America, the Caribbean and USA.
- The presence of ethnic music in the new creative-musical form of the young generations.
- The presence of the immigration in the popular regional music, such as: the influence of Italian and Spanish music in the popular quartets of the province of Cordoba (Argentina) and others in the continent.

In the field of Research the following aims were achieved:

- Project about the colonial American music.
- Seminars and Workshops devoted to the Research of Ethnic music in the Andean countries and its projection in the Musical Education.

In the field of Contemporary Music the following aims were achieved:

Seminar to study the consequences of the new technology on the music created towards the third millennium.
Dialogue about the creativity in the three Americas.Seminar and Festival about the Project of Ethnic Music in the contemporary Musical Creation in Argentina.
Participation at the IMC International Tribunes of composers from 1979 till 2006 presenting argentine works selected by a Jury including argentine important composers in the Argentine Annual Tribunes: TRINAC,TRIME and TRIMARG.

In the field of Defence of Musicians the following aims were achieved:

- A Congress was organized together with the International Federation of Musicians and the IMC to study the situation of the performer in the country (as soloist or integrating orchestras or other official or private organs, chamber, symphony or choir)

This Congress dealt about the situation of the musician in the society, his social rights and copyrights, performers, composers, musicologists and musical educators rights. It was developed in three steps: Argentina, MERCOSUR, the Americas, following the lines of the UNESCO, FIM and the IMC.

In the field of Cultural Policies the following aims were achieved:

Symposium about the topic: “Freedom and finance of the Argentine musical culture”.

AEC Newsletter 03/2013

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Monday, 18 April 2016

As a very first announcement, the AEC team is pleased to present the brand-new AEC website, which has just gone online under the same address www.aec-music.eu.

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الصفحة الرئيسية

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Wednesday, 06 April 2016

الصفحة الرئيسية

تأسس المجلس الدولي للموسيقى في عام 1949 من قبل منظمة الأمم المتحدة للتربية والعلم والثقافة (يونسكو)، وهو أكبر شبكة في العالم للمنظمات والمؤسسات التي تعمل في مجال الموسيقى. ويقدم المجلس الدعم للجهود الرامية إلى تيسير إمكانيات الوصول إلى الموسيقى للجميع وإلى تعزيز قيمة الموسيقى في حياة جميع الشعوب. ويمتلك المجلس، من خلال أعضائه وشبكاته، إمكانيات  الوصول مباشرة إلى أكثر من 1,000 منظمة في نحو 150 بلدا وإلى 200 مليون شخص من المتشوقين إلى تطوير معارفهم وتبادل خبراتهم في مختلف جوانب الحياة الموسيقية.

حول المجلس الدولي للموسيقى

المجلس الدولي للموسيقىهو المنظمة المهنية الرائدة في العالم القائمة على أساس العضوية والمكرسة لتعزيز قيمة الموسيقى في حياة جميع الشعوب. وتتلخص مهمته في تطوير قطاعات الموسيقى المستدامة في جميع أنحاء العالم، وخلق الوعي حول قيمة الموسيقى، وجعل الموسيقى تتمتع بالأهمية التي تستحقها في جميع حنايا النسيج المجتمعي، واحترام الحقوق الموسيقية الأساسية في جميع البلدان.

تأسس المجلس الدولي للموسيقى في عام 1949 بناء على طلب من المدير العام لمنظمة اليونسكو، الذي اقترح تشكيل هيئة استشارية غير حكومية لليونسكو تعني بشؤون جميع المسائل الموسيقية. ويتخذ المجلس مقرا له في المباني التي تشغلها اليونسكو في باريس، إلا أنه يعمل اليوم بشكل مستقل كمنظمة دولية غير حكومية وشريك دولي رسمي لليونسكو.

تطور المجلس الدولي للموسيقى منذ تأسيسه ليصبح شبكة واسعة النفوذ تسعى إلى استقطاب الدعم للسياسات والممارسات المناسبة التي تهدف إلى تعزيز عمل أعضائها وشركائها في جميع أنحاء العالم.

تمتد شبكة المجلس الدولي للموسيقىفي 150 بلدا منتشرة في جميع القارات، وتشمل مجالس وطنية للموسيقى ومنظمات وطنية وإقليمية ودولية للموسيقى، بالإضافة إلى منظمات متخصصة في مختلف مجالات الفنون والثقافة. ويتم اختيار أعضاء الشرف في المجلس الدولي للموسيقى من بين مجموعة من المتميزين المهنيين والمربين والمؤدين والمؤلفين. ولدى المجلس، من خلال أعضائه، إمكانيات الوصول المباشر إلى أكثر من 1,000 منظمة وحوالي 200 مليون شخص من التواقين إلى تطوير معارفهم وتبادل خبراتهم في مختلف جوانب الحياة الموسيقية

ينوب عن المجلس الدولي للموسيقىويمثله مجلس إقليمي للموسيقى في كل من المناطق الخمس التالية: أفريقيا، الأمريكتين، آسيا والمحيط الهادئ، أوروبا والعالم العربي. وتتلخص مهمة هذه المجالس الإقليمية في المساهمة في تطوير البرامج الإقليمية ودعم الأنشطة المصممة خصيصا وفق احتياجات أعضاء المجلس الدولي للموسيقى وشركائه في كل منطقة.

الحقوق الخمسة في الموسيقى

يعمل المجلس الدولي للموسيقى على استقطاب الدعم لإتاحة إمكانيات الوصول إلى الموسيقى أمام الجميع. وقد أعلن أنه يعمل من أجل النهوض بخمسة من الحقوق الموسيقية:

–        حق جميع الأطفال والكبار في ما يلي:

▪         التعبير عن أنفسهم موسيقياً بكل حرية؛

▪         تعلم لغات ومهارات الموسيقية؛

▪         إمكانيات الوصول إلى الانهماك الموسيقي من خلال المشاركة والاستماع والإبداع والمعلومات.

-        حق جميع الفنانين الموسيقيين في ما يلي:

▪         تطوير براعتهم الموسيقية والتواصل من خلال جميع وسائل الاتصال ووضع التسهيلات المناسبة تحت تصرفهم،

▪         الحصول على تقدير ومكافأة منصفين لعملهم.

مبادئنا

الحقوق

تلتزم رسالة المجلس الدولي للموسيقىوأهدافه بحقوق الإنسان والحقوق الثقافية الواردة في الإعلان العالمي لحقوق الإنسان والمواثيق الدولية الأخرى ذات الصلة التي تدعو لها الأمم المتحدة واليونسكو والمنظمات الدولية المماثلة الأخرى.

المساواة

عند تصميم برامجه وأنشطته، يتعامل المجلس الدولي للموسيقى مع جميع الثقافات الموسيقية في العالم بالتساوي من حيث قيمتها والاحترام اللازم لها.

الاحترام

يستند المجلس الدولي للموسيقى في تعاونه على الصعيد العالمي على التسامح المتبادل والاحترام والحوار.

الشمولية

بصفته منظمة غير حكومية وغير ربحية، يتمتع المجلس الدولي للموسيقى بالاستقلال عن أية إيديولوجية سياسية، ويقدم الدعم للموسيقى والحياة الموسيقية النابضة بالحياة في جميع جوانبها - الفنية والاقتصادية والاجتماعية - دون تحيز أو محاباة.

What does a record producer do?

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Wednesday, 06 April 2016

Before George Martin, the record producer’s job was merely to provide a faithful document of a live performance. Greg Kot explains how the great man changed everything.

BBC

MARS: Music and Resilience Support

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Tuesday, 15 March 2016

Music And Resilience Support (MARS) responds to an urgent and ever increasing need to develop efficient and cost-effective strategies in support of deprived, marginalized communities in diaspora due to military/political/social conflict, both within Europe and farther afield. The project develops of a full training course in psychosocial music intervention, for community musicians, music therapists and health and education workers. This will contribute to the development of a specialized workforce trained in psychosocial intervention, as a protection against multiple risk factors emerging in under-resourced and marginalized communities, where chronic high- or low-level stress affects emotional, cognitive and social functioning, in particular in children and adolescents, undermining the community's capacity to care for itself internally and to respond to the external environment with adaptation and flexibility.

MARS calls into cooperation a group of highly competent organizations working with music as a powerful tool for psychosocial rehabilitation and reintegration. 5 of the 6 partners are European and represent a wide range of focusses in the promotion of musical rights, education and well-being: International Music Council (France), Nordoff-Robbins Music Therapy UK, the Catalan Choral Movement (Spain), Prima Materia Association (Italy), Euridea Education Agency (Italy). The sixth partner, located in Lebanon, the National Institution for Social Care and Vocational Training, brings a unique and essential contribution to the project, after almost forty years of caring for the country's refugee population, historically Palestinian and currently also Syrian, and will provide teaching expertise and a location for project fieldwork.

These partners come together to optimize resources, and to develop and test a high quality, accessible training, in which new ICT supported open education resources will be combined with traditional teaching methodologies and fieldwork opportunities.

The training will be recognized with certification, 'open badges' and provision for ECVET credit.

Central to the training packet will be the MARS Online Resource Center, offering new technology teaching materials and methods, and a research/reference section, with bibliography and sitography. A MARS Specialization Profile will be defined, with a 'demand and supply' window, linking specialists to potential employers.

The project's preliminary phase will address the researching and preparation of the course contents and resources, informed by an initial Needs Analysis. Essential to the project's success will be the formation of the MARS Staff Group, comprising 15 highly competent and experienced professionals from the partner organizations who will train together to build coherence in project vision, pedagogy and methodology. Staff will guide a pilot group of 18 students from 5 countries (France, UK, Italy, Spain, Lebanon) through the course, providing on-line tutoring and supervision.

The 2nd phase of the project will comprise the launching of the website, the formation of the student group and initial E-learning in preparation for the MARS Training Seminar, a 10-day residential mobility learning experience in Italy, during which a wide variety of experiential workshops will provide the students with hands-on knowledge. Issues raised during this inter-cultural meeting period will stimulate essential learning about many of the cross-cultural challenges of working in diaspora communities.

The project's 3rd phase will be dedicated to E-learning, terminating in a 2-week period of fieldwork in the refugee community of Lebanon, supported by European supervisors and local staff , offering the Pilot Student Group the essential complementary experience of applying assimilated training techniques in a sample community. The closing phase of the project will cover assessment, documentation and final report writing.

Running parallel to the development of the MARS training and related resources will be the realization of 8 multiplier events at music education and therapy conferences to be held in the programme countries. These occasions will publicize MARS 'work-in-progress' and results to an extensive audience of experts, students and professionals from related fields of practice, and will offer workshop activities and discussion forums.

MARS will result in the formation of 2 new teams – training staff, and trained students – for the development and promotion of psychosocial music resources, supported by a tested, sustainable and freely accessible online training and research environment. Partner organizations will benefit from a intense and rich period of exchange and discovery of best practices, the 'ripple effect' of which will generate a network extending throughout Europe and beyond, ultimately resulting in increased availability of psychosocial music interventions for the benefit of suffering communities, wherever they are.

The pilot project has ended but the core results are now implemented as a stand alone activity carried out by Associazione Prima Materia.

Go to the project website

Why this week could cost (or gain) the record business a billion dollars

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Tuesday, 15 December 2015

The US Copyright Royalty Board is set to decide the new webcasting rates this week – a moment which will cost Pandora, or the music business, hundreds of millions of dollars.

Music Business Worldwide