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Contribution of Public Service Media in Promoting Social Cohesion
COUNCIL CONSEIL OF EUROPE DE L’EUROPE Contribution of public service media in promoting social cohesion and integrating all communities and generations Implementation of Committee of Ministers Recommendation Rec (97) 21 on media and the promotion of a culture of tolerance Group of Specialists on Public Service Media in the Information Society (MC-S-PSM) H/Inf (2009) 5 Contribution of public service media in promoting social cohesion and integrating all communities and generations Implementation of Committee of Ministers’ Recommendation Rec (97) 21 on media and the promotion of a culture of tolerance Report prepared by the Group of Specialists on Public Service Media in the Information Society (MC-S-PSM), November 2008 Directorate General of Human Rights and Legal Affairs Council of Europe Strasbourg, June 2009 Édition française : La contribution des médias de service public à la promotion de la cohésion sociale et a l’intégration de toutes les communautés et générations Directorate General of Human Rights and Legal Affairs Council of Europe F-67075 Strasbourg Cedex http://www.coe.int/ © Council of Europe 2009 Printed at the Council of Europe Contents Executive summary . .5 Introduction . .5 Key developments . .6 Workforce . 6 Requirements . .11 Content and services . 13 Conclusions, recommendations and proposals for further action . 18 Conclusions . .18 Recommendations and proposals for further action . .20 Appendix A. Recommendation No. R (97) 21 . 22 Recommendation No. R (97) 21 on Appendix to Recommendation No. R the media and the promotion of a (97) 21 . .22 culture of tolerance . .22 Appendix B. Questionnaire on public service media and the promotion of a culture of tolerance . -
Czech Republic Represents 21,3 %
Questionnaire - Revision of the Communication from the Commission on the application of State aid rules to public service broadcasting 1. GENERAL 1.1. A number of significant legal developments have taken place in the public broadcasting area since 2001, namely the adoption of the Audiovisual Media Services Directive, the adoption of the Decision and Framework on compensation payments as well as Commission decision-making practice. Do you think that the Broadcasting Communication should be up-dated in light of these developments? Alternatively, do you consider that these developments do not justify the adoption of a new text? There is no need for revision or change of the Communication at the moment. The Communication on the application of State aid rules to public service broadcasting (OJ 2001/C 320/4) lays down flexible principles which have made it possible to resolve a number of cases by taking due account of the specificity of the public service broadcasting sector. The Audiovisual Media Services Directive (OJ 2007/C 332/27) takes into account the emergence of new media and recalls the importance of the coexistence of public and private providers of audiovisual media services and the firm need for the public service broadcasting remit to continue to benefit from technological progress (Recital 9). Public service broadcasters consider that there is no particular pressing need to revise the current Communication. Any updating which may take place needs to ensure stability for public service broadcasters while maintaining the flexibility of the current system, a system which makes it possible to offer legal solutions to organizations of various sizes and operating on various markets which have a remit to offer public service output responding to the needs and choices of their respective societies. -
Public Broadcasting in Ukraine
РОЗДІЛ 1 ДЕРЖАВНЕ МОВЛЕННЯ: ВІД ПРОПАГАНДИ ДО АДМІНРЕСУРСУ Svitlana Ostapa, Vadym Miskyi, Ihor Rozkladai under the general editorship of Natalia Lyhachova Svitlana Ostapa, Vadym Miskyi, Ihor Rozkladai Miskyi, Ihor Rozkladai Svitlana Ostapa, Vadym PUBLIC BROADCASTING IN UKRAINE: History of Creation and Challenges PUBLIC BROADCASTING IN UKRAINE: HISTORY OF CREATION AND CHALLENGES IN UKRAINE: HISTORY OF CREATION PUBLIC BROADCASTING 1 2 Svitlana Ostapa, Vadym Miskyi, Ihor Rozkladai under the general editorship of Natalia Lyhachova PUBLIC BROADCASTING IN UKRAINE: History of Creation and Challenges UDC 654.19 О 76 Production of this brochure was made possible with the financial support from the National Endowment for Democracy (NED), the Ministry of Foreign Affairs of Denmark and the Government of Sweden. The content of the brochure is the sole responsibility of Detector Media NGO and does not necessarily reflect the po- sition of the National Endowment for Democracy, the Ministry of Foreign Affairs of Denmark, or the Government of Sweden. S.V. Ostapa, V.V. Miskyi, I.Ye. Rozkladai under the general editorship of Natalia Lyhachova. О 76 Public broadcasting in Ukraine: History of Creation and Challenges. — Kyiv: VIOL PRINTING HOUSE LLC, 2018. — 168 p. Fig. Media experts directly involved in the establishment of the Public Broadcasting in Ukraine reveal the history of the transformation of state broadcasters into the National Public Broadcasting Company of Ukraine. It was a path from advocating for the legislation necessary for the formation of a legal entity and its first steps. This brochure also describes the main challenges faced by the National Public Broadcasting Company of Ukraine at the end of the first two years of its operation. -
Knee-Fiddles in Poland: Multidimensional Bridging of Paradigms
Knee-Fiddles in Poland: Multidimensional Bridging of Paradigms Ewa Dahlig-Turek Abstract: Knee-fiddles, i.e., bowed chordophones played in the vertical position, are an extinct group of musical instruments existing in the past in the Polish territory, known only from the few iconographic sources from the 17th and 19th century. Their peculiarity lies in the technique of shortening the strings – with the fingernails, and not with the fingertips. Modern attempts to reactivate the extinct tradition by introducing knee-fiddles to musical practice required several steps, from the reconstruction of the instruments to proposing a performance technique and repertoire. The process of reconstructing knee-fiddles and their respective performance practice turned out to be a multi-dimensional fusion of paradigms leading to the bridging of seemingly unconnected phenomena of different times (instrument), cultures (performance technique) or genres (repertoire): (1) historical fiddle-making paradigms have been converted into present-day folk fiddle construction for more effective playing (in terms of ergonomy and sound), (2) playing technique has been based on paradigms borrowed from distant cultures (in the absence of the local ones), (3) the repertoire has been created by overlapping paradigms of folk music and popular music in order to produce a repertoire acceptable for today’s listeners. Key words: chordophones, knee-fiddles, Polish folk music, fingernail technique. For more than a decade, we have been witnessing in Poland a strong activity of the “folky”1 music scene. By this term I understand music located at the intersection of folk music (usually Polish or from neighboring countries) and various genres of popular music. -
Open Society Archives
OSA book OSA / Publications OPEN SOCIETY ARCHIVES Open Society Archives Edited by Leszek Pudlowski and Iván Székely Published by the Open Society Archives at Central European University Budapest 1999 Copyright ©1999 by the Open Society Archives at Central European University, Budapest English Text Editor: Andy Haupert ISBN 963 85230 5 0 Design by Tamás Harsányi Printed by Gábor Rózsa Printing House, Budapest on Niveus acid-free offset printing paper of 90g/m2 produced by Neusiedler Szolnok Paper Mill, Hungary. This paper meets the requirements of ISO9706 standard. TABLE OF CONTENTS CHAPTER I. The coordinates of the Archives The enemy-archives (István Rév) 14 Archival parasailing (Trudy Huskamp Peterson) 20 Access to archives: a political issue (Charles Kecskeméti) 24 The Open Society Archives: a brief history (András Mink) 30 CHAPTER II. The holdings Introduction 38 http://www.osaarchivum.org/files/1999/osabook/BookText.htm[31-Jul-2009 08:07:32] OSA book COMMUNISM AND COLD WAR 39 Records of the Research Institute of Radio Free Europe/Radio Liberty 39 • The Archives in Munich (András Mink) 39 • Archival arrangement and structure of the records of Radio Free Europe/Radio Liberty Research Institute (Leszek Pud½owski) 46 • The Information Resources Department 49 The East European Archives 49 Records of the Bulgarian Unit (Olga Zaslavskaya) 49 Records of the Czechoslovak Unit (Pavol Salamon) 51 Records of the Hungarian Unit (Csaba Szilágyi) 55 Records of the Polish Unit (Leszek Pud½owski) 58 Records of the Polish Underground Publications Unit -
130213 Press Release Czech Radio´S Statement Regarding An
Press Release Prague, February 13, 2013 Czech Radio’s statement regarding an application from BBC Radiocom (Praha) On 17 December 2012, BBC Radiocom (Praha) s.r.o., licenced to operate the BBC station in the Czech Republic, applied to the Council for Radio and Television Broadcasting (CRTB) for prior approval of the transfer of a 100% stake from the British public service BBC station to Lagardere Active ČR, a.s. The management of Czech Radio would like to express considerable concern regarding the application submitted by BBC Radiocom (Praha) s.r.o., which would result in a commercial entity taking control of two public service radio stations. Czech Radio hopes that this plan will not be implemented. Czech Radio does not agree with the change in ownership of the BBC station from the British public service BBC to the French media group Lagardere that provides, among others, commercial radio broadcasting in the Czech Republic. Czech Radio also does not agree with the potential change in the valid licence terms and conditions according to which the BBC station has to present the BBC World Service programmes in English (news, reports, education and sports) and programmes supplied by Czech Radio. Czech Radio states that it is ready to continue the cooperation with the BBC and broadcast its programme under the existing licence terms and conditions. For the above-mentioned reasons, Czech Radio submitted a motion to the Council for Radio and Television Broadcasting demanding that the CRTB acknowledge Czech Radio as a party to the proceedings and, at the same time, asking CRTB not to approve the transfer of the share in the operator’s company from BRITISH BROADCASTING CORPORATION to Lagardere Active ČR . -
Toward a Lexicon for the Style Hongrois Jonathan D
University of Northern Colorado Scholarship & Creative Works @ Digital UNC School of Music Faculty Publications School of Music Spring 1991 Toward a Lexicon for the Style hongrois Jonathan D. Bellman Follow this and additional works at: https://digscholarship.unco.edu/musicfacpub Part of the Musicology Commons Recommended Citation Bellman, Jonathan D., "Toward a Lexicon for the Style hongrois" (1991). School of Music Faculty Publications. 2. https://digscholarship.unco.edu/musicfacpub/2 This Article is brought to you for free and open access by the School of Music at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in School of Music Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Toward a Lexicon for the Style hongrois Author(s): Jonathan Bellman Source: The Journal of Musicology, Vol. 9, No. 2 (Spring, 1991), pp. 214-237 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763553 . Accessed: 17/01/2015 20:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
ARTGENE Zamtarizamtari // Winterwinter 20112011 ##33 Redaqtori: Tamar Meliqisvili 4-5 Redaqtoris Werili// Jurnalisti: Nuca Eristavi from the Editor
www.artgeni.ge ARTGENE zamTarizamTari // WINTERWINTER 20112011 ##33 redaqtori: Tamar meliqiSvili 4-5 redaqtoris werili// Jurnalisti: nuca erisTavi FROM THE EDITOR dizaineri: nia mSvidobaZe 6 -17 ostatebi foto: MASTERS giorgi baramiZe maria lanevski sofi siTveli 18 - 21 Targmani: mzis margalitebi marina qoreli THE PEARLS OF THE SUN Editor: Tamar Melikishvili 22 - 25 Jounalist: qarTuli xelnawerebi Nutsa Eristavi GEORGIAN MANUSCRIPTS Designer: Nia Mshvidobadze Photo: 26 - 39 Giorgi Baramidze saqarTvelo nawili Cemi gulisa Maria Lanevski sufra - svetlana sabuckaia - buaCiZe Sophie Sitwell GEORGIA - PIECE OF MY HEART SUPRA - Svetlana Sabutskaia - Buachidze Translation: Marina Koreli 40 - 51 mezRvauris monaTxrobi aleqsandre WavWavaZe STORIES OF THE SAILOR Alexander Chavchavadze saavtoro uflebebi daculia. JurnalSi gamo- qveynebuli masalebis gamoyeneba redaqciis nebarTvis gareSe akrZalulia. kvartaluri Jurnali art-geni. tel: +995 32 91 70 78, [email protected], [email protected], www.artgeni.ge veni mogzaurobis ganmavlobaSi gvqonda bedniereba, piradad gavc- CnobodiT im adamianebs, romelTa ojaxebSic ase kargad igrZnoba namd- vili mTis Taflis gemo, xis suni da gavarvarebuli foladis simtkice. yvela am adamianis kera cal-cal- ke da erTad saqarTveloa, romlis SegrZnebac qalaqSi ase rTulia. am nomerSi warmodgenili por- tretebi mcdelobaa yvela moqalaqeSi gavaRviZoT survili ara mxolod maTi gacnobisa, aramed piradad stum- robisa, adgilze, maT sofelSi, maT samyaroSi. redaqtoris werili Tamar meliqiSvili uring our journey we were lucky enough to meet the kind of people who Dmade their family homes our home, where one can experience the taste of real mountain honey, the smell of wood and the incredible tranquility. each one of these people’s hearths unites Georgia, something that is so diffi cult to have a real sense and understanding of in a city. -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
GENS VLACHORUM in HISTORIA SERBORUMQUE SLAVORUM (Vlachs in the History of the Serbs and Slavs)
ПЕТАР Б. БОГУНОВИЋ УДК 94(497.11) Нови Сад Оригиналан научни рад Република Србија Примљен: 21.01.2018 Одобрен: 23.02.2018 Страна: 577-600 GENS VLACHORUM IN HISTORIA SERBORUMQUE SLAVORUM (Vlachs in the History of the Serbs and Slavs) Part 1 Summary: This article deals with the issue of the term Vlach, that is, its genesis, dis- persion through history and geographical distribution. Also, the article tries to throw a little more light on this notion, through a multidisciplinary view on the part of the population that has been named Vlachs in the past or present. The goal is to create an image of what they really are, and what they have never been, through a specific chronological historical overview of data related to the Vlachs. Thus, it allows the reader to understand, through the facts presented here, the misconceptions that are related to this term in the historiographic literature. Key words: Vlachs, Morlachs, Serbs, Slavs, Wallachia, Moldavia, Romanian Orthodox Church The terms »Vlach«1, or later, »Morlach«2, does not represent the nationality, that is, they have never represented it throughout the history, because both of this terms exclusively refer to the members of Serbian nation, in the Serbian ethnic area. –––––––––––– [email protected] 1 Serbian (Cyrillic script): влах. »Now in answer to all these frivolous assertions, it is sufficient to observe, that our Morlacchi are called Vlassi, that is, noble or potent, for the same reason that the body of the nation is called Slavi, which means glorious; that the word Vlah has nothing