The Canadian Music Industry Asks Federal Government for Urgent Relief During Covid-19 Pandemic

Total Page:16

File Type:pdf, Size:1020Kb

The Canadian Music Industry Asks Federal Government for Urgent Relief During Covid-19 Pandemic THE CANADIAN MUSIC INDUSTRY ASKS FEDERAL GOVERNMENT FOR URGENT RELIEF DURING COVID-19 PANDEMIC FOR IMMEDIATE RELEASE April 1, 2020 TORONTO, ON —The Canadian music industry is asking the Federal government For Further action including robust Financial support and Flexibility in funding rules that would support the artists and the industry’s small business community that is suFFering through the devastating impact oF the COVID-19 pandemic. The Canadian and global music industry is currently experiencing unprecedented upheaval and turmoil due to the COVID-19 global pandemic. Companies are barely operating and surviving with record low to no revenues, staFF are being laid oFF, artists and musicians’ livelihoods are collapsing, and venues are closed indeFinitely. In short, the Canadian and global music industries are being severely and devastatingly impacted. The industry is grateFul For the extensive and broad measures that the Federal government and other levels oF government have implemented recently. We look Forward to the details and implementation oF these measures, and Future announcements in response to the very serious nature oF this unprecedented global circumstance in which we all Find ourselves. We are conFident that these government measures will help provide much needed assistance to Canadians, and we call on governments to continue to Focus attention on those who are vulnerable, namely our artists and the small business community that supports them. Industry groups and associations launched a survey March 17-19 in order to capture the current state oF the music sector during this COVID-19 pandemic crisis. This survey received nearly 3,000 responses from a wide cross-section of the industry, From labels and publishers, to artists and musicians, to promoters and live venues and more. The scope oF the devastation captured by the survey is staggering. Results show that the vast majority (97%) oF respondents stated that the COVID-19 situation is impacting their business. Staff layoffs have already begun across the industry, and many more are expected with some companies anticipating a need to lay oFF 75-100% of their employees. With revenues that have all but disappeared, combined with unrecoverable expenses as a result of the mass cancellations and postponements of music industry events, tours and other initiatives across the world, the majority oF business respondents stated they will be able to sustain their operations for no more six months, and only 4% will be able to keep their business going for up to a year. These results reflect a moment in time when the music industry believed the COVID-19 impacts would only impact them for the next two to three months. The current reality is the impacts are far more dramatic and its effects will likely last up to a year or more. This means that the industry responses are in reality dramatically more acute than what the survey respondents noted at the time. As a result, the music industry is asking the Federal government For immediate action that can help sustain the industry during these diFFicult times: o Invest more targeted funding to the music industry quickly, with the goal to sustain business continuity; invest in musicians and artists; retain staFF and contract workers; pay overhead etc., with as Few restrictions as possible. o Expand the funding envelope to include the broader music sector including artists, musicians, composers, managers, publishers, studios, promoters, songwriters and live music (venues, promoters, talent agencies and supply chain) and relevant associations. “Times like these remind us all just how essential and powerFul music is at helping bring us together and carry us through crises. The willingness oF the music industry to contribute to community liFe these past weeks has been on Full display. However, our artists, industry workers, and companies are suFFering particularly hard, and will not survive the shutdown oF perForming, touring, and recording without urgently needed assistance.” – Sean McManus, President, CCMIA “We don’t want to give up on the successes our industry has earned over the last Few years. The Federal Government has already taken good, important steps to protect and support Canadians during this pandemic. We are now asking the government for targeted support to help the most vulnerable in our sector, namely small-medium sized businesses, entrepreneurs and Canadian artists that have been and continue to be, severely impacted by this pandemic.” — Stuart Johnston, President, CIMA. “We know the Minister understands, and is attempting to address, the complexity oF our ecosystems, and we thank the Department and Federal government For their tireless efForts. It’s our hope that we can meet those complex needs on as many levels as possible, so there will still be an industry to return to when the recovery period begins, and we can celebrate and rejoice, together. Our artists, our Fans and our Future are depending on all of us.” – Erin Benjamin, President & CEO, Canadian Live Music Association. “Artists and the CEOs oF their businesses, the managers, have been particularly impacted by this pandemic with the vast majority oF revenue at a standstill for the foreseeable future. Government financial relief for this sector is vital for survival.” – Meg Symsyk, President, MMF It is expected it will take a year or more For the industry to start to get back on its Feet. Immediate and sustained assistance will help the industry to weather this storm and be prepared when “normalcy” returns to the world. -30- Media contact: Elise Rustad Senior Policy Advisor, CIMA [email protected] Desk: 416-485-3152 x 223 Cell: 416.432.2099 About CCMIA: Formed in 2002, the Canadian Council oF Music Industry Associations (CCMIA) is a national council representing the provincial and territorial music industry associations (MIAs) in Canada, including Alberta Music, Cultural Industries Ontario North, Manitoba Music, Music BC, Music Nova Scotia, Music NWT, Music PEI, Music Yukon, Music/Musique NB, MusicNL, MusicOntario, and SaskMusic. Together, the CCMIA’s member MIAs work with more than 10,000 artists and industry proFessionals across the country. With day-to-day contact with the people working in the industry, including extensive experience supporting emerging artists and proFessionals, MIAs are on the Front lines oF the development oF Canada’s growing music industries – direct experience that makes CCMIA members some oF the most knowledgeable about the issues Facing Canada’s music industries. About CIMA: CIMA is a not-for-proFit national trade association representing English-language, Canadian-owned and controlled businesses oF the domestic, commercial music industry. CIMA represents a diverse membership oF small businesses including: record producers, record labels, recording studios, managers, agents, licensors, music video producers and directors, creative content owners, artist-entrepreneurs and other professionals From across the sound recording industry. CIMA represents over 280 Canadian companies and proFessionals and 6,200 Canadian artists including: A Tribe Called Red, Tanya Tagaq, Serena Ryder, The Trews, Terra LightFoot, Tegan and Sara, Whitehorse, The Sheepdogs and METRIC. About CLMA: The Canadian Live Music Association is the voice oF Canada’s live music industry, advancing and promoting its many economic, social and cultural beneFits. About MMF: Music Managers Forum Canada (MMF Canada) is a non-proFit trade association that supports and promotes the proFession oF music management in Canada. Our members come From across Canada and work in various genres at a range oF levels including selF-managed artists, new managers and highly experienced managers representing some oF the largest acts in Canada. As the management sector’s voice in the industry, MMF Canada advocates to various levels oF the government on key issues that affect managers and their artists. We also work collaboratively with strategic partners within the larger music community and oFFer workshops, mentorship and other programming that allows our members to connect with each other while developing their management skills and industry knowledge. About Music Publishers Canada: Music Publishers Canada is a membership-based organization, Founded in 1949, that ensures the views of music publishers working in Canada are heard. It is our mission to create business opportunities For our members and to promote their interests and those of their song writing partners through advocacy, communication, and education. About S.A.C.: The Songwriters Association oF Canada (S.A.C.) represents 1000 Canadian music creators including songwriters, composers, beat makers, producers, and top-liners From across the country, in all genres oF music. S.A.C. is a not-for-proFit arts service organization that has been serving Canada’s music creators for over 36 years. The S.A.C. exists to nurture, develop and protect the creative, business, and legal interests oF music creators in Canada and around the world. We do this by advocating For creator’ rights, providing educational programs and services to members (proFessional), and by creating community amongst members and industry through networking and live music performances. About SCGC: The Screen Composers Guild oF Canada (SCGC) is a trade association certiFied under the Canadian Federal Status oF the Artist Act and represents all proFessional Anglophone composers and music producers For Film, television, video games, mobile and all other screen media. The SCGC promotes the status and rights oF screen composers through proFessional development, sharing inFormation, advocacy on issues such as creator’s rights and the value of screen music. .
Recommended publications
  • Estudio De Mercado Servicios Musicales En Canadá Mayo 2014
    Estudio de Mercado Servicios Musicales en Canadá Mayo 2014 Documento elaborado por la Oficina Comercial de Chile en Canadá - ProChile Tabla de contenido Tabla de contenido ............................................................................................................... 2 I. Resumen Ejecutivo ............................................................................................................. 4 1. Nombre y descripción del servicio. ............................................................................................ 4 2. Evaluación de oportunidades en el mercado para el servicio (en base análisis FODA). ................. 4 3. Estrategia recomendada por la Oficina Comercial....................................................................... 4 4. Análisis FODA. ........................................................................................................................... 5 II. Identificación del servicio .................................................................................................. 6 1. Nombre del servicio ................................................................................................................. 6 2. Descripción del servicio ............................................................................................................. 6 III. Descripción general del mercado importador ................................................................... 7 1. Tamaño del mercado ................................................................................................................
    [Show full text]
  • Lives and Work of Professional Musicians in St. John's
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Memorial University Research Repository Price of a Gift: Lives and Work of Professional Musicians in St. John’s, Newfoundland by © David Bruce Chafe A dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology Memorial University of Newfoundland February 2017 St. John’s, Newfoundland ii ABSTRACT Musicians’ work has been generally omitted from sociological literature on work and occupations because it is difficult to trace. Musicians are usually self-employed on short-term contracts that are often verbal and paid in cash that is usually quickly expended on ongoing costs. Furthermore, their work in music is commonly obscured by portfolio employment within and outside of music to supplement income and cover costs. Portfolio employment is characterized by concurrent multiplicity of sources of employment and income from outside of one’s primary skills. In order to illuminate the true experiences of local professional musicians and to lend some definition to music-making as an occupation, this study traces and examines the complete career trajectories of 54 wage-earning rock, traditional and classical musicians based in St. John’s, Newfoundland. In so doing, it is possible to reveal a network of support essential to their commitment to the music profession. The network usually develops from early childhood and includes family, friends, educational institutions, funding institutions, fellow musicians, other industry professionals, and audiences. The weakening or disappearance of any support can compromise the career and cast doubt onto its viability.
    [Show full text]
  • Transmission 2009 Programme
    2 0 0 9 PROGRAMME primary sponsors presenting sponsor of presenting sponsor of transmitLIVE showcase transmitTALKS major sponsor host province sponsor fulltone sponsors p a t r o n s affiliated trade organizations p r o d u c e r s hospitality partners We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada’s Private Radio Broadcasters. Booklet design by Rocketday Arts (www.rocketday.com), sister festival featuring illustration on page 5 by Dushan Milic. n behalf of the team of people behind the program. Our response to this quandary has been this unique initiative, I wish to welcome the launch of an online magazine that presents ideas you to the 4th annual edition of TRANSMISSION. and perspectives well before scheduled roundtables so WeO are rolling out with new dates, new venues, a new that key themes at transmitTALKS would be fomented magazine, and a new programme. What is consistent out before we get together. Furthermore, participants WELCOMEare our valued sponsors and international advisory and other contributors are now able to continue these board, who have supported us each year in redefining important conversations long after the lights go down ways for people to connect on the subject of music. on the stage. The result? A relevant, multi-disciplinary dialogue that people can participate in 365 days a year. In terms of a programme, TRANSMISSION is easily more complex than most. It’s not disorganized and it’s This year we focus on three themes: Intellectual not confusing, but it is complex and it does require Property, Emerging Markets and Next Generation the active engagement of the old grey matter.
    [Show full text]
  • Download the Music Market Access Report Canada
    CAAMA PRESENTS canada MARKET ACCESS GUIDE PREPARED BY PREPARED FOR Martin Melhuish Canadian Association for the Advancement of Music and the Arts The Canadian Landscape - Market Overview PAGE 03 01 Geography 03 Population 04 Cultural Diversity 04 Canadian Recorded Music Market PAGE 06 02 Canada’s Heritage 06 Canada’s Wide-Open Spaces 07 The 30 Per Cent Solution 08 Music Culture in Canadian Life 08 The Music of Canada’s First Nations 10 The Birth of the Recording Industry – Canada’s Role 10 LIST: SELECT RECORDING STUDIOS 14 The Indies Emerge 30 Interview: Stuart Johnston, President – CIMA 31 List: SELECT Indie Record Companies & Labels 33 List: Multinational Distributors 42 Canada’s Star System: Juno Canadian Music Hall of Fame Inductees 42 List: SELECT Canadian MUSIC Funding Agencies 43 Media: Radio & Television in Canada PAGE 47 03 List: SELECT Radio Stations IN KEY MARKETS 51 Internet Music Sites in Canada 66 State of the canadian industry 67 LIST: SELECT PUBLICITY & PROMOTION SERVICES 68 MUSIC RETAIL PAGE 73 04 List: SELECT RETAIL CHAIN STORES 74 Interview: Paul Tuch, Director, Nielsen Music Canada 84 2017 Billboard Top Canadian Albums Year-End Chart 86 Copyright and Music Publishing in Canada PAGE 87 05 The Collectors – A History 89 Interview: Vince Degiorgio, BOARD, MUSIC PUBLISHERS CANADA 92 List: SELECT Music Publishers / Rights Management Companies 94 List: Artist / Songwriter Showcases 96 List: Licensing, Lyrics 96 LIST: MUSIC SUPERVISORS / MUSIC CLEARANCE 97 INTERVIEW: ERIC BAPTISTE, SOCAN 98 List: Collection Societies, Performing
    [Show full text]
  • Bios of Bands
    Emerson Drive For well over a decade, Emerson Drive has been a staple in the country music community, known for being a band to crank out the hits, deliver electrifying stage shows and wow audiences all across North America. During their evolving career, the Canadian band has scored numerous hits such as “I Should Be Sleeping,” “Fall Into Me,” “Last One Standing” and their emotional, chart-topping ballad, “Moments.” Emerson Drive has racked up countless award nominations in both the U.S. country market at the ACM’s and CMA’s, as well as in Canada where they have picked up multiple trophies for Group or Duo of the Year from the CCMA (Canadian Country Music Association). But it was their 2007 hit, “Moments,” that pushed Emerson Drive over the top in country music. The powerful song validated the talent and passion of the band’s drive to succeed in the business they know and love. “Looking back 10 years ago and seeing where our career first started with ‘I Should Be Sleeping’ and knowing that there was a movement going around us as a new act on the scene … I just remember how exciting and crazy it was, all at the same time,” recalls Emerson Drive’s lead vocalist and founding member, Brad Mates. “We were out there on the road over 240 days of the year for the first six years. I just remember those times being kind of eyes wide open, taking everything in. It was such a great first few years, and now fast forward 10 or 11 years, we’re still playing music and making music.
    [Show full text]
  • Commercial Radio Policy Framework Review
    March 29, 2021 Mr. Claude Doucet Secretary General Canadian Radio-television and Telecommunications Commission (CRTC) Ottawa, Ontario K1A 0N2 Introduction & Summary 1. Regarding Broadcasting Notice of Consultation 2020-374-1, Advance, Canadian Council of Music Industry Associations (including Alberta Music, Cultural Industries Ontario North, Manitoba Music, Music BC, Music Nova Scotia, Music NWT, Music PEI, Music Yukon, Music/Musique NB, MusicNL, MusicOntario, SaskMusic), Canadian Independent Music Association (CIMA), Indigenous Music Alliance, Music Managers Forum Canada, Music Publishers Canada and the Songwriters Association of Canada are submitting joint comments on the Broadcasting Notice of Consultation CRTC 2020-374 and 2020- 374-1: Call for comments on the Commercial radio policy framework review. 2. Collectively, these organizations represent key stakeholders from across Canada’s music industry, including but not limited to: artists/performers, record labels, music managers, music publishers, songwriters, record producers, recording studios, agents, licensors, creative content owners, artists and others professionally involved in the music industry ecosystem. 3. Our submission provides a complementary perspective to that of our colleagues at ADISQ with regards to the issues pertaining to the French-language music market in Quebec. 4. We echo and support Advance’s submission that (i) there can be no real diversity within Canada’s broadcasting system without diverse representation at every level of Canada’s commercial radio system; (ii) it is imperative that the CRTC undertake and uphold mandates to create a Canadian broadcasting system that reflects the national diversity of cultural and the racial identity of the country, and to encourage Black-led ownership in the Canadian broadcasting industry; and (iii) any transfer of the broadcast license for Toronto based frequency 98.7FM should be in keeping with the original mandate of creating a station to provide a voice for the African and Caribbean communities.
    [Show full text]
  • A National Training Strategy for Business Skills in the Music Industry
    THE BUSINESS OF MUSIC A National Training Strategy for Business Skills in the Music Industry Cultural Prepared for the Human Resources Council Cultural Human Resources Council by Brock + Chaloux Group Inc. Conseil des ressources humaines du secteur culturel A National Training Strategy for the Canadian Music Industry _________________________________________________ Submitted to: Submitted by: Cultural Human Resources Council Brock + Chaloux Group Inc. 201-17 York Street Ottawa, ON K1N 9J6 March 26. 2008 BROCK + CHALOUX GROUP StrategyDocumentFinal Page 1 of 23 TABLE OF CONTENTS LIST OF ACRONYMS 3 BACKGROUND 5 OBJECTIVE 6 METHODOLOGY 6 THE MUSIC INDUSTRY 7 The Way It Is (Or Was) 7 The New Reality 7 The Traditional Music Industry 8 The New Breed 9 Issues for Canada 9 The Need for Training 10 Why Now? 12 A National Training Strategy for Business Skills in the Music Industry 13 1. PROFESSIONAL DEVELOPMENT 14 Training and Professional Development Offered By Music Industry Associations 15 Training in Applying For Financial Assistance 16 Training and Cultural Trade Officers 17 RECOMMENDATIONS 17 2. FORMAL EDUCATION 19 RECOMMENDATIONS 21 3. INTERNSHIPS 22 RECOMMENDATIONS 23 4. REGIONAL ACCESS and DELIVERY 25 A National Training Database 25 Provincial Music Industry Associations (MIAs) 26 The Opportunities for Delivery through New Technology 26 RECOMMENDATIONS 27 5. INFRASTRUCTURE and FUNDING 28 National Training Advisory Council 28 Point People 28 Funding 28 RECOMMENDATIONS 29 POSTSCRIPT 31 SUMMARY OF RECOMMENDATIONS 32 BROCK + CHALOUX GROUP
    [Show full text]
  • Striking a New A-Chord
    PHOTO BY CHRISTINE ROENSPEISS CHRISTINE BY PHOTO STRIKING A NEW A-CHORD RECOMMENDATIONS FOR THE GROWTH & DEVELOPMENT OF CANADA’S EAST COAST MUSIC INDUSTRY This report was commissioned by the East Coast Music Association (ECMA), Music Canada, and Music Canada Live. The authors of this report would like to thank the many people who generously contributed their time and expertise to this research. Many, if not all, of the interviewees are, or have been, engaged in the music sector in multiple capacities. As a result, this report has been enriched by the depth of their experience and their ability to speak from multiple perspectives. The support of the five Music Industry Associations (MIAs)—Music Newfoundland (MusicNL), Music Prince Edward Island (Music PEI), Music Nova Scotia, the Cape Breton Music Industry Cooperative (CBMIC), and Music New Brunswick (Music NB)—has been instrumental and will be invaluable in ensuring that the recommendations in this report are realized. FOREWARD On behalf of the East Coast Music Association, Music Canada, and Music Canada Live we are pleased to present this study of the Atlantic Canadian music sector to our colleagues in music, government, and business throughout the region. Atlantic Canada is home to an intensely proud and Policy makers at all levels of government, music industry vibrant music community, and the regions share a rich leaders, and community groups will find value in this cultural history. The East Coast continues to produce report as a resource to better understand the strengths, talented artists, musicians, and industry professionals who weaknesses, challenges, and opportunities within the experience a strong sense of comradery, among many East Coast music sector.
    [Show full text]
  • National Indigenous Music Impact Study Key Findings
    National Indigenous Music Impact Study key findings “ Canada, you are in the midst of an Indigenous electronic music production styles, speaking to A key message from this study is that the renaissance. Are you ready to hear the truths CBC Radio back in 2015 when the Truth and Indigenous music community is thriving yet that need to be told? Are you ready to see Reconciliation Commission (TRC) issued its the Indigenous music industry (Indigenous- the things that need to be seen?” report. He credited some of his group’s success owned, Indigenous-directed music companies to a growing interest in, and awareness of, and supporting organizations) is in its infancy “ It seems that a lot of interest has come into Indigenous history, Indigenous culture, and there is still considerable room for growth Indigenous culture through just connectivity Indigenous realities. and development. The study shows that and…showing our music on a national platform Indigenous musicians are making a significant and sharing culture like that. This seems to be Those two comments epitomize the current contribution to Canada but there remain a opening a lot of people’s eyes up.” milieu and environment in this country in number of ongoing, systemic issues that are which Indigenous musicians find themselves. keeping Indigenous musicians from fully The first quote is what Jeremy Dutcher, Mi’kmaq While Indigenous musicians have developed participating in the Canadian economy. musician and composer, said when he accepted capacity and pursued their passions, Canada the 2018 Polaris Prize. The second is Ian is reaching out, seeking out and embracing Campeau, also known as DJ NDN, the co-founder the unique sounds and stories that Indigenous and former member of A Tribe Called Red, the musicians have to share.
    [Show full text]
  • National Indigenous Music Impact Study Key Findings
    National Indigenous Music Impact Study key findings “ Canada, you are in the midst of an Indigenous electronic music production styles, speaking to A key message from this study is that the renaissance. Are you ready to hear the truths CBC Radio back in 2015 when the Truth and Indigenous music community is thriving yet that need to be told? Are you ready to see Reconciliation Commission (TRC) issued its the Indigenous music industry (Indigenous- the things that need to be seen?” report. He credited some of his group’s success owned, Indigenous-directed music companies to a growing interest in, and awareness of, and supporting organizations) is in its infancy “ It seems that a lot of interest has come into Indigenous history, Indigenous culture, and there is still considerable room for growth Indigenous culture through just connectivity Indigenous realities. and development. The study shows that and…showing our music on a national platform Indigenous musicians are making a significant and sharing culture like that. This seems to be Those two comments epitomize the current contribution to Canada but there remain a opening a lot of people’s eyes up.” milieu and environment in this country in number of ongoing, systemic issues that are which Indigenous musicians find themselves. keeping Indigenous musicians from fully The first quote is what Jeremy Dutcher, Mi’kmaq While Indigenous musicians have developed participating in the Canadian economy. musician and composer, said when he accepted capacity and pursued their passions, Canada the 2018 Polaris Prize. The second is Ian is reaching out, seeking out and embracing Campeau, also known as DJ NDN, the co-founder the unique sounds and stories that Indigenous and former member of A Tribe Called Red, the musicians have to share.
    [Show full text]
  • Program Fiscal Year Applicant Artist/Project Applicant Province Artist Province Offer Artist Development 2020-2021 Aaron Dolman
    Program Fiscal Year Applicant Artist/Project Applicant Province Artist Province Offer Artist Development 2020-2021 Aaron Dolman Aaron Dolman Québec Québec $ 2,000.00 Artist Development 2020-2021 Abdullah Nazim No Tourists Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Adam Basterfield Spaceport Union British Columbia British Columbia $ 2,000.00 Artist Development 2020-2021 Adam Beer-Colacino Adam Beer-Colacino Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Adam Lutz Cowbo Morsche Manitoba Manitoba $ 2,000.00 Artist Development 2020-2021 Adrian Cernea IN Veil Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Adrian Underhill Adrian Underhill Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Ajay Parikh-Friese Ajay Friese British Columbia British Columbia $ 2,000.00 Artist Development 2020-2021 Alan Laskow Every Hour Kills Alberta Alberta $ 2,000.00 Artist Development 2020-2021 Aleks Schürmer Aleks Schürmer Québec Québec $ 2,000.00 Artist Development 2020-2021 Alex Fecioru Passport Radio Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Alex Mundy Alex Mundy Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Alexander Betancur Osorio Ramon Chicharron Québec Québec $ 2,000.00 Artist Development 2020-2021 Alexander Lioubimenko Algorhythm Québec Québec $ 2,000.00 Artist Development 2020-2021 Alexandra Overing The Leanover Québec Québec $ 2,000.00 Artist Development 2020-2021 Allysha Bureyko Ajaye Jardine British Columbia British Columbia $ 2,000.00 Artist Development 2020-2021 alyssa holmes The Drifts Ontario Ontario $ 2,000.00 Artist Development 2020-2021 Amanda Gibeau Amanda Gibeau Québec Québec $ 2,000.00 Artist Development 2020-2021 Amanda Keesmaat Amanda Keesmaat Québec Québec $ 2,000.00 Artist Development 2020-2021 Amanda Lowe Amanda Lowe W.
    [Show full text]
  • Local Logics and the Gendering of Music Technology: a Newfoundland Case Study Beverley Diamond
    Document généré le 2 oct. 2021 13:25 Intersections Canadian Journal of Music Revue canadienne de musique Local Logics and the Gendering of Music Technology: A Newfoundland Case Study Beverley Diamond In and Out of the Sound Studio Volume 26, numéro 2, 2006 URI : https://id.erudit.org/iderudit/1013225ar DOI : https://doi.org/10.7202/1013225ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer cet article Diamond, B. (2006). Local Logics and the Gendering of Music Technology: A Newfoundland Case Study. Intersections, 26(2), 49–68. https://doi.org/10.7202/1013225ar Copyright © Canadian University Music Society / Société de musique des Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des universités canadiennes, 2007 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ LOCAL LOGICS AND THE GENDERING OF MUSIC TECHNOLOGY: A NEWFOUNDLAND CASE STUDY Beverley Diamond This paper reports on issues relating to the gendering of music technologies that emerged in recent studies conducted in Newfoundland and Labrador. The primary study was a broad-ranging assessment of the status of women in music that the Women's Policy Office of the Government of Newfoundland and Lab• rador commissioned from the Research Centre for the Study of Music, Media and Place (MMaP) in the summer of 2005.
    [Show full text]