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EMC Music and Heritage 2. Druckversion.Indd This publication is a European Year of Cultural Heritage follow-up. The European Music Council is supported by: This publication reflects the views of the EMC only and the European Com- mission cannot be held responsible for any use which may be made of the information contained therein. SNAPSHOTS ON MUSIC AND HERITAGE IN EUROPE Edited by the European Music Council The European Music Council (EMC) is a non-profit organisation dedicated to the development and promotion of all genres and types of music in Europe. It advocates access to music for all and for freedom of musical expression across Europe. As part of the International Music Council (IMC), the EMC strategies and actions are based on the 5 IMC Music Rights. The EMC network comprises music organisations involved in the fields of mu- sic education, creation, performance, participation, production and heritage. As a membership organisation, it provides real value to its members through the analysis of policy developments and the formulation of policy statements, capacity building and knowledge exchange as well as networking opportunities within and beyond the music sector on an international platform. IMPRINT © European Music Council, Bonn, Germany All rights reserved. The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this book may be reprinted or reproduced in any format without permission of the European Music Council. Editor: European Music Council, Haus der Kultur Weberstr. 59a, 53113 Bonn Tel.: +49-228-96699664 www.emc-imc.org facebook.com/EuropeanMusicCouncil twitter.com/emc_imc [email protected] Board of the European Music Council President: Vice President: Ian Smith Victoria Liedbergius Treasurer: Willem van Moort Board Members: Eirik Birkeland, Joanna Grotkowska, Audrey Guerre, Michalis Karakatsanis, David Zsoldos Secretaries General: Simone Dudt, Ruth Jakobi Policy Advisor: Katharina Weinert Office Administrator: Tanja Huthwelker Communication Officer: Isabel Jordan Programme Assistant: Carolyn Auclair Proofreading: PaperTrue, Isabelle Métrope Layout and Print: Messner Medien GmbH ISBN: 9 783000 646089 Pictures and Translations: As credited Cover illustrations: © Miklós Both, © Ethnographic Museum in Belgrade, © Marco Usala TABLE OF CONTENT Snapshots on Music and Heritage in Europe Welcome Ian Smith ............................................. 7 Silvia Costa ........................................... 8 Preface Simone Dudt Preface, or What a Small Book for Such a Big Topic ............ 9 Introduction Silja Fischer Music as Heritage in International Cultural Policy .............. 12 Katharina Weinert The European Year of Cultural Heritage 2018: A Policy Perspective .. 17 Markus J. Prutsch Culture, Heritage and European Identity ..................... 24 Diverse Regions – Diverse Musics David Zsoldos Musicians of Europe ..................................... 30 Francesco Martinelli A century of Jazz in Europe – Preserving its Musical Heritage ..... 33 Sanda Vojkovi´c Croatian Music Heritage ................................. 40 Romana Agnel Polonaise – Polish Heritage in Music, Dance and Culture ........ 46 Olena Dyachkova Music Heritage of the Kultur-Lіge .......................... 56 Montserrat Cadevall The Origin of Catalan Choral Music and the Choirmaster School of Montserrat ................... 64 3 Eckehard Pistrick Immaterial Cultural Heritage: A Resource for Sustainable Tourism? – Cultural Politics and Local Experiences with the UNESCO Status .... 71 Etienne Rougier Musical and Linguistic Traditions in Central France: Poetical or Political Revitalisation? .......................... 78 Angéla Hont The Dance House Movement – a Living Tradition .............. 90 Danka Laji´c Mihajlovi´c Singing to the Accompaniment of the Gusle in Serbia: A Living Ancient Performing Art ........................... 93 Brian Ó hEadhra Gaelic Music from Scotland ............................... 100 Astrid Nora Ressem The Norwegian Medieval Ballad – 700 Years Uniting Tradition and Modernity, Castles and Farmsteads, Villages and Cities .......... 107 Diverse Projects – Diverse Heritage Liv Kreken The Norwegian Medieval Ballad Project ..................... 114 Claire Sawers Going Home .......................................... 116 Iro Menegou Women Composing in the Balkans ......................... 121 Miklós Both & Mátyás Bolya Polyphony Project: A Complex Framework for Musical Folklore Collection ............................ 124 Sonja Greiner & Kaie Tanner EUROPA CANTAT XX Tallinn 2018: Tradition and Innovation in the Field of (In)tangible Heritage .... 130 Simon Mundy Music and Heritage: The Place for Festivals ................... 135 Gaianè Kevorkian Radio Musicheh?: A Pilot Model for Research on Inclusion of Refugees in Asylum Seeker Centres ....................... 140 4 Maryla Zając 100 for 100. Musical Decades of Freedom – Polish Music Invasion . 150 Madeleine Pillwatsch Broad Access – Broad Opportunities: How Reducing Barriers to Cultural Heritage Benefits all Involved Stakeholders .......... 157 Fanny Roustan Medinea [MEDiterranean INcubator of Emerging Artists] ....... 164 Marjan Dewulf CON-FRONT: The Presence of the Past ..................... 170 Authors of the Publication .............................. 175 5 WELCOME As President of the European Music Council it has been an honour and privi- lege to be so closely involved with the 2018 European Year of Cultural Heritage and this resulting study into Music and Heritage in Europe to be published in 2019. The EMC has contributed to the success of the EYCH initiative and through our extensive network of members, ensured that this programme did not simply highlight the role that music plays in cultural heritage, but has led to many inspiring and complimentary programmes of activities throughout Europe, many of which are featured in this publication. We could easily argue that of all the art forms, music plays a key role in pro- moting and developing a local, regional, national or even European cultural heritage, both from the historical perspective and from contemporary cultural trends. It is no coincidence that many of the articles you will read feature the oral traditions, and in the case of this publication most of them are connected to song. Words and music not only have an emotional response for the partic- ipant and audience alike, they ensure that the language of music, which knows no boundaries, is the conduit to maintaining language itself, especially those languages spoken in less populated parts of Europe. Music and song also tell stories that are passed down from generation to generation, thus ensuring that cultural heritage looks forward as well as celebrates the past. I hope that you will both embrace and enjoy what follows – some articles are scholarly and academic in nature; often the result of many years of de- tailed research whereas others simply tell the story of an individual experience, whether centred around any particular style or genre of music, or celebrating the cultural heritage of an individual country and the role that music plays. We are delighted to publish this study and add my introductory remarks to those of my colleague Silvia Costa former MEP who will continue to play an important role in this vitally important area promoting and developing the ongoing face of our cultural heritage in Europe with music at its core. I join her in committing both personally and on behalf of the EMC to fight for mu- sic, musicians and the well-being of all of Europe’s citizens in ensuring access to music and to culture is never denied. Yours, Ian Smith President, European Music Council 7 WELCOME At the end of the European Year of Cultural Heritage (EYCH) 2018 – with 14 000 events, 37 countries involved, 10 million European participants, the Eu- ropean Parliament, and in particular the Committee on Culture and Education – we realised that it was worth our tenacious efforts and that the achievements were not only massive in terms of participation and engagement but even unexpected from a long-term perspective. The definition of cultural heritage, often understood as uniquely related to tangible heritage, shifted to a new vision, consistent with that of UNESCO and including intangible, natural and digital heritage. Consequently, the Euro- pean investment in cultural heritage, traditionally devoted to restorations and re-use finalised to enhance the local economy, moved to a broader vision, where citizens and societies lay at the core and social cohesion, intercultural dialogue, international cultural relations and innovation provided by the cultural and creative sectors contributed greatly towards achieving Europe’s 2020 goals. The European Music Council (EMC) actively contributed to the EYCH’s suc- cess by being a part of the Voices of Culture community, where it conveyed the know-how provided by its members, thousands of choirs, musical instru- ment collectors, dance companies and classical, jazz and traditional musicians. Thank you for your commitment and generous sharing of your unique exper- tise. You know very well the extent to which music can break walls and build bridges, communities and democracies. None of us could ever forget the emotion of singing Ode to Joy together all over Europe during the European Culture Forum. It was the best symbol of the Europe we want, willing to sing together in the diversity and unity of our many languages. The way forward opens up to the 2021–2027 Multiannual Financial Framework, where the EYCH results
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