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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. -
Report to the Friends of Music
Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom. -
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 . -
Susanna Hancock Music
Susanna Hancock Curriculum Vitae 11 Maysville Ave. susannahancockmusic.com Mt. Sterling, KY 40353 [email protected] (321) 759-2594 [email protected] B I O G R A P H I C A L O V E R V I E W Susanna Hancock is an Asian-American composer whose works explore color, process, and acoustic phenomena. Her music draws from a wide array of influences including minimalism, spectralism, folk, and electronic mediums. Susanna’s music has been played by the JACK Quartet, ZAFA Collective, and Metropolis Ensemble, and members of the St. Louis Symphony. Her compositions have been featured in concerts and festivals throughout the world including the Bang on a Can Summer Music Festival and Dimitria Festival in Thessaloniki, Greece. Susanna is currently an Artist in Residence at National Sawdust with Kinds of Kings, a composer collective dedicated to making the music community a more equitable and inclusive space. She is also Co-Founder and Co-Artistic Director of Terroir New Music, a concert/event series that pairs the music of living composers with craft food and drink. E D U C A T I O N 2016 Master of Music Music Theory & Composition New York University | Steinhardt GPA: 4.0, Summa Cum Laude 2014 Bachelor of Music Acoustic/Electronic Composition, Bassoon Performance University of South Florida GPA: 3.97, Summa Cum Laude, With Honors 2010 Associate of Arts Eastern Florida State College (Formerly Brevard Community College) GPA: 4.0, Summa Cum Laude, With Honors *Conferred upon high school graduation P R I V A T E I N S T R U C T I O -
The Saint Paul Chamber Orchestra and the 2008 League of American Orchestras Inaugural Development Fellowship Program: a Fellow’S Report
The Saint Paul Chamber Orchestra and the 2008 League of American Orchestras Inaugural Development Fellowship Program: a Fellow’s Report by Michelle Bair, M.M. Dissertation In FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Michael Stoune, Co-chair Dr. Christopher J. Smith, Co-chair Prof. Angela Mariani, Committee member Dr. William Gelber, Committee member Dr. Linda Donahue, Committee member Fred Hartmeister Dean of the Graduate School May, 2009 Copyright 2009, Michelle Bair Texas Tech University, Michelle Bair, May 2009 Acknowledgements One summer, my dad and I were headed home in the car. He loved music, and even though he didn’t play or sing, it was always around. Tonight, however, something on the radio would change my life. An intoxicating sound came through the speakers of the car and I was enchanted. It was sweet and soulful. I turned to my dad and asked, “What is that?” He said, “a saxophone.” I repeated the word over and over in my head so that I wouldn’t forget. I even wrote it down on a sheet of paper once we got home. That was the instrument that I wanted to play. The song was Harlem Nocturne. I would like to thank my mom and dad for never giving up on me and my passion for the arts even when I thought I had. Band rehearsals, private lessons, concert band, marching band, jazz band, summer camps, concerts, competitions, parades, parades, parades… They have always been there for me, chauffeuring me, supporting me, happy for me, and never questioning this crazy career that I have chosen. -
The Music of Pierre Jalbert
" an acknowledged chamber-music master." – THE NEW YORKER American composer Pierre Jalbert has been recognized for his richly colored and superbly crafted scores and “music of fierce and delicate inventiveness [with] kaleidoscope of moods and effects.” (Cleveland Plain Dealer) Painting vibrant and picturesque sonic portraits for the listener, he has developed a musical language that is engaging, expressive, and deeply personal. Among his many honors are the Rome Prize, BBC Masterprize, Chamber Music Society of Lincoln Center's Stoeger Award, given biennially "in recognition of significant contributions to the chamber music repertory," and an award from the American Academy of Arts and Letters. Jalbert’s work has drawn inspiration from a variety of sources ranging from plainchant melodies to natural phenomena, and his French-Canadian heritage, hearing English folk songs and Catholic liturgical music growing up. He has earned a reputation for his mastery of color, in both his chamber and orchestral scores, creating timbres that are vivid yet refined and tonally centered, combining modal, tonal, and dissonant sonorities as it travels new and unusual paths, while retaining a sense of harmonic motion culminating in a completed journey. His music has been commissioned and performed worldwide, including the St. Paul and Los Angeles Chamber orchestras, the American Composers Orchestra, and the Symphonies of Houston, Vermont, Albany, Budapest, London, Boston and Milwaukee, the National Symphony, Cabrillo and Eastern Festival Orchestras. He received two Meet the Composer grants, including one for its “Magnum Opus Project.” Jalbert served as Composer-in-Residence with the Los Angeles Chamber Orchestra, California Symphony and Chicago's Music in the Loft. -
Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
Piano Concerto Henry Dixon Cowell Was Born in Menlo Park, California, on March 11, 1897, and Died in Shady, New York, on December 10, 1965
Piano Concerto Henry Dixon Cowell was born in Menlo Park, California, on March 11, 1897, and died in Shady, New York, on December 10, 1965. Cowell completed his Piano Concerto in 1928 and as soloist introduced the first movement and possibly also the second with the Conductorless Orchestra in New in April 1930; he was also the soloist in the first complete performance, on December 28, 1930, with the Havana Philharmonic conducted by Pedro Sanjuan. The only previous performance by the San Francisco Symphony was given in June 2000; Ursula Oppens was soloist and Michael Tilson Thomas conducted. The score calls for an orchestra of three flutes (first doubling piccolo), three oboes and English horn, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (snare drum, large and small cymbals, triangle, and crash cymbals), and strings. Duration: about seventeen minutes Some composers have the bad luck to come up with an idea whose label leaves such a strong imprint that it dogs their name and reputation to the point of blotting out all their really significant achievements. It happened to Schoenberg with atonality, to Hindemith with Gebrauchsmusik (music for a practical purpose or a specific use), and to Henry Cowell with tone clusters. Although he did not invent the device--that was Vladimir Rebikov, followed by Charles Ives--it was Cowell who invented this term for the simultaneous sounding of a bunch of adjacent or close-together notes on a keyboard. At the piano recitals with which he both delighted and infuriated audiences in Europe and America, Cowell himself made much use of tone clusters, playing with the outside of his hand, his forearm, or a stick cut to a specific length. -
The Relationship of the Transformational Leadership Process and Group Mood Among Musicians and Their Effects on Artistic Quality
THE RELATIONSHIP OF THE TRANSFORMATIONAL LEADERSHIP PROCESS AND GROUP MOOD AMONG MUSICIANS AND THEIR EFFECTS ON ARTISTIC QUALITY WITHIN THE AMERICAN ORCHESTRAL ORGANIZATION By Mary Katherine Engels Elizabeth K. Crawford James A. Tucker Associate Professor Professor (Co-Chair) (Co-Chair) David W. Rausch Lee A. Harris Professor Professor (Committee Member) (Committee Member) THE RELATIONSHIP OF THE TRANSFORMATIONAL LEADERSHIP PROCESS AND THE RELATIONSHIP AMONG MUSICIANS AND THEIR EFFECTS ON ARTISTIC QUALITY WITHIN THE AMERICAN ORCHESTRAL ORGANIZATION By Mary Katherine Engels A Dissertation Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Doctorate of Learning and Leadership Degree The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2018 ii Copyright © 2018 By Mary Katherine Engels All Rights Reserved iii ABSTRACT The desire to understand the American classical music experience and its relationship to transformational leadership is the foundational reason for this study. The experience of listening to the same orchestra under the direction of nine different conductors throughout the Chattanooga Symphony & Opera’s conductor search, led to an interest in further understanding the processes involved in the classical musical experience. There is minimal research focused on the American symphony orchestra and an acute lack of research on leadership processes within the American symphony orchestra. Examination and study of the leadership process between conductor and musician, musician group mood, and artistic quality are all considerations in understanding the classical musical experience. The research design for this study was a quantitative design using simple correlation analysis. The intent of this study was to understand how the independent and dependent variables covary, and therefore a non-experimental, associational approach was used (Gliner, Morgan, & Leech, 2009). -
Academic Career Selected Awards and Commissions
CURRICULUM VITAE JUDITH SHATIN 1938 Lewis Mountain Rd. Charlottesville, VA 22903 [email protected] Education 1979 Princeton Ph.D. University 1976 MFA 1974 The Juilliard MM (Abraham Ellstein Award) School 1971 Douglass College AB (Phi Beta Kappa, Graduation with Honors) Academic Career 2018- University of Virginia William R. Kenan, Jr. Professor Emerita 1999- 2018 University of Virginia William R. Kenan, Jr. Professor 1995-2002 University of Virginia Chair, McIntire Department of Music 1990-1999 University of Virginia Professor 1987- Virginia Center for Founder Computer Music 1985-1989 University of Virginia Associate Professor 1979-1984 University of Virginia Assistant Professor Selected Awards and Commissions Date Source Type Work 2020 Kassia Ensemble Commission Kassia’s Song 2020 YIVO Commission unter soreles vigele 2019 Bennington Chamber Commission Cinqchronie Music Festival 2019 Fintan Farrelly Commission In a Flash 2019 San Jose Chamber Commission Respecting the First Orchestra (Amendment) 2018 Illinois Wesleyan Commission I Love University 2018 Amy Johnson Commission Patterns 2017 San Jose Chamber Commission Ice Becomes Water Orchestra 2017 Gail Archer Commission Dust & Shadow 2016 Carnegie Hall and the Commission Black Moon Judith Shatin American Composers Orchestra 2016 Ensemble of These Times Commission A Line-Storm Song & the LA Jewish Music Commission 2015 Clay Endowment Fellowship Trace Elements Project 2015 Atar Trio Commission Gregor’s Dream 2015 Ensemble Musica Nova – Commission Storm Tel Aviv 2014-15 UVA Percussion -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.