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Panel Preview: Artist Advocates in Action at Folk Alliance International 2019

 

Musician, label owner and music festival founder Miranda Mulholland, in participation with Music Canada, will present a panel discussion at Folk Alliance International 2019 titled Artist Advocates in Action. The panel is scheduled for Saturday, February 16 from 10:00 am to 11:15 am in the Anne Murray Room at Fairmont The Queen Elizabeth Hotel in Montréal.

The discussion will explore various elements of artist advocacy including work / life balance, best practices, and art as an advocacy tool. How can artists best navigate through their careers while advocating for changes to global and local landscapes? What is the personal cost and how can artists maintain their own interests while championing for necessary causes? Moderator Miranda Mulholland will take the panelists – all practicing artists and advocates – through their own experiences, fears, challenges and triumphs. 

The panel will feature the following artist advocates:

Caroline Brooks

Caroline Brooks is a singer-songwriter, session vocalist and guitar player from Toronto. She is one third of critically acclaimed Good Lovelies, a Juno award-winning band that has toured internationally for the last 12 years. They have released 8 albums and their latest single “I See Gold” is up for Song of the Year at the International Folk Music Awards.

Outside of performing, Caroline is a sitting board member with the Mariposa Folk Festival and Muskoka-based advocacy group Safe Quiet Lakes. She and her partner also co-founded Secondhand Sunday, a community re-use and waste reduction program based in Toronto.

Zoë Keating

DIY Cellist and composer Zoë Keating has worked with many artists and productions, including Jeff Russo, Amanda Palmer, Imogen Heap and the podcast Radiolab. Her music has achieved a surprising degree of ubiquity for a DIY artist, from the bumper music to NPR’s Morning Edition to the thinking-music of the Sherlock Holmes character on CBS Elementary to the theme music for the Brazilian telenovela Para Sempre.

A vocal advocate for the rights of creators, Keating was elected a governor of the San Francisco chapter of the Recording Academy named a Young Global Leader by the World Economic Forum and serves on the board of CASH Music, a nonprofit organization that builds open source digital tools for musicians and labels

Aaron Myers

Mr. Myers is a life-long social activist and musician who uses entertainment to increase awareness of social issues. While a full-time college student Mr. Myers ran unsuccessfully for the office of Mayor in Corsicana Texas. In 2008 he served as a field organizer for the Obama campaign in Florida. Mr. Myers is also a skilled volunteer coordinator event manager and public speaker an experienced music teacher and an army veteran. He has also served as National Director of the nonprofit Global Family Program. A jazz and soul musician Mr. Myers is the Resident Artist at Mr. Henry’s Restaurant in DC.

Peter Katz

Over the past decade, Peter has seen his albums debut at #1 on the iTunes singer-songwriter charts; he’s shared the stage and studio with the likes of Academy Award Winner Glen Hansard (Once, The Swell Season), Juno Award-Winners The Good Lovelies, Polaris-Prize nominated Melissa McCelland (Whitehorse) and the Legendary Garth Hudson from The Band. He’s toured all over the world, regularly playing to capacity crowds, and has managed to build an impressive fan-base of loyal listeners, selling over 25,000 copies of his discs mostly from the stage, one show at a time. Never content to sit still for long, Peter Katz has his eyes firmly set on the future.

 

Folk Alliance International is the world’s largest gathering of the folk music industry and community. To attend this panel you must be registered for the conference. Registration also gains you access to conference showcases, and passes can be purchased from the Folk Alliance International website.

 

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Debora Spar Op-Ed ‘Return to the Era of Rule-Making’ featured in The Hill Times

In an op-ed published today in The Hill Times, distinguished Harvard professor and author Debora Spar examined how rapid technological advancements have affected the evolution of the recorded music industry – highlighting how governments worldwide are reforming their copyright legislation to contend with the rising impact of these digital-based streaming services and user-upload platforms.

The article was adapted from a keynote speech Spar delivered at Music Canada’s 2018 Playback event in October. In her remarks, she discussed her groundbreaking 2001 book Ruling the Waves: From the Compass to the Internet, a History of Business and Politics along the Technological Frontier.

In the piece, Spar outlined the book’s thesis that the Internet – like of a long chain of communications technologies that began with the printing press, telegraph, and then the radio – was destined to go through four major phases of political and commercial evolution.

These four phases include:

  1. Innovation
  2. Commercialization
  3. Creative Anarchy
  4. Rule-Making

From here, the piece highlights how the progression of these four stages parallels  major developments within the music industry, with the ‘innovation’ stage occurring in the 1980’s and early 1990’s.

Spar goes on to discuss how the industry is now in the hypothesized ‘rule-making’ stage – pointing to government initiatives like Canada’s ongoing Copyright Act Review as evidence we are in this final phase of regulation and enforcement.

Read the full Hill-Time piece here.

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Miranda Mulholland highlights copyright and artist remuneration issues at the 2018 World Trade Organization Public Forum

In October 2018, Canadian musician and artist advocate Miranda Mulholland participated in the the World Trade Organization Public Forum 2018 in Geneva as part of a panel discussion on the future of innovation and creativity.

The panel also featured Richard Bagger, Executive Vice President, Corporate Affairs and Market Access at Celgene, and Nicholas Hodac, Government and Regulatory Affairs Executive, IBM, and was moderated by Ellen Szymanski, Executive Director, Global Innovation Policy Center, U.S. Chamber of Commerce.

In her remarks, Mulholland provided a stark picture of the current realities of artist remuneration in this increasingly digitized musical landscape. She outlined the differences in opportunities for artists in the 1980’s and 1990’s, whose earnings sustained their livelihood and enabled them to enter the middle class –  in a way that artists today are simply not able to.

Photos: © WTO/Jay Louvion

“Royalty checks that once paid for a down-payment on a home for those lucky enough to be working before the digital disruption, only amount to enough to buy a cup of coffee today.”

Indeed, rapid technological and digital advancements has meant that music has become instantly accessible, in a variety of mediums and services. Yet, the remuneration of creators and musicians for the use and commercialization of this work has not matched the pace of these developments.

Mulholland connected this reality to the phenomenon of the Value Gap: the significant disparity between the value of creative content that is accessed by consumers, and the revenues that are returned to its creators.

She ended her remarks by reflecting on the positive regulatory and legislative steps that have been occurring at the federal level worldwide. Canada’s ongoing statutory review of the Copyright Act, as well the EU’s review of the Copyright Directive have both created opportunities for meaningful reforms that better protect creators.

Watch Miranda Mulholland’s full remarks below.

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The Agenda panel appearance illustrates Miranda Mulholland’s depth as an Artist Advocate

Last week, TVO’s The Agenda with Steve Paikin focused an episode on “Copyright for the Digital Age,” which featured impactful remarks on the importance of fair copyright for creators by Canadian musician, label owner and music festival founder Miranda Mulholland. Joining Mulholland on the panel discussion were composer Donald Quan and activist and author Cory Doctorow.

“Recent changes to copyright rules in Europe are designed to better compensate artists whose work fuels the revenue earned by digital platforms such as YouTube,” said host Steve Paikin at the outset of the episode. “But some have expressed concern that the new regulations will stifle innovation and harm free speech. As Canada updates its own copyright regulations, should these new rules serve as a roadmap?”

Mulholland, who has been increasingly sought-after as an artist advocate, brought a clear and personal message to the discussion.

On the importance of strong copyright laws for artists:
Paikin: “Miranda, how about for you – how much does copyright matter to your bottom line?

Mulholland: “Well it matters to me, because it matters to my community. I think we live in an ecosystem, so this is very, very important. For me, I’ve been a side-person, I was in Great Lake Swimmers for 7 years, I was in Bowfire … most of my income comes from performing. This is a problem though, because it means if I ever wanted to take a break from the road – say, have a child – and have some kind of time where I wasn’t just paid for when I was exactly on the stage, then loose copyright laws don’t allow me to have any kind of income coming back.”

On the problem of the current definition of a “sound recording” in the Copyright Act:
Paikin: “You do scoring work – do you get royalties for that?”

Mulholland: “Well, actually, that’s a very interesting one, because as of right now, I do a lot of work with composers, so I play for film and television. But in Canada, unlike 44 other countries around the world, the performer is not paid for soundtracks. So I am not actually paid when anything I’ve played on is (aired) around the world. I do get paid for anything I compose on.”

On the need for a functional marketplace for creators’ work:
Paikin: “It’s not enough obviously to sell tickets to a concert, or to sell records … Are you in the t-shirt business now?”

Mulholland: “Well, no, I’m not… I do feel as though we are close to finding some sort of a market. What we want is a marketplace. And YouTube is really our biggest disrupter in the marketplace, because while Spotify and Apple Music are trying really hard to pay creators and try come up with some sort of market share version of what this is going to be, or how it’s going to be, (YouTube) is giving it away for free. … So of course I’ve portfolio’d my income though, because I absolutely have to. I’m an entrepreneur, but I also play for hire, so I play with Jim Cuddy, I work for SoulPepper Theatre – I have so many hats that I have to wear, but I am so far not in the t-shirt business.”

Although the Music Technology Policy blog has identified some examples of what Chris Castle deemed “sloppiness” in the questions – such as The Agenda citing a crowd-sourced job search site to suggest Canadian authors earn an annual salary of $61,798; a marked departure from The Writers Union of Canada’s study finding an average annual income of $9,380 – Mulholland calmly disputed the flawed statistic.

After Paikin cited a quote opposing copyright protection measures from German MEP Julia Reda, whom Paikin neglected to mention is the sole member of the European Parliament from the Pirate Party, Mulholland expertly brought the conversation back to focus on the need for regulations that supports creators.

“I think that one of the biggest problems is that those people who are responsible for those copyright filters don’t want to pay people to do that, so they’re trying to implement this software that maybe can’t catch it all. But I really think that this type of fear-mongering isn’t helpful,” said Mulholland. “We have history to show us, since the beginning – we have the printing press, the invention of compass – history shows us that there are disruptions that happen, and then there is a time that shifts, and people that come in and try and monetize these periods of disruption, and then regulation needs to set in. And fear-mongering doesn’t help… the most important thing is that people in the EU, people in Canada, and in the US are actually listening now to creators. And that is the most important thing that we’re seeing – the sea-change that’s different. … We’re seeing a real change for the better, and finding technical reasons to oppose this, I think is just ludicrous.”

This clear response to this topic shows why Mulholland is increasingly being invited to speak on artist rights issues. She recently appeared at the World Trade Organization Public Forum 2018, presented a keynote at the Banff World Media Festival, and delivered a keynote at Midem 2018.

Mulholland also made an impactful appearance before the Standing Committee on Canadian Heritage’s study of remuneration models for artists and creative industries, where she shared her personal experience as an artist living in the Value Gap. She also called for action for creators in the NAFTA negotiations at an ACTION for Trade event in Washington, D.C., and was the first creator to deliver a keynote address at the Economic Club of Canada.

The full program is available on TVO’s website, and is embedded below.

 

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Playback 2018: Executive Vice President Amy Terrill recaps Music Canada’s accomplishments from the last 12 months

On October 16, 2018, at The Great Hall in Toronto, Music Canada hosted Playback 2018, our annual industry dialogue and celebration.

Close to 100 members of the Canadian music industry were in attendance, including representatives from record labels, awards programs, royalty collectives and funding institutions, as well as artists, journalists, politicians and other government representatives.

Universal Music Canada President Jeffrey Remedios opened the event with a reflection on the state of the industry before Music Canada Executive Vice President Amy Terrill recapped Music Canada’s major accomplishments and new initiatives from the last 12 months.

Those accomplishments include our work to close the Value Gap in Canada, the launch of Music Canada Cares and its first program, The Three Rs Music Program, exciting partnerships with other industry groups, and our latest research report, Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors.

You can watch Terrill’s full presentation below.

Near the end of the presentation, Terrill gave the audience a sneak peek of a just-released video taking you behind the scenes of the production process of our Gold and Platinum award plaques.

Following the annual review, Terrill invited Music Canada President and CEO Graham Henderson to the stage for a special announcement. Henderson shared preliminary results of Music Canada’s year-long, comprehensive governance review that Terrill had announced a year earlier at Playback 2017. To learn more about the changes resulting from the review, read our release.

Stay tuned for more video content from Playback 2018 in the coming days, including a keynote presentation from professor and author Debora Spar, and a ‘fireside chat’ between Recording Industry Association of America Chairman and CEO Cary Sherman and musician, label owner and festival founder, Miranda Mulholland.

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Canadian artist Miranda Mulholland to participate in WTO Public Forum panel on investing in the future of innovation and creativity

On Thursday, Canadian musician, label owner and music festival founder Miranda Mulholland will participate in the World Trade Organization Public Forum 2018, as part of a panel discussion on the future of innovation and creativity. The Public Forum includes more than 100 sessions organized by NGOs, governments, academics, other international organizations, and the WTO secretariat. This year’s theme is “Trade 2030”, as the Public Forum examines how the increasing pace of technology changes will affect sustainable trade, technology-enabled trade, and a more inclusive trading system in the year 2030.

The panel, which is presented by the U.S. Chamber of Commerce, is titled “Investing in the future of innovation and creativity – Promoting environmental sustainability, medical breakthroughs, artificial intelligence, and cultural expression,” and takes place on Thursday October 4th at 10am in Room D of the World Trade Organization headquarters in Geneva, Switzerland.

“Our most valuable resources is human ingenuity,” states the panel description. “Through our creativity and innovation, we can solve the most pressing problems facing our generation and future generations.  Join us for an in-depth discussion of medicines, artificial intelligence, and creative expression – taking a look at new products and services that will meet the goals of Trade in 2030 and beyond.”

“Not only do we cherish the creators and innovators in our world, but we must also support them and incentivize their continuity and success,” continues the description. “Policy leaders around the world play an important role in the ecosystems of innovation and creativity.  This session will look at the global investment environment, cross-border collaborations and the legal and regulatory environments that will propel us toward a better future for humanity.”

The panel will also feature Richard Bagger, Executive Vice President, Corporate Affairs and Market Access at Celgene, and Nicholas Hodac, Government and Regulatory Affairs Executive, IBM, and will be moderated by Ellen Szymanski, Executive Director, Global Innovation Policy Center, U.S. Chamber of Commerce.

In addition to her impressive resume as a classically trained violinist and vocalist, Mulholland is becoming increasingly well-know internationally for her advocacy work. She recently appeared before the Standing Committee on Canadian Heritage’s study of remuneration models for artists and creative industries, where she shared her personal experience as an artist living in the Value Gap. Earlier this year, she delivered keynote addresses at the Banff World Media Festival and the Economic Club of Canada in Ottawa, as well as speeches internationally at Midem and an Action For Trade event in Washington, DC.

Music Canada urges any of our international colleagues attending the WTO Public Forum to attend this important panel, which will provide an insightful look ahead at what cultural expression and the creative industries may look like in 2030. For those unable to attend in person, the World Trade Organization will be posting audio from the panels on their website following the Forum.

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At Standing Committee on Canadian Heritage, Miranda Mulholland illustrates why urgent action to address the Value Gap is needed

Last Thursday, musician, label owner and music festival founder Miranda Mulholland appeared before the Standing Committee on Canadian Heritage’s study of remuneration models for artists and creative industries, where she shared her personal experience as an artist living in the Value Gap.

She began by making Committee members aware that although they may not recognize her, they had most certainly heard her play. “Over the last 19 years, I have played or sung on hundreds of recorded songs on over 50 records including many JUNO Award nominated or winning albums,” she said. “I have done film and television work – you can hear my fiddle playing on every episode of Republic of Doyle and in the film Maudie and on the Good Things Grow in Ontario jingle.”

Mulholland then stated that creators are storytellers and that the story she would tell them today had a beginning, a middle and that she hoped that she and the Committee members would write the end together.

After outlining how she got her start in music, becoming a fiddle player as the digital revolution took off, Mulholland spoke about the Value Gap, and what it has meant to her career.

Mulholland then referenced previous testimonies that the Committee has heard, from artists like Andrew Morrison of the JUNO-nominated group The Jerry Cans, and Music Canada President and CEO Graham Henderson, who both spoke of the disappearance of middle class artists.
Mulholland underscored this point, stating: “The musician middle class is gone – and even the ladder to get there is gone.”

In the middle of her dynamic and authentic presentation, Mulholland proposed four immediately actionable solutions that Committee members could recommend to help improve the framework, which are captured in the video embedded below.


Approaching the end of her story, Mulholland expressed hope that the Committee would help write the ending. Referencing the recent actions that lawmakers in Europe and the United States have taken to help close the Value Gap, Mulholland expressed hope that the Heritage and Industry Committees can work with artists like herself to fix the broken framework and update the laws to reflect artists’ day to day lives.

Her testimony was encapsulated by one of her closing remarks: “Artists have adapted and we need our laws to do the same.”

Mulholland’s dynamic and authentic presentation seemed to truly engage members of the Committee. Following her testimony, Pierre Breton, Member of Parliament for Shefford, Quebec, commented:

Wow, thank you for your excellent presentations. It’s really from the heart, and I would say that you are excellent at explaining the issues – so if there is anyone who had a hard time understanding the scope of the challenge that you’ve been living through, well, now they understand it. Thank you for your testimony – it was exceptional. These are very sensible recommendations in my opinion, and they could be implemented very quickly.

Martin Shields, Member of Parliament for Bow River, Alberta, said:

I think you’re passionate, I think you’re great – but I understand fairness, and what we have is an industry that needs fairness, and we need legislation changed.

During the question and answer portion of the hearing, Breton asked Mulholland which of the recommendations she offered could have a quick impact if enacted by government. Mulholland replied:

Each one would have an immediate effect. The first one, the radio royalty exemption, getting rid of that subsidy – and again, subsidizing – artists are subsidizing the big media conglomerates – that needs to stop. And if that ended, that money would be filtered through into artists pockets immediately.

Same with sound recording … I just played with Alan Doyle on a new kids show that he’s writing the music for… if this was enacted and the sound recording wording was changed, as soon as that is played, I will get paid for my work – so that would help me immediately.

The private copying – that would help immediately as well.

And having a term extension would help me value my work for longer, so I would be able to leverage that if I was talking to a publisher or a label about my catalog. So all four would help me right now.”

Anju Dhillon, Member of Parliament for Dorval — Lachine — LaSalle, asked Mulholland:

In many interviews you’ve done, I noticed that you’re talking about how the Copyright Act is not protecting creators and artists – what concrete changes would you like to see to the Copyright Act so that we can have more fairness and money can be distributed from the distributors to the creators?”

Mulholland replied that right now, she and her creator colleagues are subsidizing billionaires. She told Dhilllon, “the subsidies need to stop – so that would be the radio royalty exemption… it was supposed to be temporary, and it needs to be removed… We just want to have a functioning marketplace.

Following the hearing, Committee members enthusiastically thanked and congratulated Mulholland for her concise and moving testimony.

(l-r) Members of Parliament Randy Boissonnault, Julie Dabrusin, Anju Dhillon and Pierre Breton with Miranda Mulholland

 


Full video of the September 20, 2018, Standing Committee on Canadian Heritage hearing is available on the House of Commons website.

 

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Unanimous U.S. Senate support for Music Modernization Act is further evidence Canada must act to close the Value Gap

Music Canada joins our American counterparts in applauding the United States Senate following its unanimous passage of the Music Modernization Act (MMA) yesterday evening. The MMA, which was broadly supported by music organizations across the United States, is a comprehensive bill that includes the CLASSICS Act, legislation that guarantees artists and labels who recorded music before 1972 a federal right to be paid for those recordings when played by digital radio outlets.

The U.S. music community was united in its support of the MMA, with organizations such as the Recording Industry Association of America, the National Music Publishers Association, ASCAP, SoundExchange, musicFIRST, and the Recording Academy advocating strongly for the bipartisan bill. Thousands of artists spoke up in support of the legislation, including Roseanne Cash and Dionne Warwick, who advocated for the bill in the House of Representatives; Smokey Robinson, who testified at the U.S. Senate; and Maren Morris and Adam Levine, who were vocal supporters of the bill on social media.

“We congratulate all of the artists and advocates who spoke up so passionately in support of the Music Modernization Act. As we saw with the European Parliament vote, governments are listening to creators and recognizing the need to update the legislation that affects their careers,” says Graham Henderson, President and CEO of Music Canada.

“In the past week, we have seen overwhelming support for this type of legislation from Canada’s two largest trading partners, further underlining the need for Canada to follow through with meaningful reforms,” adds Henderson. “Our government has heard from creators – the Value Gap is an urgent issue that must be addressed. It’s now time for our government to seize the opportunity and close the Value Gap in Canada.”

Music Canada has been the leading advocate for addressing the Value Gap in Canada. Our recent report, The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach, examines the Value Gap and its causes, and demonstrates how it impacts artists, businesses and our nation’s cultural foundations, with a particular focus on music. The report includes recommended steps that Canada’s federal government can take today to address the inequities that artists face due to the Value Gap.

Music Canada is encouraged by the progress made in the U.S. and EU, and remains committed to continuing to work with the government of Canada to close the Value Gap here at home.

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Landslide European Copyright Directive vote is a call to action for legislators globally to fix the Value Gap

Music Canada joins our European counterparts in applauding the European Parliament for today’s historic vote on the European Copyright Directive. The vote is a vital step towards ensuring Europe’s creators are paid fairly when their work is consumed online, and provides a strong example for other governments to follow to support their own creators.

“Congratulations to the European Parliament on today’s historic vote to create a framework for creativity to flourish in the digital marketplace. We also need to acknowledge the incredible impact of creator voices to this campaign – thank you to all of the artists who spoke up with such passion and honesty,” says Graham Henderson, President and CEO of Music Canada.

“Today’s landslide vote is a call to action for governments around the world – We must all act with urgency. The Value Gap is a global issue of critical importance to the current and future health of creators and the creative industries. Here in Canada, our Heritage and Industry’s committees have heard loud and clear from creators that the Value Gap threatens Canadian culture and needs to be fixed. These committees have done excellent work so far and they must seize this opportunity. Let’s close the Value Gap NOW!”

In 2017 Music Canada released The Value Gap: Its Origins, Impacts and a Made-in-Canada Approach. The first-of-its-kind report describes the Value Gap as “the significant disparity between the value of creative content that is accessed and enjoyed by consumers, and the revenues that are returned to the people and businesses who create it.” To protect the livelihoods of creators, businesses and cultures, creators and creative groups around the globe have been urging governments to enact legislative changes to ensure creators receive fair compensation for the use of their works.

The European vote comes as the Canadian government is conducting its own review of the Copyright Act. Numerous stakeholders have raised the Value Gap as a key issue at the Standing Committee for Industry, Science and Technology, as well as the Standing Committee on Canadian Heritage’s study on Remuneration Models for Artists and Creative Industries. Additionally, through Focus On Creators, more than 3,700 creators have signed a letter urging the government to place creators at the heart of our country’s cultural policy.

A release from Innovation, Science and Economic Development Canada states that a “well-functioning copyright framework should enable Canada’s creators to take full advantage of the opportunities presented by digital technology, provide a supportive environment for business and investment, and position creators for success in a competitive marketplace.”

Music Canada is committed to continuing to work with the government of Canada throughout the review process to close the Value Gap here at home.

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Music Canada launches new non-profit organization Music Canada Cares


Toronto, September 7, 2018
: Music Canada is pleased to announce the establishment of Music Canada Cares, an affiliated national organization that will lead Music Canada’s corporate social responsibility efforts.

Music Canada Cares is a dedicated non-profit focused on highlighting the extraordinary benefits of music to society. Music Canada Cares will work to promote equitable access to music education, and strive to improve the connection between Canada’s diverse music industry and communities.

“At Music Canada, we’re of the firm belief that Music Can Help,” says Graham Henderson, President and CEO of Music Canada. “It helps build bridges between people and communities, helps people express and process emotions, and helps drive economic activity locally and nationally. I’m thrilled that with the support of our members, Warner Music Canada, Universal Music Canada, and Sony Music Canada, we’re able to launch Music Canada Cares. This new organization will allow us to focus on boosting the social and developmental benefits music delivers, beginning with a source of so much passion, skill, creativity and fun – music education.”

Music Canada Cares’ first initiative is The Three Rs Music Program. The program will improve the inventory of musical instruments in Ontario’s publicly funded schools by rescuing gently used instruments, restoring them to a fully functional condition and reuniting them with students across the province.

“We’re thankful for the overwhelming support we’ve received from our outstanding industry and community partners,” says Sarah Hashem, Managing Director of The Three Rs Music Program. “Giving more young people in Ontario the chance to learn an instrument has wide-ranging benefits. Music education can ignite a career path and life-long passion, and equips students with skills that are transferable to various other fields.”

The Three Rs Music Program will serve both English-language and French-language schools, with the goal of improving access to quality music education for youth across Ontario. The program prioritizes providing instruments to Indigenous, at-risk, and underrepresented communities.

To stay updated with the latest news from Music Canada Cares and The Three Rs Music Program, including information on how to apply for and donate instruments, please follow Music Canada Cares on Facebook.

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For more information:
Corey Poole, Music Canada
cpoole@musiccanada.com
+1 (647) 808-7359 

About Music Canada
Music Canada is a non-profit trade organization that represents the major record companies in Canada: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster. For more on Music Canada, please visit www.musiccanada.com

About Music Canada Cares
Music Canada Cares is an affiliate of Music Canada that is dedicated to promoting and enhancing the societal benefits and value of music and those who create it. 

About The 3 Rs Music Program
The Three Rs Music Program- rescuing instruments, restoring them to a fully functional condition and reuniting them with students-  is advancing the effectiveness of publicly funded music education programs across Ontario through musical instrument refurbishment, community appeals, and artist connections. Using a community-driven approach, we will be ensuring more students have access to the developmental, cognitive, and social benefits of music.

 

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Music Canada lance la nouvelle organisation à but non lucratif Music Canada vous aime

Music Canada a le plaisir d’annoncer l’établissement de Music Canada vous aime, une organisation nationale affiliée à laquelle sera confiée la direction des efforts de Music Canada dans le domaine de la responsabilité sociale des entreprises.

Music Canada vous aime est une organisation à but non lucratif vouée à faire connaître les bienfaits exceptionnels de la musique pour la société. Music Canada vous aime œuvrera à la promotion d’un accès équitable à l’éducation musicale et s’efforcera de resserrer les liens au sein de la grande mosaïque de nos industries musicales et de nos communautés.

« Chez Music Canada, nous sommes fermement convaincus que la musique peut aider », affirme Graham Henderson, président et chef de la direction de Music Canada. « Elle aide à construire des ponts entre les gens et les communautés, elle aide les gens à exprimer et à gérer leurs émotions, et elle alimente l’activité économique aux plans local et national. Je suis extrêmement heureux d’annoncer que, grâce au soutien de nos membres – Warner Music Canada, Universal Music Canada et Sony Music Canada – nous lançons aujourd’hui l’organisation à but non lucratif Music Canada vous aime. Cette nouvelle organisation nous permettra de concentrer nos efforts sur la stimulation des bienfaits sociaux et développementaux offerts par la musique, et ce, en commençant par la source de tant de passion, tant de compétence, tant de créativité et tant de plaisir – l’éducation musicale. »

La première initiative de Music Canada vous aime est le Programme musical des trois R. Ce programme contribuera à l’enrichissement de l’inventaire d’instruments de musique dans les écoles financées par des fonds publics de l’Ontario en récupérant des instruments de musique légèrement usagés, en les restaurant pour les remettre en bon état de fonctionnement et en les réaffectant à des étudiants et des étudiantes à travers la province.

« Nous sommes reconnaissants des immenses appuis que nous avons reçus de nos remarquables partenaires de l’industrie et de la collectivité », a souligné Sarah Hashem, directrice générale du Programme musical des trois R. « Le fait de donner à un plus grand nombre de jeunes Ontariens et Ontariennes la chance d’apprendre à jouer d’un instrument a une multitude d’effets positifs. L’apprentissage de la musique peut déboucher sur une carrière musicale et sur une passion de toute une vie, et il procure aux étudiants des compétences qui leur serviront dans de nombreux autres domaines. »

Le Programme musical des trois R sera accessible aux écoles francophones et anglophones de l’Ontario afin d’offrir un accès à une éducation musicale de qualité aux jeunes de toutes les régions de la province. Le programme privilégie le don d’instruments aux communautés autochtones, à risque ou sous-représentées.

Pour recevoir les dernières nouvelles de Music Canada vous aime  et du Programme musical des trois R, y compris des renseignements sur la façon de vous inscrire pour faire un don d’instrument, suivez Music Canada vous aime sur Facebook.
 

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Pour de plus amples renseignements :
Corey Poole, Music Canada
cpoole@musiccanada.com
+1 (647) 808-7359


À propos de Music Canada
Music Canada est une association professionnelle à but non lucratif qui représente les grandes maisons de disques au Canada, notamment Sony Music Entertainment Canada, Universal Music Canada et Warner Music Canada.  Music Canada collabore également avec de nombreux chefs de file de l’industrie musicale indépendante – étiquettes et distributeurs de disques, studios d’enregistrement, lieux de spectacles, promoteurs de concerts, gérants et artistes – pour assurer la promotion et le développement du secteur de la musique. Pour en savoir plus sur Music Canada, veuillez vous rendre sur www.musiccanada.com

À propos de Music Canada vous aime
Music Canada vous aime est une filiale de Music Canada vouée à la promotion et à l’enrichissement des bienfaits de la musique pour la société et de la valeur qu’elle représente pour ceux et celles qui la créent.

À propos du Programme musical des trois R
Le Programme musical des trois R – récupérer les instruments, les restaurer pour les remettre en bon état de fonctionnement et les réaffecter à des étudiants et des étudiantes – ajoute à l’efficacité des programmes d’éducation des écoles financées par des fonds publics de l’Ontario grâce à la remise en état d’instruments de musique, au lancement d’appels de fonds dans la collectivité et à la complicité des artistes. Dans une démarche centrée sur la collectivité, nous verrons à ce qu’un plus grand nombre d’étudiants et d’étudiantes aient accès aux bienfaits développementaux, cognitifs et sociaux de la musique.

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