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Minister Miranda announces Alberta Music Week and additional funding for Alberta’s music industry

The Government of Alberta has officially declared July 19-26, 2018 the first ever Alberta Music Week. The announcement was made Thursday morning by The Honourable Ricardo Miranda, Minister of Culture and Tourism, at the launch of the weekly Music at McDougall: Summer Concert Series at McDougall Centre in Calgary.

“Alberta is home to some of the best songwriters, music producers and performers in the world,” said Minister Miranda in a release. “Alberta’s recording industry is an important contributor to our culture, as well as our economy, and is something worth celebrating. Alberta Music Week is an opportunity to highlight and discover Alberta musicians and get ready for another music-filled summer.”

Accompanying the declaration of Alberta Music Week was the announcement that $300,000 in additional funding for Alberta’s music industry, which in 2016 contributed more than $300 million to Alberta’s GDP and provided more than 7,300 jobs. The Alberta government will work with music industry leaders in the coming months to determine how the money can best benefit Albertans.

“Alberta Music Week highlights the vibrancy and activity of the music industry in our province,” said Carly Klassen, Executive Director of Alberta Music. “Alberta artists are creating musical works of a national and international caliber, alongside professionals working in many types of support roles within the industry. We are proud to acknowledge Alberta Music Week and the diverse artists who call Alberta home.”

Alberta’s cultural industries have been identified as a key area to support the government’s economic diversification and job creation priorities.

“Alberta’s cultural industries, including music and sound recording, are significant contributors to our economy, and have tremendous opportunity for growth and economic diversification,” said Minister Miranda. “With this funding, we continue to support that growth, provide jobs to Albertans, and help share our stories and songs with the world.”

Highlights of Alberta Music Week festivals include Interstellar Rodeo in Edmonton (July 20-22), the Stampede Summer Jam in Medicine Hat (July 23) and the Full Throttle Festival in Cold Lake (July 20). The Calgary Folk Music Festival (July 26-29) will close out the week on Prince’s Island.

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Graham Henderson’s testimony at the Standing Committee on Industry, Science and Technology – Canadian Copyright Act review 2018

On June 12, Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Industry, Science and Technology (INDU) to provide testimony during the five-year statutory review of the Canadian Copyright Act. Henderson appeared before Standing Committee on Canadian Heritage two weeks prior to provide testimony on remuneration models for artists and creative industries. Below is the full-text of Henderson’s remarks before the INDU Committee.

 

Good afternoon and thank you for the opportunity to testify to this committee on behalf of Music Canada.

This committee’s review of the Copyright Act comes at a critical time for Canada’s creators. It is a time when governments around the world are questioning whether the current digital marketplace is functioning fairly for the world’s creators.

The reality for music creators in Canada is that there are provisions in our own Copyright Act that are preventing them from receiving fair market value for their work.

I believe the best way that this committee can assist in creating a marketplace that is transparent and supports Canadian creators is by providing the government with straightforward, accessible solutions to address the Value Gap.

Music Canada produced a comprehensive report on the Value Gap in Canada which you will find in French and English in front of you.

We define the Value Gap as “the significant disparity between the value of creative content that is accessed and enjoyed by consumers,” this is enormous, “and the revenues that are returned to the people and businesses who create it,” – it’s tiny.

Today, more music is consumed than at any time in history. However, the remuneration for that content has not kept pace with the record levels of consumption. The same is true for digital video content, film and even journalism.

I was pleased to hear Minister Joly recognize this point earlier this year, when she stated:

“The benefits of the digital economy have not been shared equally. Too many creators, journalists, artists have been left behind.”

The origins of the Value Gap extend back to more than twenty years ago. It was the dawning of the digital marketplace and countries around the world struggled to reinterpret copyright laws that were designed for an analog age.

They wanted to protect creators, but they also wanted to give a boost to young technological startups and inevitably, perhaps understandably, mistakes were made.

Around the world, lawmakers and policy analysts thought of the internet as a series of “dumb” pipes where your browsing habits were anonymous and the data travelling between sites was so vast it was unknowable. But twenty years later we know the internet is composed of the “smartest pipes” humankind has ever devised.  Your web habits are meticulously tracked and the metadata that they generate is collected, analyzed and sold every second of the day, mostly without our consent or knowledge.

While well-intentioned when they were created, the impact of these laws today is that wealth has been diverted from creators into the pockets of massive corporate entities, and what little is left over for creators is unfortunately concentrated into fewer and fewer hands. As a result, the creative middle class has virtually disappeared, and with it, numerous jobs, opportunities, and dreams.

There is no need to point fingers. No one planned for the creative middle class to suffer. The important thing at this juncture is to move forward purposefully and without delay to get the rules right. You should make absolutely certain that Canada’s Copyright Act ensures a creator’s right to be fairly remunerated when their work is commercialized by others.

The Value Gap is built on outdated safe harbour policies around the world. The announcement made last week by Ministers Bains and Joly that the Telecommunications Act and the Broadcasting Act will be reviewed, is an important step and in line with an international movement to find a solution to this problem. Safe harbours have been raised by other witnesses, and I hope that the committee will give significant consideration to addressing them.

But right now, the Copyright Act is exacerbating the Value Gap by effectively requiring creators to subsidize billion dollar technology companies.  Here are four steps that this committee could recommend. They could be immediately, quickly implemented, and would help creators and harmonize Canadian policy with international standards:

  1. Remove the $1.25 Million Radio Royalty Exemption
    Since 1997, commercial radio stations have been exempted from paying royalties on their first $1.25 million of advertising revenue. It amounts to an $8 million annual cross-industry subsidy paid by artists and their recording industry partners to large, vertically-integrated and highly profitable media companies. The cost to creators since inception…$150 million dollars. Internationally, no other country has a similar subsidy, and the exemption does not apply for songwriters and publishers – meaning that performers and record labels are the only rights holders who are singled out to subsidize the commercial radio industry. This is unjustified and should be eliminated.
  2. Amend the Definition of ‘Sound Recording’ in the Copyright Act
    The current definition of a “sound recording” in the Copyright Act excludes performers and record labels from receiving royalties for the use of their work in television and film soundtracks. This exception is unique to television and film soundtracks, and does not apply to composers, songwriters and music publishers. It is inequitable and unjustified, particularly in light of the profound role music plays in soundtracks, and it is costly to artists and record labels, who continue to subsidize those who exploit their recordings. The cost to creators? About $55 million dollars per year. The Act should be amended to remove this cross-subsidy.
  3. Amending the term of copyright for musical works
    The term of copyright protection in Canada for the authors of musical works is out of line with international norms. Under the Copyright Act, protection for musical works subsists for the duration of the author’s life plus a further period of 50 years, and that is out of line with international standards.
  4. Private Copying: Renew Support for Music Creators
    Years ago, a private copying levy had been created, originally intended to be technologically neutral. It has been limited by various decisions to media that are obsolete.  This important source of earned income for over 100,000 music creators is now in jeopardy unless the regime is updated. Music creators are asking for the creation of an interim four-year fund of $40 million dollars.

Each of these changes removes an unfair subsidy, harmonizes the laws within our industries, and brings us to international standards, and they can be done simply and they can be done today.

This is an exciting time. As you review the Act, you have the opportunity to put creators at the heart of your policy making, ensuring that creators are paid every time their work is commercialized by others.

Thank you.

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Artist advocacy takes centre stage at Midem 2018 during Value Gap event presented by Music Canada and IAEL

Entertainment lawyers have always played a crucial role in the success of their artist clients. But during Midem 2018, Miranda Mulholland urged them to take complimentary steps to empower artists and leverage their network to be connectors, helping to introduce, start discussions, and activate their artist clients.

Mulholland was the keynote speaker at a June 6 event hosted by Music Canada and the International Association of Entertainment Lawyers (IAEL) in Cannes, France. The Value Gap theme flowed through both this event and the launch of IAEL’s new book, Finding the Value in the Gap, later the same day.

Music Canada’s President and CEO Graham Henderson introduced Miranda and shared some opening remarks about Music Canada’s report The Value Gap: Its Origins, Impacts and a Made-In-Canada Approach and thoughts on the vital role of artist advocates.

Two representatives from IAEL, including President Jeff Liebenson and Anne-Marie Pecoraro, as well as Lodovico Benvenuti, Director of IFPI’s European Office, joined Mulholland for a panel discussion following her keynote.

In addition to discussing the IAEL’s brand new publication Finding the Value in the Gap, the international experts leading the charge to address the Value Gap in multiple territories discussed how artists have been instrumental in their campaigns, including a letter to European Commission President Jean-Claude Juncker. The letter was originally signed by more than 1,000 musicians and urges the Commission to address misapplied safe harbour provisions at the heart of the Value Gap to secure a sustainable and thriving music sector for Europe. Similarly, in Canada, more than 3,650 Canadian artists and creators have now signed the Focus On Creators letter to Heritage Minister Mélanie Joly calling on the government to put creators at the heart of future policy.

Guests at the Midem event included influential Canadian and international delegates, as well as members of the legal community, media outlets and European leaders in addressing the Value Gap.

You can watch the full keynote and panel discussion below.

Below is a selection of photos from the event and more information on Finding the Value in the Gap will be available on the IAEL website.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Video: Amy Terrill’s Opening Remarks at 2018 Music Cities Summit

On Saturday May 12th, Music Canada launched its new report Keys to a Music City: Examining the Merits of Music Offices, Boards and Night Mayors at the third annual Mastering of a Music City Music Cities Summit during Canadian Music Week.

Executive Vice President Amy Terrill discussed the report during her opening remarks at the summit, and touched on some key highlights and takeaways.

This report serves as a follow-up to Music Canada’s groundbreaking 2015 study The Mastering of a Music City, which the summit was named after. Keys to a Music City draws on in-depth interviews with practitioners in 17 cities globally, and analyzes some of the most common structures utilized by municipalities to develop and implement their music strategies and policies.

The report examines the various ways that music officers, music advisory boards, arms-length music organizations, and Night Mayors are used in different jurisdictions, and provides important insights into the functions, advantages, and limitations of these models.

In her remarks, Terrill highlighted how Keys to a Music City offers a guide to both city officials and community members on how they can play an important role in building their Music City. The report also provides insights and answers to some of their most pressing and relevant questions.

Watch Amy Terrill’s full opening remarks below, and stay tuned to our blog for more coverage from the Music Cities Summit in the coming weeks.

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Graham Henderson’s testimony at the Standing Committee on Canadian Heritage’s study of Remuneration Models for Artists and Creative Industries

Earlier today Music Canada’s President and CEO, Graham Henderson, appeared before the Standing Committee on Canadian Heritage to provide testimony on remuneration models for artists and creative industries as part of the Copyright Act review. Below is the full-text of Henderson’s remarks.

 

My name is Graham Henderson, and I am the President and CEO of Music Canada. We are a passionate advocate for music and those who create it.

I am very pleased to see the Heritage Committee studying remuneration models for artists and creative industries. This is an aspect of the music industry ecosystem that I, and Music Canada, have for years been working to modernize. Creating a functioning marketplace where creators receive fair compensation for the use of their works forms the bedrock of our mission.

But the reality for Canadian music creators is there are provisions in our own Copyright Act that prevent them from receiving fair market value for their work.

I believe the best way that this committee can assist in creating a marketplace that is transparent and supports Canadian creators is by providing the government with straightforward, accessible solutions to address the Value Gap.

Music Canada produced a comprehensive report on the Value Gap in Canada which you will find in French and English in front of you.

We define 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.”

Today, more music is consumed than at any time in history. However, the remuneration for that content has not kept pace with the record levels of consumption.

I was pleased to hear Minister Joly recognize this point earlier this year, when she stated:

“The benefits of the digital economy have not been shared equally. Too many creators, journalists, artists have been left behind.”

The origins of the Value Gap extend back more than two decades to a time when countries around the world, including Canada, began adapting and interpreting laws created in another era to protect common carrier telephone companies in the then-dawning digital marketplace.

Around the world those laws understood the internet as a series of “dumb” pipes where your browsing habits were anonymous and the data travelling between sites was so vast it was unknowable. But twenty years later we know the Internet is composed of the “smartest pipes” humankind has ever made.  Your web habits are meticulously tracked and the metadata that it generates is collected, analyzed and sold every second of everyday.

While well-intentioned when they were created, the impact of these laws today is that wealth has been diverted from creators into the pockets of massive digital intermediaries, and what little is left over for creators is concentrated into fewer and fewer hands. As a result, the creative middle class is disappearing, if it hasn’t disappeared already, and with it, numerous jobs and opportunities.

There is no need to point fingers. No one planned for the creative middle class to suffer. The important thing at this juncture is to move forward purposefully and without delay to get the rules right. You should make absolutely certain that Canada’s Copyright Act ensures a creator’s right to be fairly remunerated when their work is commercialized by others.

The foundation of the Value Gap is outdated safe harbour policies and exceptions – all around the world. A safe harbour, by the way, is a way to limit the liability of an intermediary and allow music to be consumed without payment. I know that Ministers Joly and Bains are working on this issue and having conversations with their international counterparts to find a solution to this problem.

But here in Canada, there are particular laws that exacerbate the Value Gap by effectively requiring individual creators to subsidize billion dollar commercial technology companies.  Here are four steps that this committee could recommend immediately that would help creators immediately and harmonize Canadian policy with international standards:

  1. Remove the $1.25 Million Radio Royalty Exemption
    Since 1997, commercial radio stations have been exempted from paying royalties on their first $1.25 million in advertising revenue. It amounts to an $8 million annual cross-industry subsidy paid by artists and their recording industry partners to large, vertically-integrated and highly profitable media companies. Internationally, no other country has a similar subsidy, and the exemption does not apply for songwriter and publisher royalties – meaning that performers and record labels are the only rights holders whose royalties are used to subsidize the commercial radio industry. The exemption is unjustified and should be eliminated.
  2. Amend the Definition of ‘Sound Recording’ in the Copyright Act
    The current definition of a “sound recording” in the Copyright Act excludes performers and record labels from receiving royalties for the use of their work in television and film soundtracks. This exception is unique to television and film soundtracks, and does not apply to composers, songwriters and music publishers. It is inequitable and unjustified, particularly in light of the profound role music plays in soundtracks, and it is costly to artists and record labels, who continue to subsidize those who exploit their recordings to the tune of $55 million per year. The Act should be amended to remove this cross-subsidy.
  3. Amending the term of copyright for musical works
    The term of copyright protection in Canada for the authors of musical works is out of line with international copyright norms. Under the Copyright Act, protection for musical works subsists for the duration of the author’s life plus a further period of 50 years. By contrast, the majority of Canada’s largest trading partners recognize longer copyright terms for musical works, and a general standard of the life of the author plus 70 years has emerged. I note that a vice-chair of this committee, Mr. Van Loan, introduced a Private Members bill on this issue and we thank you for your support.
  4. Private Copying: Renew Support for Music Creators
    The private copying levy, originally intended to be technologically neutral, has been limited by various decisions to media that are effectively obsolete.  This important source of earned income for over 100,000 music creators is now in jeopardy unless the regime is updated. Music creators are asking for the creation of an interim four-year fund of $40 million per year. This will ensure that music creators continue to receive fair compensation for private copies made until a more permanent, long-term solution can be enacted.

Each of these changes removes an unfair subsidy, harmonizes the laws within our industries and brings us to international standards, and they can be done today.

As the creative community anxiously awaited this review of the Copyright Act, an organization called Focus On Creators sent Minister Joly a letter that has now been signed by more than 3,650 Canadian creators.  In that letter, the creators discussed their concerns with the Value Gap and how the Value Gap is causing the middle-class artist to disappear in Canada. The creators’ letter concludes with a message I hope you will take to heart, “We know you understand the cultural significance of our work; we hope you also see its value and crucial place in Canada’s economy. We ask that you put creators at the heart of future policy.”

Thank you.

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Music Canada releases new report Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors

May 11, 2018, Toronto: Today, Music Canada releases its latest report, Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors. The report is being launched in advance of the third annual Music Cities Summit at Canadian Music Week, and serves as a successor to Music Canada’s groundbreaking 2015 study The Mastering of a Music City.

Drawing from in-depth interviews with practitioners in 17 cities across the world, the report provides a detailed analysis of some of the most common structures utilized by municipalities to develop and implement their music strategies and policies. Some of these existed prior to 2015, while others are more recent phenomena.

“Since the release of The Mastering of a Music City, additional questions have been raised by those seeking to develop their own Music City about the advantages and limitations of different models,” says Amy Terrill, Executive Vice President of Music Canada. “With this new report, cities can find answers to their most pressing questions, gain insights from experts in the field, and learn from the experiences of other cities.”

Keys to a Music City examines the various ways that music officers, music advisory boards, arms-length music organizations, and Night Mayors are used in different jurisdictions, and offers a guide on how both city officials and community members can play an important role in building their Music City.

Most importantly, this report identifies critical conditions for success and 10 key lessons learned by experts who have sought to leverage the many social and economic benefits of a vibrant, actively promoted music economy.

Supporting quotes:

“Music Canada has done it again –  Keys to a Music City: Examining the Merits of Music Offices, Boards, and Night Mayors is a deeply researched and essential resource for public officials, industry leaders, academics, non-profit activists, musicians and all other stakeholders eager to identify and adapt effective models to their own communities.”  Michael Bracy, Cofounder, Music Policy Forum

“A music city is more than a tagline. It is a process. Music is the heartbeat of sociability when people gather with family, friends and acquaintances. And a city with a plan for music is a city with a plan for its people. Music Canada’s report Keys to a Music City, along with their previous report The Mastering of a Music City provide the most comprehensive and strategically organized resources on how to become a music city.”  – Jim Peters, President, Responsible Hospitality Institute

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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.

 

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Kygo receives Canadian Multi-Platinum plaques in Toronto

L to R:Asim Awesome Awan (Co-President, Ultra Music Canada), Kygo, Myles Shear (Manager, Golden Hare Group), Adrian Strong (Co-President, Ultra Music Canada / President, DMD Entertainment) Photographer: Stephen Kazumi

Ahead of his Toronto show at the Air Canada Centre last week, Ultra Music Canada and DMD Entertainment presented Kygo with a 6x Platinum plaque for his single with Selena Gomez, “It Ain’t Me,” which is the highest certification worldwide on this single.

The Norwegian DJ was also given a Platinum plaque for his debut album Cloud Nine, which also included 3 Double Platinum Singles “Firestone (ft. Conrad Sewell)”, “Stole The Show (ft. Parson James)” & “Stay (ft. Maty Noyes), and 2 Gold singles “Raging (ft. Kodaline)” and “Carry Me (ft. Julia Michaels).”

Watch the music video for “It Ain’t Me” below.

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Music Canada and Government of Ontario Join Forces to Improve Access to Music Education

May 2, 2018, Toronto:  In a new program announced today, Music Canada and the Government of Ontario will improve the inventory of musical instruments and access to quality music education in Ontario’s publicly funded schools with the supply of refurbished and recycled musical instruments. The program is made possible through a $3 million investment by the Government of Ontario over a period of three years.

The Honourable Indira Naidoo-Harris, Minister of Education, and Amy Terrill, Executive Vice President, Music Canada made the announcement today at St. Joseph’s College School in Toronto.

“Studying music and art leads to creative and enriching learning experiences,” says Minister Naidoo-Harris. “This innovative program helps students grow and develop a greater sense of well-being. We’re pleased to be working with Music Canada on this important commitment that supports music education and gives students new opportunities to explore.”

“Music education delivers a power pack of benefits, preparing young people for careers, not just in music but in any profession requiring creativity and problem-solving,” says Terrill.  “With top notch instruments we can remove one more obstacle standing in the way of quality music education for all young people no matter where they live or their economic circumstances.”

The Three R’s Music Program/Le Programme musical des trois R will put more instruments in classrooms throughout the province through three stages:  it will rescue damaged instruments from Ontario’s schools or from our communities, restore them to working order, and reunite them with young people.

Music Canada will partner with numerous organizations to enhance delivery of the program including MusiCounts, ArtsCan Circle, the Coalition for Music Education and companies and artists in Ontario’s dynamic music industry.  Stakeholders from the Ontario Fire Service including the Office of the Fire Marshal (OFMEM) and the Ontario Professional Firefighters Association (OPFFA) have also agreed to offer support and outreach into communities and schools in municipalities in every geographic region.

Supporting quotes:

“The Ontario Music Educators’ Association is very pleased that funding will be available to support instrument repairs in Ontario schools.  Instrumental music programs in our province hold a long and rich history and legacy, our instruments are well used and as such, require regular maintenance to keep them in working and playable order for our students.  As instruments age and are used regularly, repairs are required to replace worn pads, springs, strings, adjustments and alignments of necks & fretboards, cracks, bridges, etc.  We welcome this partnership with Music Canada and look forward to sharing the information with our members.” – Tony Leong, President, Ontario Music Educators’ Association

“The very best music and art come from experience and deep listening and through this generous initiative it’s time the Country will have an opportunity to hear these communities.  There are so many powerful creative, artistic voices, and stories in these communities that need to be heard.“  – Mike Stevens, Founder, ArtsCan Circle

“The Coalition for Music Education is pleased to partner with Music Canada in this initiative.  We envision Canada as a country where the lives of all children are enriched by quality music education programs, and where their active participation in music is valued and properly resourced in our communities.  The refurbishment of music instruments in Ontario schools is a huge step forward in achieving this goal.” – Rob Barg, Treasurer, Coalition for Music Education

“MusiCounts is proud to partner with Music Canada on the Three R’s Music Program to help ensure youth have access to quality instruments and music education in their schools.” – Kristy Fletcher, Executive Director, MusiCounts

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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.

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Music Canada et le gouvernement de l’Ontario se donnent la main pour améliorer l’accès à l’éducation musicale

Toronto, le 2 mai 2018 :  Grâce à la création d’un nouveau programme dont l’annonce a été faite aujourd’hui, Music Canada et le gouvernement de l’Ontario se donnent les moyens d’enrichir l’inventaire d’instruments de musique et l’accès à une éducation musicale de qualité dans les écoles financées par des fonds publics de l’Ontario en leur fournissant des instruments de musique remis en état et recyclés. Le programme a été rendu possible par un investissement de 3 millions $ du gouvernement de l’Ontario échelonné sur trois ans.

L’honorable Indira Naidoo-Harris, ministre ontarienne de l’Éducation, et Amy Terrill, vice-présidente directrice de Music Canada, ont annoncé la nouvelle aujourd’hui à la St. Joseph’s College School de Toronto.

« L’étude de la musique et des arts permet de vivre des expériences d’apprentissage créatives et enrichissantes ”, a souligné la ministre Naidoo-Harris. « Ce programme innovant aide les étudiants à grandir et à éprouver un sentiment de bien-être accru. Nous sommes heureux de collaborer avec Music Canada à cet important engagement qui soutient l’éducation musicale et donne aux étudiants de nouvelles opportunités d’exploration. »

« L’éducation musicale produit tout un arsenal d’avantages en préparant les jeunes à leur future carrière, et ce, non seulement dans le domaine musical, mais aussi dans n’importe quelle profession exigeant de la créativité et une capacité à résoudre des problèmes », a affirmé Mme Terrill. « La disponibilité d’instruments de musique de premier ordre peut faire tomber un obstacle de plus sur le parcours des jeunes étudiants en musique indépendamment de l’endroit où ils vivent et de leur situation économique. »

Le Programme musical des trois R/The Three R’s Music Program mettra davantage d’instruments de musique dans les salles de classe de partout dans la province grâce à un programme qui se déclinera en trois volets : récupérer les instruments endommagés des écoles ontariennes ou de nos collectivités, les restaurer pour les remettre en bon état de fonctionnement et les réaffecter à une école où les jeunes pourront en profiter.

Music Canada collaborera avec de nombreuses organisations pour faciliter le succès de ce programme, notamment MusiComte, ArtsCan Circle, la Coalition pour l’Éducation en Musique au Canada et les artistes d’une industrie musicale ontarienne en plein essor. Des parties prenantes du Service des incendies de l’Ontario, y compris le Bureau du commissaire des incendies et l’Ontario Professional Firefighters Association (OPFFA), ont également offert de fournir un soutien et des services d’extension aux écoles de l’ensemble des régions géographiques de l’Ontario.

Autres réactions :

« L’Ontario  Music Educators’ Association est très heureuse d’apprendre qu’un financement sera disponible en soutien de la réparation d’instruments de musique dans les écoles ontariennes. L’histoire et le patrimoine des programmes de musique remontent à de nombreuses années dans notre province, et puisque nos instruments sont abondamment utilisés, il faut les entretenir régulièrement afin qu’ils puissent servir plus tard à d’autres étudiants. Lorsque les mêmes instruments vieillissent et continuent à être utilisés, des réparations s’imposent pour remplacer des coussinets, des ressorts et des cordes, rajuster ou remplacer des manches et des chevalets de guitare, etc. Nous accueillons favorablement ce partenariat avec Music Canada et avons hâte d’annoncer la bonne nouvelle à nos membres. » – Tony Leong, président, Ontario Music Educators’ Association

« Les plus belles musiques et les meilleures œuvres d’art sont le fruit de l’expérience et d’une écoute attentive, et cette généreuse initiative permettra enfin à nos compatriotes d’entendre ces collectivités. Ces communautés renferment tellement de voix créatives puissantes, et il faut qu’elles se fassent entendre. » – Mike Stevens, fondateur, ArtsCan Circle

« La Coalition pour l’Éducation en Musique au Canada est heureuse de s’associer à Music Canada dans le cadre de cette initiative. Nous nous représentons le Canada comme un pays où la vie de tous les enfants est enrichie par un programme de musique de qualité et où leur participation active à des activités musicales est appréciée et encouragée grâce à l’existence de ressources suffisantes au niveau communautaire. La remise en état des instruments de musique des écoles ontariennes est un immense pas en avant dans l’accomplissement de cet objectif. » – Rob Barg, trésorier, Coalition pour l’Éducation en Musique au Canada

« MusiCompte est fier de son partenariat avec Music Canada dans le cadre du Programme musical des trois R afin d’aider à assurer que les jeunes aient accès à des instruments de qualité et à une éducation musicale à l’école. » – Kristy Fletcher, directrice générale, MusiCompte.

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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, promoteurs de concerts, gérants et artistes – pour assurer la promotion et le développement du secteur de la musique.

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Government of Canada releases Canada’s new Intellectual Property Strategy

On Thursday, Canada’s national Intellectual Property (IP) Strategy was launched by The Honourable Navdeep Bains, Minister of Innovation, Science and Economic Development.

Through the IP Strategy, the government aims to increase intellectual property awareness, foster a framework that helps support businesses and entrepreneurs, and encourage the growth of innovation and competition in Canada. The strategy is intended to ensure that the public has “access to the best possible IP resources” through a multi-faceted approach which includes:

  1. Initiatives to improve IP awareness, education and access to legal advice
  2. The development of strategic tools that reduce the burden and cost of accessing the IP system in Canada
  3. New amendments to IP legislation that aims to clarify acceptable practices and prevent misuses of IP rights

The strategy was released on World IP Day, which was centred this year on celebrating remarkable and creative women who are driving change in our world. The Canadian Intellectual Property Office (CIPO) celebrated World IP Day by featuring five famous Canadian women who have used their intellectual property to make an impact in Canada and around the world. Among them was Diamond-certified recording artist Sarah McLachlan, who, in addition to her musical talents, is an esteemed entrepreneur with three registered trademarks and her non-profit music education program, the Sarah McLachlan School of Music.

Music Canada would like to congratulate Minister Bains and Innovation, Science and Economic Development Canada on the release of this exciting new strategy. A faster, more efficient and more predictable regulatory regime will help Canadian creative entrepreneurs continue to innovate and succeed worldwide.

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