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Snapshots on Music and Heritage in Europe

What does music have to do with cultural heritage? Antique sites, temples, beautiful churches, bridges, houses, historic city centres, decorated with a heritage label, such as UNESCO world heritage sites, are often the first associations with the term cultural heritage. When in 2018, the EU celebrated the European Year of Cultural Heritage (EYCH), the European Music Council (EMC) played an active role as advocate for intangible cultural heritage in the debate. As a follow-up to the year, the EMC now presents this book to provide a snapshot on music and heritage in Europe. It includes the policy perspective (EU and UNESCO) as well as concrete examples from medieval Norwegian ballads to Gaelic music to the Hungarian Dance House Movement or the Polonaise. In a dedicated category ‘diverse projects – diverse heritage’ it provides some practical examples how music projects nowadays work with heritage in a contemporary context. This publication is a non-exhaustive overview on the wide range of musical expressions that exist in Europe and an eye-opener for those who thought cultural heritage is only old rocks.

Edited by the European Music Council, 2019

 

Table of Content

Welcome

Ian Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Silvia Costa  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Preface

Simone Dudt
Preface, or What a Small Book for Such a Big Topic . . . . . . . . . . . . . . . . 9

Introduction

Silja Fischer  
Music as Heritage in International Cultural Policy . . . . . . . . . . . . . .  . . .12

Katharina Weinert  
The European Year of Cultural Heritage 2018: A Policy Perspective . . 17

Markus J. Prutsch  
Culture, Heritage and European Identity . . . . . . . . . . . . . . . . . . . . . . . . . 24

Diverse Regions – Diverse Musics

David Zsoldos  
Musicians of Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Francesco Martinelli  
A century of Jazz in Europe – Preserving its Musical Heritage . . . . . . .  33

Sanda Vojković
Croatian Music Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . .  40

Romana Agnel  
Polonaise – Polish Heritage in Music, Dance and Culture . . . . . . . . . . . 46

Olena Dyachkova  
Music Heritage of the Kultur-Lіge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  56

Montserrat Cadevall  
The Origin of Catalan Choral Music
and the Choirmaster School of Montserrat . . . . . . . . . . . . . . . . . . . . . . . 64

Eckehard Pistrick  
Immaterial Cultural Heritage: A Resource for Sustainable Tourism?
– Cultural Politics and Local Experiences with the UNESCO Status
. . . .71

Etienne Rougier  
Musical and Linguistic Traditions in Central France:
Poetical or Political Revitalisation?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  78

Angéla Hont  
The Dance House Movement – a Living Tradition . . . . . . . . . . . . . . . . . .90

Danka Lajić Mihajlović 
Singing to the Accompaniment of the Gusle in Serbia:
A Living Ancient Performing Art
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  93

Brian Ó hEadhra
Gaelic Music from Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Astrid Nora Ressem
The Norwegian Medieval Ballad – 700 Years Uniting Tradition
and Modernity, Castles and Farmsteads, Villages and Cities
. . . . . . . 107

 

Diverse Projects – Diverse Heritage


Liv Kreken  
The Norwegian Medieval Ballad Project . . . . . . . . . . . . . . . . . . . . . . . . .114

Claire Sawers  
Going Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Iro Menegou  
Women Composing in the Balkans . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Miklós Both & Mátyás Bolya
Polyphony Project: A Complex Framework
for Musical Folklore Collection
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124

Sonja Greiner & Kaie Tanner
EUROPA CANTAT XX Tallinn 2018:
Tradition and Innovation in the Field of (In)tangible Heritage
. . . . . .  130

Simon Mundy  
Music and Heritage: The Place for Festivals . . . . . . . . . . . . . . . . . . . . .  135

Gaianè Kevorkian  
Radio Musicheh?: A Pilot Model for Research on Inclusion of
Refugees in Asylum Seeker Centres
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Maryla Zając  
100 for 100. Musical Decades of Freedom – Polish Music Invasion . .150

Madeleine Pillwatsch  
Broad Access – Broad Opportunities: How Reducing Barriers
to Cultural Heritage Benefits all Involved Stakeholders
. . . . . . . . . . .  157

Fanny Roustan  
Medinea [MEDiterranean INcubator of Emerging Artists] . . . . . . . . .  164

Marjan Dewulf  
CON-FRONT: The Presence of the Past . . . . . . . . . . . . . . . . . . . . . . . . .  170

 

Authors of the Publication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  175