Category Archives: Uncategorised

News from Brussels – November 2018

 

ECSA Winter Session 2019 will take place on 18, 19 and 20 February 2019 in Brussels

 

ECSA is happy to inform all the members that the Winter Session 2019 will take place on 18, 19 and 20 February 2019 in Brussels and it will host ECSA’s internal meetings, as well as the ECCO concert. It marks a special edition of the ECSA Sessions as the new members of the executive body of the three ECSA Committees (the Committee for Composers of Film and Audiovisual Music – FFACE, the Committee for composers of Popular Music – APCOE and the Committee for Composers of Art and Classical Music – ECF) will be elected during the General Assembly.

 

Welcome Hub established in Norway

 

In line with ECSA’s Creative Europe activity plan, a Welcome Hub for music writers has been established in Norway. The Hub is set up in partnership with NOPA (Norwegian Society of Composers and Lyricists) and was signed by NOPA’s Chair, Ingrid Kindem and ECSA’s President, Alfons Karabuda, in Mexico City.

The hub will provide a first contact point and a possibility to exchange with peers and provide composers and songwriters with information and assistance. It will also benefit from local social events and networking opportunities with their peers in Norway. Furthermore, the Hub aims to broaden the horizons of creators and in turn generate network possibilities.

Photo credit: Alfons Karabuda

ECSA encourages other members to become Welcome Hubs. For more information on how to become a Welcome Hub, please contact Project Officer, Alessandra Callegari at alessandra.callegari@composeralliance.org for further information and detailed next steps.

 

ECSA meeting with ECSA French Members and SACEM

 

ECSA Secretary General, Marc du Moulin, met with ECSA French Members (SNAC, UCMF and UNAC) and SACEM in Paris on 28 November 2018. This meeting was an excellent opportunity to present ECSA’s activities, exchange views on various policy files (Copyright Directive, “SatCab” Proposal) and discuss future potential common initiatives in 2019.

 

ECSA meeting with Luxembourgish Member

 

ECSA Secretary General, Marc du Moulin, met with the Luxembourgish Member, Fédération Luxembourgeoise des Auteurs et Compositeurs (FLAC) in Luxembourg on 14 November 2018. This meeting was an excellent opportunity to exchange views, present ECSA activities and discuss the state of play on the Copyright Directive. On 15 November, Marc du Moulin also met with different representatives of Luxembourg cultural sector (SACEM/Luxembourg, Film Fund and others), together with various Members of FLAC, in order to discuss several files and explore potential common initiatives in 2018.

 

STAMP – Training and Lifelong Learning for Music Professionals

 

On Thursday 29 November, ECSA joined the European Music Council and its partners on the final event of the 2 years Erasmus Plus Project #STAMP, that developed training activities for music professionals between Eastern and Western European countries. Our team learned about current webinars initiatives and about “YEMP” a new model for festival management. They got insights on audience development through social media and were presented an online course about international cooperation & networking in the music sector.

Please find more information about the STAMP project with the database with the online presentations and courses at: https://stamp-music.org

 

Brussels office update

 

Alessandra Callegari (Italy) joined ECSA’s team in August as a Trainee and just became Project Officer. She comes to ECSA with 2 years of international experience first as an Admissions Representative and then as Business Manager at “Up with People”, a global education program whose goal is to bridge cultural barriers and create global understanding through service and music. She is particularly interested in creating music events that not only manage to bring people together, but also impact and influence quality of life and policy making. Acting and singing enthusiast, she recently moved to Brussels after living in Glasgow and Berlin for her studies. She holds a Bachelor Degree in International and Diplomatic Sciences and she is currently completing her Master in Cultural Diplomacy and International Music.

 

EU AFFAIRS UPDATE

 

Update on the Copyright Directive

 

The Copyright Directive has been intensely discussed by the representatives of the three European Institutions in November, with a view to finalize an agreement in December. Progress has been made on the transparency triangle (Articles 14 to 16) with some good first results that need to be confirmed but the new positive provisions adopted by the European Parliament (Article – 14 and Article 16A) are still facing opposition from Member States. The European Institutions also started to discuss Article 13 – which is generating a massive opposition from platforms – but did not agree on a common text, although it now becomes clearer that the European Parliament is moving towards the position of the Council. The negotiations will intensify in the coming weeks, with a view to reach an agreement on 13/14 December (last date foreseen for the trilogues negotiations).

ECSA continued to advocate for its position on those two aspects of the Directive notably through 1) a further joint letter with the European Writers Council to support the right of revocation in the final Directive b) one joint letter with all members of the Author’s Group, in advance of the COREPER which took place on 30 November c) one joint letter from ECSA-GESAC-IFPI-Impala to counter the “Youtube Fear Mongering” on Article 13. ECSA also met several Members of the European Parliament, Permanent Representations and the European Commission to support those positions and encourages other Members to convey ECSA positions to their national Ministers and Members of the European Parliament.

 

Update on the Sat-Cab Proposal

 

Unfortunately, the three European institutions did not reach an agreement on the “SatCab Proposal” on 28 November, despite the call from several organisations (including ECSA) to adopt this key Proposal. ECSA, together with its partners, will continue to advocate for the swift adoption of the file.

 

Joint music sector statement on YouTube’s fact-free fear-mongering campaign

ECSA joined ICMP, GESAC, IFPI and IMPALA for a joint Music Sector Statement condemning YouTube’s Fact-Free campaign against Article 13 of the Copyright Directive as a proof of total lack of respect for the EU democratic process of law making:

“Many thousands of international artists, authors, publishers, labels, managers, songwriters have urged the EU to find a solution to the value gap. YouTube’s eleventh-hour campaign of fact-free fear-mongering should be seen for what it is: an attempt to derail the EU democratic legislative process.”

Click here for the full statement.

And here for another article on the European Music Societies’ Reaction to YouTube’s campaign.

 

First Advisory Board meeting on the feasibility study for the establishment of a European Music Observatory

 

On Tuesday, the 13 November, ECSA took part in the first Advisory Board meeting on the feasibility study for the establishment of a European Music Observatory. The study will be conducted by KEA European Affairs and Panteia and will consult the Board to take into account various interests and perspectives across the European Music spectrum.

The Board was established as a stakeholder consultation tool, a quality control mechanism and a  tool to support a harmonised approach. Together with ECSA, the Board includes organisations like the European Music Council, IMPALA, Live DMA, GESAC and the European Broadcasting Union.

The feasibility study comes as one of the actions undertaken under the Music Moves Europe Programme and it will investigate the possible future full-scale establishment of a data collection organisation as a core strategic resource to drive relevance and value for future policy actions in the music portfolio and across the sector.

In the context of the EU budgetary procedure for 2018, the European Parliament secured a budget of 1.5m EUR for a Preparatory Action “Music Moves Europe: Boosting European music diversity and talent” with the aim to support European diversity and talent, the competitiveness of the sector as well as increase access of citizens to music in all its variety.

 

MEMBERS NEWS

 

OEGZM launches call for works

 

The Austrian Society for Contemporary Music (OEGZM) has recently launched a call for works, seeking electro-acoustic compositions with or without additional instruments. The call is open to composers of all nationalities and ages. All required information (in English) about the Call including guidelines and deadline can be also found on OEGZM website here

 

UNAC put in place a Regions Committee to support local composers

 

France is a large country made up of very diverse territories. One of UNAC’s missions is to inform French songwriters wherever they are. That’s why they created a Regions Committee, through which they set up actions in the 15 French regions to reach the local public of composers in demand for information about their status, their rights and so on.

On 9 November, a delegation made up of representatives of UNAC, UPAD (Professional Union of Dubbing Authors) and CSDEM (Union Chamber of Music Publishers) traveled to Cébazat in Auvergne-Rhône -Alpes to organize a professional day. During this day backed by the festival “Semaphore En Chansons”, we gathered a panel of speakers from the local music sector (DRAC, Sacem regional delegation, SMAC venues etc.) so that the local authors  meet the right interlocutors and find the good resources essential to an author’s career.

Photo credit: Chloé Liorzou

Photo: Frédéric Kocourek, vice president of UNAC, Vanessa Bertran, president of UPAD, Olivier Delevingne, president of UNAC, Maxime Jacquart, publisher and CSDEM representative, and Philippe Manivet, publisher and CSDEM representative.

 

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About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

eu_flag_creative_europe_co_funded_pos_rgb_right

Authors’ Group comments ahead of the Council IP Working Group – 30 November 2018

 

Dear Member of the IP Working Group,

Ahead of the upcoming IP Working Party meeting on November 30, the Authors’ Group would like to call your immediate attention to several aspects of the compromise solution on the proposed Copyright Directive Chapter 3 “Fair remuneration in contracts of authors and performers”, which are of critical importance to the EU creative community.


The Authors’ Group is Europe’s leading Authors’ network representing more than 500 000 authors, including writers, literary translators, composers, songwriters, journalists, photographers, film/TV directors and screenwriters in Europe. The Authors’ Group consists of the following associations: European Composer and Songwriter Alliance (ECSA), European Federation of Journalists (EFJ), European Writers’ Council (EWC), Federation of European Film and TV Directors (FERA) and Federation of Screenwriters in Europe (FSE).

The Copyright Directive represents a once in a decade opportunity to improve the situation of authors, thereby strengthening the European creative community and our cultural wealth in the digital era. Chapter 3 of the proposed Copyright Directive lays out provisions aiming at fixing the systemic weak bargaining power of authors and performers when negotiating their contracts, including their duration. It is a key element of the political agreement struck within the European Parliament in adopting its position on September 12. Authors’ contractual counterparts are in a systemic dominant position over freelance individuals which are grossly underpaid for their work and can barely sustain a living as freelancers with an irregular workflow, despite a strong regulatory environment supporting the business activities of Creative and Cultural Industries.

Article 15 – Contract adjustment mechanism
The necessity to allow for the representation of individual authors by representative organizations in implementing the contract adjustment mechanism stems from the risk of blacklisting and potential negative impact on their careers when using it in individual contracts.


In practice, a representative organisation would only act on behalf of their members on the basis of a mandate in such a claim procedure. We welcome a clarification of this point in article 15 para 1.

Article minus 14 – Principle of fair and proportionate remuneration

Directive 2001/29/EC recital 10 states that “If authors or performers are to continue their creative and artistic work, they have to receive an appropriate reward for the use of their work”. The notion of “appropriate reward” has not brought any improvement to the situation of authors due to their systemic lack of bargaining power.


We refute the idea that Cultural Creative Industries’ business models require “safe harbour rules” or “blanket licenses” in negotiating authors’ remuneration, and that the notion of proportionate remuneration hinders their legal security and business planning. Authors’ remuneration is not an adjustment variable for the CCIs business model, but an investment in the creativity from which stems the very value of the copyright licensing system.


Proportionate remuneration brings stability to unstable creative careers by (i) allowing authors to invest in the development of future project before a new contract is signed, and (ii) compensating for their lack of social benefits (unemployment, pensions, health care). The introduction of the notion of“proportionate remuneration is necessary, due to the ineffectiveness of Directive 2001/29/EC “appropriate reward” approach.


Authors’ fair and proportionate remuneration should be understood as sharing in the economic success of their works, by taking into account the potential and actual economic value of the rights transferred/licensed by authors to their contractual counterparts.


The implementation of the principle of proportionate remuneration cannot be considered only through individual contracts, as proportionate remuneration is ensured through different existing mechanisms in various Member States, including collective bargaining, collective management, statutory right remuneration. 

Article 16a) Mechanism for the revocation of rights


Authors have very little room to maneuver when signing their contracts but have one obvious legitimate expectation: their works should be exploited. If this is not the case, this results in a lose-lose situation for creators, citizens’ access to cultural diversity and fair competition.


The European Parliament rightly supported such a mechanism for the revocation of rights to ensure that author’s works are exploited and made available to the public, in line with many EU Member States legislations. There is no legitimate business explanation that can justify that authors’ hands are tied when their works are not exploited. There is no legitimate reason either to believe that such a mechanism would prevent the exploitation of creative works, simply because it would only apply in case of a lack of exploitation.


Copyright contracts are often concluded for the entire duration of the copyright term, even though the duration of authors’ rights (70 years after the death of the author) and the duration of transfer (contracts between authors and publishers/producers/broadcasters/etc) are two entirely different concepts. Such a very long duration of transfer prevents authors from taking into account the different and dynamic modes of exploitation and grant their rights to the most efficient contractual counterparts, encouraging fair competition amongst them. It also encourages some unfair business practices that consist in acquiring multiple works for ages to get a stronger and consolidated position in the market without actually exploiting them and giving them the possibility to find their public.


• Excluding from the scope of this mechanism works that “contain contributions of a plurality of authors” would simply be an empty and ineffective promise, since most copyright works contain a plurality of authors. Both the texts of the European Parliament and the compromise put forward by the European Commission already provide sufficient flexibility to Member States to take into account the specificities of different sectors and deal with the question of joint ownership in a flexible and efficient way, in line with the principle of subsidiarity. Such a “use it or lose it” clause for performers has been implemented by Member States (as per the Term Extension Directive) and the national solutions found have all preserved the notion that collaborative works need a collaboration of creative contributors to exercise this right. There is no reason to believe that the future implementation of such a provision would lead to a different result.


Such an exclusion would also prevent the exercise of this right for a specific contribution if the final work is not even finally made (for a scenario, an article in a book, a music sheet, etc.). This means that a contributive author would not be able to invoke this right to grant his work to another contractual counterpart if the first one does not even start to exploit the full work, leaving millions of works unknown to the public.


As a result, we strongly oppose the exclusion of “works or subject matter from the application of the mechanism if such works or subject matter usually contain contributions of a plurality of authors or performers” and we urge you to reject it, to the benefit of authors, fair competition and cultural
diversity.

Sincerely yours,

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 27 European countries. With 56 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.
Web:
www.composeralliance.org
EU Transparency Register ID: 71423433087-91
The European Federation of Journalists (EFJ) is the largest organization of journalists in Europe, representing over 320.000 journalists in 61 journalists’ organizations across 40 countries. The EFJ fights for social and professional rights of journalists working in all sectors of the media through strong trade unions. It strives to maintain or create environments in which quality, journalistic independence, pluralism, public service values and decent work in the media exist.
Web:
www.europeanjournalists.org
EU Transparency Register ID: 27471236588-39
EWC, founded in 1977 in Germany and newly constituted in 2006 in Brussels as an international non-profit organisation, the European Writers’ Council is the federation of 45 European national organisations of professional writers and literary translators in all genres in 34 countries. EWC’s members represent more than 160,000 authors in the book sector.
Web: www.europeanwriterscouncil.eu
EU Transparency Register ID: 56788289570-24
The Federation of European Film Directors (FERA), founded in 1980, represents film and TV directors at European level, with 35 directors’ associations as members from 29 countries. We speak for more than 20,000 European screen directors, representing their cultural, creative and economic interests.
Web:
www.filmdirectors.eu
EU Transparency Register ID: 29280842236-21
The Federation of Screenwriters Europe is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 organisations from 19 countries, representing more than 7,000 screenwriters in Europe.

Web: www.scenaristes.org
EU Transparency Register ID: 642670217507-74

 

You can download the PDF version here.

The right of revocation in the Copyright Directive: A key “use it or lose it” principle to the benefit of creators, fair competition and cultural diversity

 

21 November 2018

Dear Permanent Representative, Dear Member of the IP Working Group,

In view of the next COREPER meeting on the Copyright Directive, we – the European Writers’ Council and the European Composer and Songwriter Alliance, representing more than 200.000 authors across the EU – would like to express our strong support for the right of revocation/rights reversion mechanism (Article 16a) and recall its key added value for authors and the dissemination of our cultural heritage.

Fundamentally, copyright and authors rights have a two-fold objective: stimulate and encourage creativity while ensuring citizens’ access to culture. Those two objectives support each other: we want consumers to access and enjoy our works as much as possible.

When we sign a contract for the exploitation of our works, we have one obvious and legitimate expectation: our works should be exploited and made available to the public by our contractual counterparts. If this is not the case, this results in a lose-lose situation for creators, citizens’ access to cultural diversity and fair competition. There is no legitimate business explanation that can justify that our hands are tied when our works are suffering from a lack of exploitation.

While we regret that the Council has shown no support for a mandatory rights reversion mechanism in the case of lack of reporting, we urge you to:

1) Support such a mechanism in case of “a lack of exploitation” (instead of “absence of exploitation”) so that it is compliant with national laws already providing such a right.

2) Allow Member States (“may”) to take into account the lack of reporting obligations to establish such a lack of exploitation. In practice, authors should at least be able to rely on the non-compliance of reporting obligations to establish a lack of exploitation.

By supporting this simple “use it or lose it” mechanism that can allow us to get back our rights on our works if those are not exploited, you have now the power to promote a win-win situation for:

1) Authors – by preventing that our hands are tied (often for decades) if our works suffer from a lack of exploitation.

2) Consumers, and fair competition: if our contractual counterparts are not properly exploiting our works, we would have the possibility to transfer our works to another licensee, thus promoting a fair competition between our contractual counterparts.

3) Cultural diversity, since it would “unlock” works that are not exploited. At a time when we celebrate the European Year of Cultural Heritage, such a right would greatly contribute to make sure that unexploited works (especially niche and regional music, literature and audio-visual works) could be exploited again and become widely available.

In addition, the rights reversion mechanism/right of revocation is:

– The result of an overwhelming and cross political support in the European Parliament.

– Already established in various forms in many EU Member States and in the US (right of termination).

Supported by the Author’s Group, which represents all authors (Journalists, Film Directors, Screenwriters, Writers, Composers and Songwriters) in various sectors.

– Provided for performers in the “Term Directive” (2011/77/EU).

– Recommended by the EP JURI Study “Contractual arrangement applicable to
Creators”.

Ultimately, all citizens have an interest in promoting this right which benefits the whole society. We therefore urge you to integrate Article 16A) into the final Directive and thus provide the key to unlock access to millions of unexploited works, that form part of our common immense cultural heritage across the EU.

Sincerely yours,

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 27 European countries. With 56 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org

EU Transparency Register ID: 71423433087-91

 

EWC, founded in 1977 in Germany and newly constituted in 2006 in Brussels as an international non-profit organisation, the European Writers’ Council is the federation of 45 European national organisations of professional writers and literary translators in all genres in 34 countries. EWC’s members represent more than 160,000 authors in the book sector.

Web: www.europeanwriterscouncil.eu

EU Transparency Register ID: 56788289570-24

 

You can find the PDF version of this letter here.

News from Brussels – October 2018

ECSA welcomes the Screen Composers Guild of Ireland as a new ECSA Member

The Screen Composers Guild of Ireland (SCGI) has recently joined the ECSA network as its 57th member organisation. SCGI is the newly established representative body for professional Irish and Irish based composers who provide original music for the use in film, TV, animation, video games and advertising content. SCGI aims to promote and make visible the work of creators in this area, to promote the contribution and value of music as a creative element and to improve the status and rights of composers working to deliver music to the audiovisual sector.

Bringing together a wealth of experience and talent in its membership, SCGI offers an opportunity for screen composers to contribute to the development and growth of their own sector both nationally and internationally, and to contribute to the ambition to grow the audiovisual industry in Ireland and deliver a global reputation for excellence in media production.

SCGI will join ECSA’s FFACE committee, contributing to the international conversation on protecting and promoting our creative industries and the creators who form them. ECSA is delighted to welcome the SCGI amongst its Members and is convinced that, in its new position, SCGI will further strengthen the voice of ECSA, to the benefit of all music authors in Europe and beyond.

 

Camille Awards 2018

The 2018 edition of the Camille Awards was held on the 20th of October in the framework of the International Sound & Film Music Festival (ISFMF) in Pula (Croatia) and was able, once again, to honour the greatest achievements of European composers of pieces of film and audio-visual music, and to expand awareness among the audience, composers and filmmakers on the importance and the power of film music soundtracks. The event brought together more than 250 participants from all over Europe.

At the ceremony, celebrating both exceptional musical talent and cultural diversity, the following composers were awarded:

Best Electro-acoustic Score:

Ola Fløttum (Norway) for “Thelma”

Best Original Music for a Series:

Lorne Balfe & Rupert Gregson-Williams (United Kingdom) for “The Crown”- Season 2

Best Orchestral Score:

Dario Marianelli (United Kingdom) for “Paddington 2”

A heartfelt THANK YOU to those of you who were able to participate and a warm invite to the rest of you to come to our next edition!

Photo credits: ISFMF

 

EU AFFAIRS UPDATE

Ongoing negotiations on the Copyright Directive: Make your voice heard!

Following the successful European Parliament’s vote on 12 September 2018, the three main EU institutions (European Parliament, European Commission and the Council) started to meet and negotiate (“trilogues meetings”) the Copyright Directive, with a view to agree on a final text by the end of the year/beginning of next year. The EP position, which contains positive provisions on Chapter 3 (Fair remuneration for authors and performers) and on the “Value Gap” (Article 13), is generally the most favourable to music authors. November will be a crucial month since the negotiations will intensify with a specific focus on the provisions on fair remuneration for authors and performers (Chapter 3). Therefore, ECSA asks all composers and songwriters to continue to reach out to Members of the European Parliament and Members States (with the documents mentioned below) so that this Directive can finally bring concrete improvements to music authors. It is time to make your voice heard again!

ECSA finalised its position and sent it to all relevant policy makers on 15 October (see here). With all its members (Federation of European Film Directors, Federation of European Screenwriters, European Writers Council, and the European Federation of Journalists), we also finalised the Authors Group’s position, which was sent to all policy makers on 23 October. Last but not least, together with the European Writers Council, we sent a letter which specifically addresses the need to introduce a right of revocation into the final agreement. Once an informal agreement is reached in those “trilogue meetings”, both the European Parliament (Plenary vote) and the Council will have to formally approve the agreement before it can finally enter into force.

 

ECSA Position Paper on the next Creative Europe Program (2021-2027)

In May 2017, the European Commission adopted its Proposal for the next Creative Europe Program (2021-2027), which will now need to be approved by both the European Parliament and the Council. In a nutshell, Creative Europe is the regulation that provides financial support to a wide range of cultural activities in various sectors across the EU and includes three strands (MEDIA Strand for 

the audiovisual sector, Culture Strand for other cultural sectors – including music, and the Cross Border Strand). In terms of budget, the Proposal – and in parallel in the Multi-Financial Framework (the general EU budget), includes a budget of 1, 85 billion euros for the whole Program with more than 1 billion for the MEDIA Strand, 609 million for the Culture Strand and 160 million for the Cross sectoral strand. In terms of content, the Proposal helpfully mentions some good provisions for ECSA members, such as “training actions and audience development for European repertoire” and “mobility of artists and cultural and creative operators” but could also include other important aspects for ECSA Members (such as moral rights/credits and diversity of repertoires for example).

The goal of the ECSA position paper is to influence the forthcoming discussions in the European Parliament and in the Council on both the budget and content of the Proposal. It includes the following 6 points i) show the European Union’s commitment to culture by doubling the budget of the Creative Europe Programme ii) increase the budget dedicated specifically to the Culture Strand iii) dedicate a stronger budget to the European music sector as one of the priorities of the Creative Europe Programme iv) strengthen the protection of authors’ rights, artistic freedom and the promotion of moral rights, v) facilitate the mobility of authors and diverse repertoires vi) enhance the professionalisation of authors and contribute to a more balanced gender participation in the music sector.

The report drafted by Mrs. Costa (S&D / IT – rapporteur on the Creative Europe regulation (published very recently – see here), is rather positive on certain aspects as it proposes a sharp increase of the Creative Europe general budget (from 1.85 to 2.8 billion euros), a 2% increase of the Culture Strand, and tends to focus on artistic expression and creation. It will be discussed and amended in the coming weeks, with an adoption by the CULT Committee foreseen around February 2019.

 

ECSA named member of the Advisory Board on the study on “Music Moves Europe”: funding for the music sector

Together with other stakeholders, ECSA will be participating to the advisory board for 1) a feasibility study on the establishment of a European Music Observatory and 2) an analysis of market trends and gaps in funding needs for the music sector. The feasibility study will investigate a possible future full-scale establishment of a data collection organisation, called ‘the Observatory’ as a core strategic resource to drive relevance and value for future policy actions in the music portfolio and across the sector. As for the second study, its objective is to develop a better understanding of the analysis of market trends and funding schemes in Europe in order to address more effectively the so-called funding gap for the European music sector.

 

MEMBERS NEWS

2018 Paris MaMA Festival & Convention

UNAC administrators got invited as speakers during the MaMA Convention in Paris (the Parisian music industry fair). On the 19th October, UNAC gave a masterclass at MaMA Festival & Convention in Paris, about « 30 Ways To Make A Living With Music ». Olivier Delevingne and Wally Badarou lead the conference in front of a packed room. Guests like Marie Nowak (BMG France), Suzanne Combo (GAM) and the artist Cerrone, were invited to share their experience. Earlier that day, Frédéric Kocourek, vice-president of UNAC, participated to a debate on the topic of professional training for authors and composers.

Photo credits: UNAC

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About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

eu_flag_creative_europe_co_funded_pos_rgb_right

Authors’ Group comments on the Directive for Copyright in the Digital Single Market

 

The Authors’ Group is Europe’s leading Authors’ network representing more than 500 000 authors, including writers, literary translators, composers, songwriters, journalists, photographers, film/TV directors and screenwriters in Europe. The Authors’ Group consists of the following associations: European Composer and Songwriter Alliance (ECSA), European Federation of Journalists (EFJ), European Writers’ Council (EWC), Federation of European Film and TV Directors (FERA) and Federation of Screenwriters in Europe (FSE).


Together with the EU Cultural and Creative Industries at large, the Authors’ Group strongly
supports the successful adoption of the Copyright Directive. Along with over 130 professional organisations representing authors from the book, music, press and audio-visual sectors, we believe it represents a once in a decade opportunity to improve the situation of authors, thereby strengthening the European creative community and cultural wealth in the digital era.
The Authors’ Group calls for the adoption of a strong chapter 3 (articles -14a to 16a). The effectiveness of its approach stems from the interdependence of each article within this chapter, informally called the
transparency triangle. It will only provide authors with a useful tool to reshape their bargaining position if none of the three original articles are weakened. We stand ready to negotiate with our contractual counterparts a balanced and constructive implementation of those provisions.


The Authors’ Group aims at striking the best compromise for European authors within the existing reports as adopted by the European Commission, European Parliament and the Council of the European Union.

The working paper that can be downloaded here provides concrete suggestions to this end.

PRESS RELEASE – THE CAMILLE AWARDS 2018 WINNERS

Pula, Croatia – October 21, 2018

 

The Camille Awards have been an unforgettable event. Almost as if taking part in a glamorous film, only not with not one, but many brilliant film-music composers.”

 

And with these words from ECSA’s President, Alfons Karabuda, we proudly conclude the 2018 edition of the Camille Awards, the European Film Music awards which was organised by ECSA, European Composer and Songwriter Alliance in the frame of the International Sound & Film Music Festival in Pula, Croatia.

At the ceremony, celebrating both exceptional musical talent and cultural diversity, the following composers were awarded:

Best Electro-acoustic Score

Ola Fløttum (Norway) for “Thelma”

Best Original Music for a Series

Lorne Balfe & Rupert Gregson-Williams (United Kingdom) for “The Crown”- Season 2

Best Orchestral Score

Dario Marianelli (United Kingdom) for “Paddington 2”

 

Pula, one of the most beautiful coastal towns in Europe presented the perfect frame for the 2018 edition of the Awards, offering an atmosphere of encounter between the old and the new Europe with some really captivating moments.

The Camille Awards were able to, once again, at the same time, honour the greatest achievements of European composers of pieces of film and audio-visual music, and to expand awareness among the audience, composers and filmmakers on the importance and the power of film music soundtracks.

Some of Europe’s most influential composers are those not visible to the public. We have all heard their music, been affected by the scores that helped build their films towards emotional and economic success. It’s time to give some of the recognition back to the Authors, and I can’t think of a better occasion to do so than with the Camille Awards.”

ECSA is extremely satisfied on how the event unfolded itself and was able to bring together more than 250 participants.

We heartfully thank not only our direct partner, the International Sound & Film Music Festival, but also our Sponsors: The Creative Europe Programme, Juan Gil Bodegas Familiares and AGICOA (Association of International Collective Management of Audiovisual Works).

Please click here to download the Camille Awards programme and feel free to check out all our posts on our Facebook page to relive the magic behind the event.

 

 

About the organisers 

The European Composer and Songwriter Alliance (ECSA) consists of a network of more than 50 organizations working together towards improving social and economic development of music creation in Europe through equitable commercial conditions for composers and songwriters. It sets out to defend and promote the rights of authors of music at national, European and international level by any legal means. The mission of the International Sound & Film Music Festival (ISFMF) is to promote and preserve film music and sound as an irreplaceable element of film. ISFMF also intends to expand awareness among the audience and filmmakers on the importance of original music and sound in film. The programme includes concerts of film music, panels and seminars, workshops, film market and parties. Additionally, a jury appraises film music in five categories

For more information, please don’t hesitate to contact:

Alessandra Callegari, Programme Manager
Email : alessandra.callegari@composeralliance.org

Website : https://camilleawards.eu

You can find the PDF version of the press release here.

ECSA Position paper on the future of the Creative Europe Programme

 

17th October 2018


The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 26 European countries. With 57-member organisations across Europe, the Alliance speaks for the interests of music creators of art and classical music (contemporary), film and audiovisual music, as well as popular music. The main objective of the Alliance is to defend and promote the rights of authors of music at the national, European and international levels by any legal means. It advocates for equitable commercial conditions for composers and songwriters and strives to improve social and economic development of music creation in Europe.


In May 2017, the European Commission published a proposal for a regulation establishing the Creative Europe Programme 2021-2027 (“the Proposal”).
ECSA welcomes the Proposal and its budget of €1.85bn as a positive first step in the right direction. However, we regret that its budget is still limited to 0,16% of the overall EU budget, out of which only one third (31%) is allocated to the culture strand. This not only doesn’t reflect the European cultural and creative sector’s contribution to the economy (4,4% of EU GDP and 12 million jobs) but also doesn’t take into consideration the positive impact of culture on education, promotion of democratic principles and external relations that help increase social cohesion, equality and artistic freedom. The culture sector has increasingly proven itself to be a source of job creation, contributing to growth in Europe. It is also an excellent conduit for promoting social inclusion, supporting cultural diversity.

We therefore call on the European Parliament and all Member States to:

1. Show the European Union’s commitment to culture by doubling the budget of the Creative Europe Programme.

2. Increase the budget dedicated specifically to the Culture Strand so that the Creative Europe Programme will be able to foster the development of a level playing field and really serve all creative sectors and creators across the EU.

3. Dedicate a stronger budget to the European music sector as one of the priorities of the Creative Europe Programme. Today, less than 4% of the Creative Europe budget goes to music related projects. This clearly does not reflect the importance and the challenges of the sector. The music sector has embraced the digital revolution and new consumption patterns. The digital revolution has brought tremendous opportunities but also significant risks for recording artists, composers and creatives. Many amongst them, have seen their work devalued: while use of their work has increased exponentially, incomes have not. Moreover, there is still limited transparency on how their work is actually being used online. Another threat to the European music sector comes from the domination of the Anglo-American repertoire especially after Sony’s announced plans to take complete control of EMI Music Publishing. If approved, such a deal could only further threaten competition in the licensing market, endanger music authors’ revenues across the EU and ultimately jeopardize cultural diversity in the European music landscape. The Proposal should promote and support diversity of repertoire and build bridges across European diverse musical cultures.


4. Strengthen the protection of authors rights, artistic freedom and the promotion of moral rights, which shall be included in the Creative Europe programme:
Composers and songwriters stand at the beginning of the musical value chain and are at the heart of artistic freedom. Their livelihood depends on the creation of musical works and on their bargaining power to leverage fair deals when selling their creation. The music sector is becoming more and more digital but music authors are not getting a fair share of digital exploitation. We suggest that the Creative Europe Programme should address this unfair situation and strengthen the support to networks of creators, which would facilitate exchanges of knowledge, good practices and skills across the EU. A stronger focus on music, building on the Music Moves Europe Preparatory Action, could contribute to put music authors, who are at the source of creativity and artistic freedom, at the centre of their creative successes.


Moral rights and the visibility of authorship are essential, in particular in the digital era. Musical works start with the creative work of composers and songwriters, whose contributions is essential to the building of national, regional and local cultures and the development of the cultural and creative industries. The disregard of moral rights – such as the right to integrity, right to attribution, fair credits – has a detrimental effect on culture and cultural heritage as the consumers and the wider public are deprived of access to the truly original work of the creator. Credits need to be visible for composers and songwriters to get recognised and generate further working opportunities. We therefore encourage the European Parliament and Member States to include measures aiming at the visibility and recognition of authors in the music section of the Culture Strand.


5. Facilitate the mobility of authors and diverse repertoires, which is essential for the promotion of an intercultural dialogue, and cross-disciplinary and transnational collaborations across Europe. European music authors depend on the promotion and distribution of their works as well as peer-to-peer exchange about relevant digital and/or geographical developments. The EU has yet to strengthen mobility in order to create an open cultural space that benefits professionals, artists and the European economy and society. There are numerous mobility schemes and programs at national and regional levels across Europe, however, they are too fragmented and limited in scope and do not underpin a clear strategy under a common EU mobility framework. Such a framework would aim to promote cultural diversity, stimulate artistic creation, foster career internationalisation of cultural workers, pan-European networking, cross- disciplinary innovation and entrepreneurship and would enhance Europe’s external cultural relations.


We therefore support the focus on “mobility of artists and cultural and creative operators” in the Culture Strand (Annex of the Draft Regulation) and a dedicated EU mobility scheme for creative professionals, as supported by a recent study commissioned by the European Parliament’s Culture and Education committee. A specific reference to mobility, networking activities and the diversity of repertoire should be added in the music sector section of the Culture Strand with a specific view to promote diversity in a European music landscape increasingly dominated by the Anglo-American repertoire.


We would also encourage the EU co-legislators to make sure that the Creative Europe Programme supports the implementation of the European Commission’s New European Agenda for Culture and the recommendations of the EP report (Mr. Grammatikakis’ report on a New European Agenda for Culture – soon to be adopted) and promotes mobility of authors and repertoires in both initiatives. In that context, we welcome the specific reference to the New European Agenda for Culture provided in recital 4 of the Proposal establishing the Creative Europe Programme, as well as the reference to the 2005 UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions.


6. Enhance the professionalisation of authors and contribute to a more balanced gender participation in the music sector. Being mostly self-employed and freelancers, composers and songwriters need to be supported in a way that enables them to have better control over their career, to have more independent artistic freedom and possibilities to take advantage of the success they are achieving. Across Europe, there have been already some notable experiences supported by the Creative Europe programme, like “Keychange” a pioneering international initiative which empowers women to transform the future of music and encourages festivals to achieve a 50:50 gender balance by 2022.


We support specific measures to contribute to raising awareness of the gender gap amongst songwriters and composers to achieve a more balanced gender participation in the music sector. We believe that there is no justification for supporting a more balanced gender participation in the Media Strand but not in the other strands, notably the Culture strand. We encourage the creation of a range of activities that could help female creative professionals to develop their careers including tours, recordings, commissions and promotion and marketing.
Last but not least, we welcome the reference to “training actions and audience development for European repertoire” for the music sector but we consider that the promotion of skills should be better reflected, with specific references to initiatives from and for authors – such as exchanges for sector professionals, networking and peer-to-peer learning activities – in the Culture Strand.

ECSA urges Members of the Spanish Congress to put an end to the unfair and discriminatory treatment of music authors in the digital age

 

For the PDF version of the statement, both in Spanish and English please click here.

Brussels, 1st October 2018

As the Spanish Congress plans to adopt a reform of Spain’s Intellectual Property Code, the European Composers and Songwriters Alliance (ECSA) – which represents over 50,000 professional composers and songwriters in 27 European countries – urges Members of the Spanish Congress to promote fair competition and enhance cultural heritage by putting an end to the unfair treatment music authors are suffering for decades.
The Spanish Intellectual Property Code provides for specific obligations for publishers, including the duration of contracts, which are limited to 15 years (Article 69, paragraph 4). However, Article 71 provides for an anachronistic exception for music publishers which allow them to use their systemic strong bargaining power for contracts covering the entire duration of authors’ rights (70 years after the death of the author). This injustice is not only completely obsolete in the digital age but also harmful to the principles of fair remuneration, fair competition and the flourishing of Spanish culture.

  • The duration of authors’ rights (70 years after the death of the author) and the duration of transfer (contracts between authors and publishers) are two entirely different concepts. The term of protection, as laid down by international and European law, was intended “to provide protection for the author”, not to lock authors’ work in the hands of publishers. That is why the Spanish legislation provides a limited duration for publishers’ contracts (15 years). Article 71 puts therefore music authors in an unfair and discriminatory position towards nonmusical authors. This is not acceptable.
  • With the digital era and the rapid evolution of the music sector, such a long duration of transfer prevents music authors from both taking into account the different and dynamic modes of exploitation and taking back their rights in case the publisher does not exploit the works correctly or does not provide for a fair remuneration. It is obvious that such duration is detrimental to the fair remuneration of authors, in a context where the revenues’ streams generated by digital exploitation could not be foreseen by the music author.
  • Article 71 results in a lose-lose situation for everyone: It is damaging for consumers since it prevents them to access and enjoy musical works if the author’s works are not exploited by music publishers. It is also prejudicial to fair competition since it prevents another publisher or the author to exploit the work. Last but not least, it has an adverse effect on cultural diversity and heritage since it tends to lock works in the hands of publishers without giving them an incentive to properly exploit them.
  • Several EU countries and the US provide for different mechanisms to limit those anachronistic abuses by either limiting the duration of transfer (35 years in the US for example) and/or providing a right of revocation that allows authors to take back their rights if the works are not properly exploited by the publishers (in Nordic countries and Germany for example). Common practices in several European Union’s Member States also show that the duration of contracts does not extend to the full term of authors rights. In the UK for example, the newest contracts in the music publishing sector usually range from 15 years to 25 years. In France, a code of practice sets out the obligations of publishers and authors in the field of music publishing. At the European level, the European Parliament adopted very recently and by an overwhelming majority several very positive provisions for authors (Chapter 3 of the Copyright Directive), including a right of revocation. Those developments show that the European Union and several Member States are increasingly taking into account the need to rebalance the contractual position of music authors in the digital age. Spain should not lag behind and put an end to anachronistic provisions that have a detrimental impact on fair remuneration of
    music authors.

We therefore urge Members of the Spanish Congress to support the deletion of Article 71 (amendment 6). The Spanish Congress should now seize this opportunity to promote a fair treatment of music authors in the digital age and act in favor of both fair competition in the music sector and the flourishing of Spanish culture.


Alfons Karabuda, Swedish composer, President of ECSA – European Composer and Songwriter Alliance.


Marc du Moulin, Secretary General of ECSA – European Composer and Songwriter Alliance.

News from Brussels – September 2018

ECSA General Assembly in Belgrade, Picture by Oliver Dimić

 

ECSA Autumn Session in Belgrade

Hosted by ECSA’s Serbian member, Composers’ Association of Serbia, composers and songwriters from all over Europe met in Belgrade, Serbia on 17th of September 2018 in the framework of the ECSA Autumn Session. The 47 delegates from 38 European composer and songwriter associations were welcomed by the Minister of Culture Ivona Jevtić followed by the performance of the Jovan Maljoković Balkan Salsa Band. As usual, ECSA’s three committees, apcoe (popular music), ecf (contemporary music) and fface (audio-visual music) held their bi-annual committee meetings to discuss committee-relevant projects. In the evening, Prime Minister Ana Brnabić invited the ECSA delegates to a dinner at the Club of the Members of the Parliament. The Session concluded with the General Assembly in the Kolarac Cultural Center. It was also the first opportunity for the new ECSA Secretary General to introduce himself to the ECSA delegates in person.

 

ECCO Concert

RTS Symphony Orchestra, Bojan Suɖić. Picture by Marko Djoković

The 2018 fall edition of the ECCO concert took place in Belgrade on 18th of September 2018 at the Kolarac Concert Hall. The concert was conducted by maestro Bojan Suɖić and performed by the RTS Symphony Orchestra.

The following pieces were featured:

  • “Ein (kleiner) Winternachtstraum” by Jacqueline Fontyn (Belgium)
  • “Symphonic Slices” by Ülo Krigul (Estonia)
  • “The Horses of Saint Mark” by Isidora Zebeljan (Serbia)
  • “Tre piccolissime musiche notturne” by Nicola Campogrande (Italy)
  • “Memento” by Milan Mihajlovic (Serbia)
  • “Vellamon neidot” by Mikko Nisula (Finland)

The concert was very well attended with around 200 people. The pieces and performance of the orchestra were very well received with a long round of applause.

Dušan Bavdek, chair of the ECCO Working Group, said about the concert:

I was pleased with the very positive echoes about the concert of the RTS Symphony Orchestra under the ECCO brand. I believe the ECCO project proved again that it presents an excellent ground to bring together and present colorful and aesthetically diverse pieces of the rich mosaic of European art music.

 

Creators Conference

 

The 2018 edition of the Creators Conference took place on the 19th of September at the Kolarac Hall in Belgrade and was co-organised with the support of the Composers Association of Serbia. The focus this time was on “Serbian Music and Innovative European Programs of Synergy, Creativity and Business”. The conference sparked a lot of exchange and interesting discussions between the panelists and the audience. The three panel discussions addressed respectively: the development of the Creative Industries, the different music tourism strategies and the situation of the music sector in Serbia. It was concluded that there are good steps being taken by the new Serbian government to promote Creative Industries, however there is still room for improving the situation in the music sector. The panelist from outside of Serbia gave input and examples what has worked in their regions, which was received with much attention. We thank all speakers for their valuable contributions and for making this conference a successful platform to exchange best-practices and ideas to promote the value of music.

From left to right: Martin Cuff, Ana Ilić, Milena Dragićević Šešić, Antun Tomislav Šaban. Picture by Oliver Dimić

 

EUROPEAN AFFAIRS UPDATE

 

Authors’ rights: the European Parliament finally adopts its position on the Copyright Directive but the fight for author’s right continues

On the 12th of September 2018, the European Parliament finally adopted its position on the Copyright Directive, with 438 votes in favor, 226 against and 39 abstentions. The European Parliament position features the very helpful provisions for authors (Chapter 3 of the Directive – including a right of revocation supported by ECSA) as adopted by the Legal Affairs committee in June and positive provisions on Article 13 (the so-called “value gap”). In the run up to the vote, ECSA, together with its members and the Author’s Group (FERA, FSE, EWC, EFJ and ECSA) urged all Members of the European Parliament to adopt the Directive and published a statement signed by more than 130 organisations of authors across Europe, in favor of the Directive.

This is a very positive step forward but this is not the end of the process. The European Commission, the European Parliament and the Council will now start to negotiate with a view to agree on a common text. Once an informal agreement (in the so-called “trilogues”) is reached, it will need to be adopted by the European Parliament and the Council. Therefore, ECSA continues to meet with relevant policy makers in order to advocate for the best possible provisions for composers and songwriters. The first trilogue is expected to take place on the 2nd of October.

 

Creative Europe round table in the European Parliament

On the 25th of September, Mrs. Costa (S&D-Italy), rapporteur on the Creative Europe draft regulation (2021-2027) organized a roundtable to exchange views with a wide range of stakeholders on the draft regulation. ECSA called on  the EP to secure an ambitious budget for Creative Europe and underlined the importance of 1) author’s rights and artistic freedom 2) fair remuneration for authors 3) improving gender equality 4) fostering mobility for authors and repertoire across Europe and 5) improving professionalization of composers and songwriters. Mrs. Costa will now work on her draft report that will be discussed, amended and adopted by the Culture and Education committee in the coming months (foreseen adoption of the report by the CULT committee in February 2019). The European Parliament and the Council will then enter into negotiations to reach a common agreement on the Program. The forthcoming negotiations on the EU budget (MFF) will also be key to ensure an ambitious budget for the Programme.

 

New study on mobility of artists and culture professionals

The EP Cult committee published a study on the mobility of artists and culture professionals. This helpful study considers that mobility is now an integral part of the working life of artists and culture professionals and proposes to set up a dedicated EU mobility policy to achieve the following objectives and a better coordination of national initiatives to achieve the following objectives:

– Promote cultural diversity, intercultural dialogue and mutual understanding among Europeans;

– Generate economic and social innovation by encouraging mobility that supports experimentation, cross-disciplinary and transnational collaborations;

– Support the internationalisation of artists, culture professionals and entrepreneurs through pan-European networking and collaboration with third countries.

ECSA’s European Film Music Day features as an example of mobility programmes for networking purposes in the study (page 16).

 

MEMBERS NEWS

 

UNAC in Strasbourg

Leading a delegation of authors et composers, UNAC went to Strasbourg on the 11th of September, the day before the vote of the European Directive. UNAC demonstrated in order for the authors to make their voice heard.

 

*** *** ***

About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

eu_flag_creative_europe_co_funded_pos_rgb_right

Press release – Creators Conference in Belgrade

 

September 21, 2018 

The 2018 edition of the Creators Conference took place on September 19th at the Kolarac Hall in Belgrade and was co-organised with the support of the Composers Association of Serbia (CAS). The focus this time was on “Serbian Music and Innovative European Programs of Synergy, Creativity and Business”.

The three panel discussions addressed respectively: the development of the Creative Industries, the different music tourism strategies and the situation of the music sector in Serbia.

The overarching theme of the welcome speeches was the importance of having European cultural projects in Serbia to strengthen exchange and collaboration among different cultures. This notion was stressed by ECSA’s President Alfons Karabuda, Paul-Henri PRESSET – Head of Information, Communication and Press Section of the Delegation of the European Union to the Republic of Serbia, Ivana Trišić –President of Composers Association of Serbia (CAS) and Martin Cuff who spoke on behalf of Prime Minister Ana Brnabić.

Dr Milena Dragićević Šešić, professor of Management in Culture and Theory of Media at the Faculty of Dramatic Arts in Belgrade, started the first panel on Creative Industries, by outlining the state of play of music within the Creative Industries in Serbia. Antun Tomislav Šaban, Secretary General of the Croatian Composers’ Society, Vice- President of ECSA, composer and conductor, continued describing how stakeholders of the creative sector in Croatia united successfully to have a stronger voice when confronting the Croatian government in order to advocate for policies that would help grow the sector. He identified the biggest challenge in reaching other Ministries than just the one responsible for culture. He believes effective measures for improving the climate for Creative Industries should be implemented horizontally, taking into consideration more than just cultural policies, like for example, looking at fiscal policies.

Ana Ilić – Advisor to the Prime Minister of Serbia for digital and creative industries, film and tourism, explained that her work has been made easier as the development of the Creative industries became one of the main focuses of Prime Minister Ana Brnabić’s agenda.

The second panel focused on Creative Industries and Music in Tourism. Miodrag Popović the CEO of the Tourist Organization of Belgrade moderated the panel and let Sales and Marketing Manager from Salzburg Tourism Andrea Minnich start the discussion. She explained how, not only major cultural events in Salzburg attract visitors, but that also smaller music events contribute to Salzburg’s economy. Martin Cuff (strategist, marketer, speaker, writer and trainer in the development and marketing of Creative Industries) instead, discussed the benefits of connecting creative industries with tourism strategies.

Olaf Furniss the Managing Director of Music Tourist, pointed out how even peculiar music events have the potential to become tourist draws. All speakers agreed that successful tourism strategies have to be based on the authenticity of the local culture and history.

In the last panel, the situation of the music sector in Belgrade was highlighted with presentations from Srđan Hofman (composer, professor emeritus of composition at the Faculty of Music in Belgrade and president of the governing board of SOKOJ), Aleksandar Kovačević (CEO of SOKOJ), Vladimir Grajić (composer, Head of RTS Music Production) and moderated by Dr Ivana Medić (Research Associate, Institute of Musicology SASA, Belgrade and Editor-in-Chief of the Journal Muzikologija/Musicology). Everyone agreed that the challenges of the music sector in Serbia lay in the commercialisation of music taste, the new digital means of distributing music and the recent changes in the copyright law in Serbia.

 

About the Creators Conference

The Creators Conference was initiated in 2009 by ECSA President Alfons Karabuda as a project of SKAP, the Swedish Association of Popular Music Composers. The first Creators Conference took place in 2009 in Stockholm, with two further editions in 2012 and 2013 in Brussels. The purpose of the event is to create new and unique synergies for music composers and European policy makers.

Throughout the years this event has developed as a high-level European Platform for creators, music business representatives and EU policy-makers to exchange views on on-going issues affecting music authors such as freedom of expression, author’s rights, new economic models, international cooperation or fair remuneration.

 

About ECSA

ECSA is an umbrella association of over 50 professional guilds of songwriters and composers of any genres of music. ECSA’s core mission is to defend and promote the rights of composers and songwriters with the aim of improving their social and economic condition as well as their artistic freedom. ECSA is registered under Belgium law as international non-profit organization and is financed by contribution of members, as well as by Creative Europe.

 

For more information, please contact:

Alicja Swierczek, EU Affairs and Programme Manager
Email: info@composeralliance.org
www.composeralliance.org

PRESS RELEASE – ECCO CONCERT, BELGRADE 2018

 

September 20, 2018

 The 2018 fall edition of the ECCO concert took place in Belgrade on 18thSeptember 2018 at the Kolarac Concert Hall. The concert was conducted by maestro Bojan Suɖić and performed by the RTS Symphony Orchestra. The following pieces were featured:

  • “Ein (kleiner) Winternachtstraum” by Jacqueline Fontyn (Belgium)
  •  “Symphonic Slices” by Ülo Krigul (Estonia)
  • “The Horses of Saint Mark” by Isidora Zebeljan (Serbia)
  •  “Tre piccolissime musiche notturne” by Nicola Campogrande (Italy)
  • “Memento” by Milan Mihajlovic (Serbia)
  • “Vellamon neidot” by Mikko Nisula (Finland)

The concert was very well attended with around 200 people. The pieces and performance of the orchestra were very well received with a long round of applause.

Dušan Bavdek, chair of the ECCO Working Group, said about the concert:

“I was pleased with the very positive echoes about the concert of the RTS Symphony Orchestra under the ECCO brand. I believe the ECCO project proved again that it presents an excellent ground to bring together and present colorful and aesthetically diverse pieces of the rich mosaic of European art music.«

 

About ECCO

ECCO is a project of the ECF committee of ECSA. It aims to establish itself as a pan-European “body of sound” dedicated to the performance, circulation and promotion of contemporary art music. By its educational dimension, ECCO serves as a pro-active development and networking arena for professional composers and performers, especially young and emerging ones.

About ECSA

ECSA is an umbrella association of over 54 professional guilds of songwriters and composers of any genres of music. ECSA’s core mission is to defend and promote the rights of composers and songwriters with the aim of improving their social and economic condition as well as their artistic freedom. ECSA is registered under Belgium law as international non-profit organization and is financed by contribution of members, as well as by Creative Europe.

 

For more information, please contact:

Alicja Swierczek, EU Affairs and Programme Manager
Email: info@composeralliance.org
www.composeralliance.org

PRESS RELEASE – CREATORS CONFERENCE, BELGRADE 2018



September 17, 2018

 The 2018 edition of the Creators Conference will take place on September 19that the Kolarac Hall in Belgrade and will bring together international and local creators, local businesses and representatives of the local administration allowing the creation of closer co- operation and direct synergies.

This year’s edition is organized with the support of the Composer Association of Serbia (CAS) and it will be exploring “Serbian Music and Innovative European Programs of Synergy, Creativity and Business”. Throughout this afternoon, panel discussions will be held on the development of the Creative Industries, on music tourism strategies and on the situation of the music sector in Serbia. The goal is to showcase the diversity of needs of the music industry throughout Europe, to provide a platform for the multiplicity of voices in the music world to be heard and to ultimately reinforce the perception of the cultural and economic value of music.

 

Welcoming words will be held by ECSA President Alfons Karabuda, Mateja Norčič Štamcar, Deputy Head of Delegation of the European Union to the Republic of Serbia and Ivana Trišić–President of Composers Association of Serbia (CAS) and welcoming words fromPrime Minister Ana Brnabić will be read.

 

After that a panel on Creative Industries will give opportunity for the following speakers to contribute to this topic: Ana Ilić (Advisor to the Prime Minister of Serbia for digital and creative industries, film and tourism), Dr Petya Koleva (Director of Intercultura Consult, co-founder of the Cultural Policy Designers Network), Dr Milena Dragićević Šešić(professor of Management in Culture and Theory of Media at the Faculty of Dramatic Arts, Belgrade) and Antun Tomislav Šaban(Secretary General of the Croatian Composers’ Society, Vice- President of ECSA, composer and conductor).

 

The second panel will focus on Creative Industries and Music in Tourism. The panellist will be Martin Cuff(strategist, marketer, speaker, writer and trainer in the development and marketing of Creative Industries),

Andrea Minnich(Sales & Marketing Manager, Salzburg Tourism), Miodrag Popović(CEO of the Tourist Organization of Belgrade) and Olaf Furniss(Managing Director of Music Tourist).

 

The last panel will focus on the music sector in Belgrade with presentations from Srđan Hofman (composer, professor emeritus of composition at the Faculty of Music in Belgrade and president of the governing board of SOKOJ), Aleksandar Kovačević(CEO of SOKOJ), Vladimir Grajić(composer, Head of RTS Music Production) and moderated by Dr Ivana Medić(Research Associate, Institute of Musicology SASA, Belgrade and Editor-in-Chief of the Journal Muzikologija/Musicology).

 

Click here to access the whole programme of the conference with the list of speakers.

 

About the Creators Conference

The Creators Conference was initiated in 2009 by ECSA President Alfons Karabuda as a project of SKAP, the Swedish Association of Popular Music Composers. The first Creators Conference took place in 2009 in Stockholm, with two further editions in 2012 and 2013 in Brussels. The purpose of the event is to create new and unique synergies for music composers and European policy makers.

Throughout the years this event has developed as a high-level European Platform for creators, music business representatives and EU policy-makers to exchange views on on-going issues affecting music authors such as freedom of expression, author’s rights, new economic models, international cooperation or fair remuneration.

About ECSA

ECSA is an umbrella association of over 50 professional guilds of songwriters and composers of any genres of music. ECSA’s core mission is to defend and promote the rights of composers and songwriters with the aim of improving their social and economic condition as well as their artistic freedom. ECSA is registered under Belgium law as international non-profit organization and is financed by contribution of members, as well as by Creative Europe.

For more information, please contact:

Alicja Swierczek, EU Affairs and Programme Manager
Email: info@composeralliance.org
www.composeralliance.org

PRESS RELEASE – EUROPEAN PARLIAMENT SIDES WITH CREATORS IN CRUCIAL VOTE ON THE COPYRIGHT DIRECTIVE: A GREAT STEP FORWARD FOR COMPOSERS AND SONGWRITERS

 

Strasbourg, 12th of September 2018

 

Today, the European Parliament decided to move ahead on the copyright reform by adopting the Directive by an overwhelming majority of 438 votes in favor, 226 against and 39 abstentions. ECSA welcomes this historical step forward for European creators and warmly thanks all Members of the European Parliament for sending such a strong message to the music authors of Europe.

 

ECSA President Alfons Karabuda commented: As much as my colleagues and I have every reason to celebrate today, more importantly, we are truly happy for the next generation of creators that are now given the opportunity to work hard and professionally for a continuously diverse musical landscape in Europe.” 

 

By adopting chapter 3 and its essential provisions for creators, the EP acknowledges the imbalance that authors face in front of their contractual partners and the urgent need for change. In addition, despite the considerable pressure of a few big tech companies, the European Parliament also contributed to put an end to the unfair transfer of value from creators to certain big platforms and bring more justice and fairness to the digital world. 

 

It was said to be the once in a generation reform, and we can be proud that we did not let this opportunity go past us.” ECSA President Alfons Karabuda

 

We now strongly encourage the European Commission and all Member States to recognize the key improvements adopted by the European Parliament and convert good intentions into concrete improvements. 

For the PDF version of the press release click here.

European Authors’ statement in support of the Copyright Directive

The undersigned organisations of authors – writers, journalists, screenwriters, filmmakers, composers and songwriters – urge you to support the successful adoption of the proposed Directive on Copyright in the Digital Single Market. It represents a once in a decade opportunity to improve the situation of authors, thereby strengthening the European creative community and our cultural wealth in the digital era. Europe is the cradle of author’s rights: it must not turn its back on both its historical values and on its creative future in the digital era.
Since the last European elections, the European Commission, the European Parliament and Member States concluded that the European Union has an essential responsibility to promote fair remuneration for creators, including online, because:
The online world is of key importance to the European future, especially for Europe’s cultural and creative industries, which create EUR 509 billion in value added to the GDP, provide 7.5 % of the EU’s work force and significantly contribute to the EU economy in terms of employment, investment, growth, innovation and competitiveness on a global scale.
Creative works, being bought and sold with such enormous economic success, are the product of the creative minds of Europe’s authors, yet their careers are barely sustainable, extremely unstable and they are in the vast majority poorly remunerated.
– In addition, technological innovation has thrown much of the established structures for the distribution of cultural content into disarray, reducing further authors’ capacity to generate income from the use of their works.
After years of debate and discussion, the European Commission, Member States and a wide majority of MEPs have supported key transparency provisions intended to strengthen authors’ bargaining power and improve their remuneration in contracts (Chapter 3 of the Directive).
This Directive is now under threat, as some claim that this Directive will “censor the Internet” and threaten freedom of expression. Authors are at the very origin of the copyright value chain, and freedom of expression is the cornerstone of creativity: we could not support a legislation that would limit it in any way.
The Directive’s chapter 3’s provisions that protect and improve the situation of authors are necessary
conditions to foster freedom of expression: a precondition for the right of audiences to enjoy diverse creative work is that authors are able to make a living from their work. We therefore urge MEPs to adopt Chapter 3 in its JURI report version, which is the result of a non-partisan political consensus.
It is now time for the EU to send a strong signal to future generations who want to create and be fairly remunerated for their creations. Throwing the Directive away by postponing its adoption would be an appalling missed opportunity to empower the creative community in the digital era, and an unprecedented setback for all creators in Europe and across the world, to the sole benefit of global online platforms.
It is now time to act, effectively support Europe’s creators, and build a sustainable future for
Europe’s cultural diversity.
Make the right choice and adopt the Copyright Directive without further delay!

Sincerely yours,
1. ADA, Austrian Directors’ Association, Austria – Jenny Gand & Jacob Groll, Co-Chairs
2. APR – ASSOCIAÇÃO PORTUGUESA DE REALIZADORES, Portugal, Filipa Reis – President
3. AGJPB, AJP-VVJ, Belgium – François Ryckmans – President
4. ALMA, Spain – Alberto Macías, President
5. AMA, Autores de Musica Asociados, Spain – Javier de Juan- President
6. AMCE, Asociacion de Mujeres Creadoras de Musica, Spain – Natalia Vergara – President
7. ANAC, Associazione Nazionale dei Autori Cinematografici, Italy – Francesco Ranieri Martinotti –
President
8. ARF/FDS, Swiss Filmmakers Association, Switzerland – Barbara Miller – President
9. ARRF, Association des Réalisateurs et Réalisatrices de Films, Belgium – André Buytaers,
Administrator
10. Association of Authors Agents (AAA) The UK, Lizzy Kremer- President
11. Association of Directors and Producers of Montenegro, Montenegro – Ivan Djurovic, President
12. Associazione dell’Autorialità Cinetelevisiva – 100autori, Italy – Stefano Sardo – President
13. The Association of Finnish Non-fiction Writers – Markku Löytönen – Chair
14. Auteursbond (Dutch Authors Guild), The Netherlands Jan Hilbers- Director
15. Belgian Screen Composers Guild, Belgium – Frederic Vercheval – President
16. British Academy of Songwriters, Composers and Authors (BASCA), England – Crispin Hunt – Chair
17. BAM! (Dutch Songwriters Society), The Netherlands – Pieter Perquin – Chair
18. BCMM (* Beroepsvereniging Componisten MultiMedia), The Netherlands – Johan van der Voet –
Chair
19. БАФТРС – (BAFTRS – Bulgarian Association of the Film, Theater and Radio Scriptwriters) Bulgaria – Stanislav Semerdjiev – Chairman
20. Bundesverband Regie e. V., Germany – Peter Carpentier, Marie Noëlle, Katarina Schickling –
Executive Board
21. CC Composers Club e.V., Germany – John Groves – President
22. Croatian Film Directors’ Guild, Croatia, Danilo Šerbedžija – President
23. Copyright and Communication Consulting Agency/Latvian Authors Association (AKKA/LAA), Latvia – Valdis Muktupavels – President
24. Danish Composers’ Society, Denmark – Bent Sørensen – President
25. Danish Songwriters Guild – DPA – Niels Mosumgaard -Chairman
26. Danske Dramatikere, Denmark – Christina Bergholdt Knudsen, Director
27. Danske Filminstruktører/Danish Film Directors, Denmark – Christina Rosendahl-President
28. DEFKOM (Deutsche Filmkomponistenunion des Deutschen Komponistenverbandes), Germany,
Micki Meuser
29. Deutscher Komponistenverband, Germany – Dr. Enjott Schneider- President
30. Deutscher Textdichter-Verband/ German Lyricist Association, Germany – Frank Ramond –
President
31. DGCY – Directors Guild of Cyprus, Cyprus – Daina Papadaki – President
32. Directors UK, United Kingdom – Andrew Chowns, CEO. Steve Smith, Chair
33. DJBFA/composers and songwriters, The Netherlands – Susi Hyldgaard – Chair
34. DJU in Ver.di, Germany – President, Peter Freitag
35. DJV, Germany – Frank Überall- President
36. Drehbuchverband Austria / Austrian Screenwriter Association, Austria Eva Spreitzhofer – Obfrau
37. Društvo slovenskih režiserjev /Directors Guild of Slovenia, Slovenia – Miha Knific – President
38. DSR Scenaristi / DSR Screenwriters, Slovenia – Matevž Luzar – President
39. Dutch Directors Guild, The Netherlands, Martijn Winkler – Chairman
40. ESIEMTH, Nikolaos Karras – President
41. ESPEK – Association of Greek Film Directors-Producers, Greece – Elina Psykou – President
42. Estonian Union of Journalists, Estonia – Ms Helle Tiikmaa – Chair
43. European Composer and Songwriter Alliance – Alfons Karabuda – President
44. Estonian Filmmakers Union, Estonia, Alvar Kõue, Chairman
45. European Writers Council – Myriam Diocaretz – Secretary General
46. FAIC (Federación de Asociaciones Ibéricas de Compositores), Spain – Domènec González de la Rubia – President
47. FAIR/MediaSind, Romania – Leonard Păduret- President
48. Federacion de Asociaciones de la Prensa Espanola (FAPE), Spain – Nemesio Rodríguez – President
49. Federation of European Film Directors, Pauline Durand-Vialle – CEO
50. Federation of Screenwriters Europe, David Kavanagh – Executive Officer
51. Fédération Wallonie Bruxelles, Belgium – Lorenzo Caròla – Directeur
52. FEM (Fachgruppe Ernste Musik des Deutschen Komponistenverbandes), Germany – Johannes K. Hildebrandt
53. FEMA, Javier Canpillo- President
54. The Finnish Music Creators FMC, Finland – Kaija Kärkinen – Chair of the Board
55. FLAC (Fédération Luxembourgeoise des Auteurs et Compositeurs), Luxembourg – Roby Steinmetzer – President
56. FNSI (Federazione Nazionale Stampa Italiana), Italy – Raffaele Lorusso – General Secretary
57. Fondazione Adkins Chiti: Donne in Musica (FACDIM) – Valerie Susan Baxter – President
58. Foro de Asociaciones de Guionistas Auidiovisuales (FAGA), Spain – Ana Hormaetxea – Chair
59. FSC CCOO, Spain – Francisco Javier Jimenez – General Secretary
60. FTT/ISAC (The Icelandic Society of Authors & Composers), Iceland, Bragi Valdimar Skúlason – Chair
61. Greek Directors’ Guild, Greece – Haris Papadopoulos – Chairman
62. Groupe 25 Images, France, Claire De La Rochefoucauld and Arnaud Selignac – Presidents
63. Guilde Française des Scénaristes, France – Pauline Rocafull – Chair
64. HDS (Hrvatsko Društvo Skladatelja / Croatian Composers’ Society), Croatia – Ante Pecotić –
President
65. Hellenic Authors’ Society, Greece, Yiorgos Chouliaras – President
66. Hungarian Composers’ Union (Magyar Zeneszerzők Egyesülete), Máté Hollós – President
67. HPU, Hungary, Eva F. Kováts – Chair
68. Icelandic Composers’ Society, Iceland, Þórunn Gréta Sigurðardóttir –Chair
69. IMAGO – European Federation of Cinematographers, Paul René Roestad – President
70. Impressum, Switzerland, Sina Bühler – President
71. Irish Association of Songwriters, Composers and Authors, IASCA, Ireland, Colm Quearney –
Chairman
72. Israel Composers’ League (ICL), Israel, Ayal Adler- Chairman
73. JUADN, Maria Antoniadou – President and Stavros Kapakos – General Secretary
74. Komponist Foreningen (Norwegian Society of Composers) Norway, Jørgen Karlstrøm – Chairman of the Board
75. LARS – Luxembourgish Association of Film Directors and Scriptwriters, Luxembourg – Claude Lahr, President
76. Latvian Filmmakers Union, Latvia, Ieva Romanova – Chair
77. Latvian Writers’ Union, Latvia, Arno Jundze- Chairman
78. Lithuanian Filmmakers Union, Lithuania, Arūnas Matelis – President
79. Musimagen, Spain, Dario Palomo – President
80. Netwerk Scenarioschrijvers/Auteursbond (Dutch Screenwriters/Authors Guild), The Netherlands –
Pieter Bart Korthuis – Chair
81. NFF – Norwegian Film Makers Association, Norway – Sverre Pedersen – President
82. NFK – Norwegian Film Editors Association, Norway – Torkel Gjorv – Chairman
83. NFR – Norske Filmregissører, Norway – Marianne Kleven, Chair
84. NOPA (Norwegian Society of Composers and Lyricists), Norway – Ingrid Kindem – Chair
85. Norske Dramatikeres Forbund / Writers’ Guild of Norway, Norway – Monica Boracco – Chair
86. NUJ, The UK, Michelle Stanistreet – General Secretary
87. PCAM (the Society of Producers & Composers of Applied Music), UK – Paul Reynolds – Acting
Chairman
88. Polish Composers’ Union, Poland (Zwiazek Kompozytorow Polskich), Poland – Mieczyslaw Kominek Ph.D. – the President of the Polish Composers’ Union
89. Österreichische Gesellschaft für zeitgenössische Musik (ÖGZM), Austria, Morgana Petrik –
President
90. Österreichischer Komponistenbund (ÖKB), Austria, Alexander Kukelka – President
91. Rättighetsbolaget – Rights Manager of the Swedish Union for Performing Arts and Film, Sweden,
Anna Carlson – President
92. Rithofundasamband Islands / The Writers Union of Iceland, Iceland, Karl
Agust Ulfsson – Chair
93. Samtök kvikmyndaleikstjóra – SKL (Film Directors Guild of Iceland), Iceland – Dagur Kári Pétursson – Chairman
94. Scenario, Switzerland – Jacqueline Surchat – Coordinator
95. Screen Composers Guild of Ireland CLG, Ireland, Sarah Glennane – CEO
96. Scriptwriters Guild of Greece, Greece – Alexander Kakavas – President
97. SDGI – Screen Directors Guild of Ireland, Ireland – Maurice Sweeney, Chairman
98. SFP – Stowarzyszenie Filmowców Polskich/Polish Filmmakers Association, Poland – Jacek Bromski – President
99. Sindicato dos Jornalistas (RJ), Portugal – Sofia Branco – President
100.SKAP – The Swedish Society of Songwriters, Composers and Authors, Sweden – Alfons Karabuda – Chair
101.Slovenian Association of Journalists (DNS), Slovenia – Petra Lesjak Tušek- President, Spela StareGeneral Secretary
102.SNJ – Syndicat National des Journalistes – France – Vincent Lanier – Premier secrétaire général
103.Syndicat National des Auteurs et des Compositeurs, SNAC France – Pierre-André Athané –
President
104.Syndicate of Journalists of Czech Republic, Adam Černý – President
105.Société des Réalisateurs de Films (SRF) , France – Marie Amachoukeli, Bertrand Bonello, Christophe Ruggia, Co-Presidents
106.The Society of Authors, United Kingdom – David Donachie – Chair
107.The Society of Finnish Composers, Finland – Antti Auvinen – Chairman of the Board
108. Society of Swedish Authors in Finland, Finland Peter Sandström- Chair
109.SOKOM, The Composers’ association of Macedonia
110.Suomen elokuvaohjaajaliitto SELO ry, Finland – Sakari Kirjavainen – Chair
111.Suomen Journalistiliitto, Finland – Hanne Aho – President
112.Suomen Näytelmäkirjailijat ja Käsikirjoittajat ry (Finnish Playwrights and Screenwriters Guild),
Finland – Sonia Meltti – Executive Director
113.Svenska Journalistförbundet, Sweden – Jonas Nordling – President
114.Swedish Association of Educational Writers, Sweden – Wiwi Ahlberg – President
115.Swedish Film Directors, Sweden- Maria Eriksson-Hecht and Göran Du Rees – Presidents
116.Swedish Society of Composers, Sweden – Martin Jonsson Tibblin – President
117.The Swedish Writers’ Union, Sweden – Grethe Rottböll – President
118.Sveriges Dramatikerförbund, Sweden, Susin Lindblom, CEO
119.Teaterförbundet – The Swedish Union for Performing Arts and Film, Simon Norrthon, President
120.UBJ, Bulgaria, Snezhana Todorova – President
121.UCJ, Cyprus – Christos Christofides – General Secretary
122.UNCLA, Italy – Giuseppe Amendola – General Secretary
123.Unie van Regisseurs vzw, Belgium – Michaël R. Roskam & Stijn Coninx, Co-Chairmen
124.The Union of Finnish Writers, Finland – Suvi Oinonen – Executive Director
125.Union Nationale des Auteurs et Compositeurs (UNAC), France – Olivier Delevingne – President
126.Union of Magazine and Electronic Press Journalists (ESPIT) Greece Themis K. BeredimasPresident, Thanasis Alatas -General Secretary
127.Union of Magazine and Electronic Press Journalists, Themis Beredimas – President
128.Union des Compositeurs de Musiques de Films – Béatrice Thiriet – Secrétaire générale
129.Verband Deutscher Drehbuchautoren e.V. Germany – Sebastian Andrae, Prof. Peter Henning
130.Vlaamse Scenaristengilde / Flemish Screenwriters Guild, Belgium – Michel Sabbe & Dirk Nielandt
131.Writers’ Guild of Great Britain (WGGB), UK – Ellie Peers – General Secretary
132. Writers’ Guild of Ireland, Ireland – Thomas McLaughlin – Chairman

 

Find the statement in PDF here.

News from Brussels – July 2018

EU Affairs update

On 5th of July, the European Parliament unfortunately rejected by a small margin (318 votes against and 278 in favor) the adoption of its mandate on the Copyright Directive, due to a massive disinformation campaign orchestrated by global platforms and their allies. However, the fight for authors’ rights continues since the European Parliament will vote again on this Directive on the 12th of September.

In the run up to the July vote, ECSA sent a letter signed by eight prestigious composers and songwriters (Benny Andersson, Alexandre Desplat, Alberto Iglesias, Alfons Karabuda, Phil Manzanera, Klaus Meine, Ennio Morricone and Björn Ulvaeus) to highlight the positive aspects of the report for authors and support its adoption. After the vote, ECSA, together with the Author’s Group, called on MEPs to find a common line and adopt the Directive as soon as possible. If the European Parliament fails to adopt this Directive, this would be an immense missed opportunity to improve the situation of European authors and strengthen the creative community in the EU. ECSA strongly encourages all composers and songwriters to measure the significance of this Directive and reach out to Members of the European Parliament.

New ECCO Call for Works

The new Call for Works for the ECCO concert in Brussels February 2019 is here!

ECSA’s ECF committee members are kindly invited to participate in the Call for Works for the ECCO electroacoustic concert that will feature the Ensemble Hopper will take place in Espace Senghor in Brussels on the 19th of February 2019. Please see here for more details.

Camille Awards: Final Nominees

We are happy to unveil the brand new Camille Awards – European Film Composer Awards website!

Find out more about the final nominees for the three categories “Best Orchestral Score”, “Best Score for a TV Series” and “Best Electroacoustic Score”. Read about the organizers and check our latest news, including further information about the making of the Camille trophies!

More info on www.camilleawards.eu

 

Creators Conference – SAVE THE DATE

ECSA is happy to announce that the 2018 edition of the Creators Conference will be held on 19 September 2018 in Belgrade. This year it will focus on the music and creative industry in Serbia, its challenges and potentials. Details on the programme will follow soon.

 

Internship position available at ECSA

The ECSA office is currently searching for a full-time intern for a period of 3 months, as part of  the candidate’s university programme.

The intern will work under the direction of the both European Affairs and Programme Manager and carry out a range of specific tasks related to advocacy, cultural management, communications and administrative responsibilities.

For more details on the position and the application process, please see here

 

MEMBERS NEWS

UNAC New Board

On the 30th of May, the day of the annual General Assembly of UNAC, the members of the board decided to renew the mandate of their president, Olivier Delevingne, composer. The Assembly that gathered at Sacem also nominated Dominique Pankratoff, composer, as President of Honour of UNAC. A lunch with the main actors of the music industry followed the assembly.

Board of administrators 2018-2019
Richard Seff, author // Michel Pelay, composer // Christine Lidon, author, composer, deputy general secretary // Alain Chamfort, composer // Anne Dorr, author-director, vice-president // Frédéric Kocourek, author, vice-president // Olivier Delevingne, composer, president // Sylvain Lebel, author // Patrick Sigwalt, composer // Sandra Bechtel, author, general secretary // Wally Badarou, composer // Patrick Lemaître, composer, vice-president // Marco Attali, composer, treasurer // Laurent Juillet, composer, deputy treasurer // Jean-Marie Moreau, composer, vice-president // Anne Goldstein, author // Raphaël Pottier, author // also, Marc Chantereau, composer, not on the photo.

 

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About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

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Authors’ Group urges MEPs to find a common line and adopt the Copyright Directive without further delay

On 5 July, the European Parliament decided to postpone the adoption of its position on the Copyright Directive.

As representatives of over half a million writers, composers, journalists, film directors, screenwriters and songwriters in Europe, we acknowledge and respect this decision.

However, we regret that it effectively delays the adoption of the Copyright Directive, which features essential provisions to rebalance the systemic weak bargaining situation of authors, whose creativity is at the very origin of the copyright value chain, in negotiating their contracts. We now call on all Members of European Parliament to measure the significance of this Directive and to find a common line to ensure that the Directive is finally adopted.

Chapter 3 “Fair remuneration in contracts of authors and performers”, as adopted by the JURI committee on June 20th, is a result of balanced compromises supported by an overwhelming, non-partisan majority in the Legal Affairs committee. It secures critical improvements of the situation of creators throughout Europe, and therefore should not be reopened nor amended.

In our view, it is crucial that the European Parliament adopts the Copyright Directive as soon as possible so that it can soon bring concrete benefits to authors across the European Union.

Throwing the Directive away by postponing its adoption would be a failure to deliver any concrete improvement to the situation of European authors and be an appalling missed opportunity to strengthen the creative community and Europe’s cultural wealth in the digital era.

 Sincerely yours,

The Authors’ Group

The Authors’ Group is composed of:

ECSA (European Composer and Songwriter Alliance)

EFJ (European Federation of Journalists)

EWC (European Writers Council)

FERA (Federation of European Film Directors)

FSE (Federation of Screenwriters in Europe)

Find the statement in pdf here.

ECCO Call for works- Brussels February 2019

The new call for works for the ECCO concert in Brussels 2019 is here!

ECSA’s ECF committee members are kindly invited to participate in the Call for Works for the ECCO electro-acoustic concert that will feature the Ensemble Hopper will take place in Espace Senghor in Brussels 19 February 2019.

Please find all the details and necessary submission information here below:

Deadline for submission is Monday, 5 November 2018– 12:00pm (CEST).

 

Press release – European Authors call on MEPs to maintain their strong support to authors’ rights

5 July 2018, Brussels – European organisations representing authors have acknowledged the decision of the European Parliament to postpone the adoption of its position on the Copyright Directive. The Authors’ Group now calls on MEPs to maintain their strong and cross-party support to reinforce the contractual position of authors in Europe so that the Copyright Directive can soon bring concrete benefits to authors’ rights in the European Union.

The Authors’ Group represents more than half a million writers, composers, journalists, film directors, screenwriters and songwriters in Europe.

Today, the European Parliament decided to postpone the adoption of its position on a Proposal for a Directive on copyright in the Digital single market

The Authors’ Group said: “We acknowledge the decision of the European Parliament to postpone the adoption of its position on the Copyright Directive. We now call on the European Parliament to maintain their strong and cross-party support to reinforce the contractual position of authors in Europe so that the Copyright Directive can soon bring concrete benefits to authors’ rights in the European Union. This is a once-in-a-generation opportunity to help improve authors’ rights and to improve the social and economic situation of authors all over Europe.“

 

The Authors’ Group is composed of:

ECSA (European Composer and Songwriter Alliance)

EFJ (European Federation of Journalists)

EWC (European Writers’ Council)

FERA (Federation of European Film Directors)

FSE (Federation of Screenwriters in Europe)

 

For the pdf version of the press release click here.

Vote on the Copyright Directive-Letter by Prominent Composers and Songwriters

Prominent composers and songwriters urge members of the European Parliament to make the right choice on the Copyright Directive.
 
“Where there is no law, there is no freedom”.Read the letter here
 
Benny Andersson, Swedish musician and composer.
Alexandre Desplat, French film music composer, orchestrator and conductor.
Alberto Iglesias, Spanish film music composer.
Alfons Karabuda, Swedish composer, President of the European Composer and Songwriter Alliance.
Phil Manzanera, British composer and guitarist.
Klaus Meine, German singer and songwriter.
Ennio Morricone, Italian composer, orchestrator and conductor.
Björn Ulvaeus, Swedish songwriter and producer.
 

News from Brussels – June 2018

 

In memoriam – Patricia Adkins Chiti

On 12 June 2018, Patricia Adkins Chiti, the critically acclaimed Italian musician, writer and musicologist sadly passed away. As President and founder in 1978 of the “Adkins Chiti Foundation, Women in Music”, Patricia played a key role in promoting women composers worldwide and granting them equal rights and opportunities. ECSA wishes to express its deepest sorrow and convey its sincere thoughts and condolences to her family and friends. Patricia will be greatly missed by all composers and musicians across the world.
Her mission will continue, thanks to the commitment of the numerous friends who have collaborated and followed the forty years of dedicated work of Patricia Chiti for the realization of effective equal opportunities for women in the world of music, the women and men composers, artists and directors in the increasing and necessary enhancement of the works of female talent.

EU Affairs update

The Legal Affairs Committee in the European Parliament has voted on the 20 June 2018 on the draft report of the Copyright directive. The outcome is broadly very positive for ECSA members. If this report gets confirmed in the plenary, then the position of the European Parliament is the best for authors in comparison with the European Commission’s proposal (already positive) and the Council’s position. Now, however, it is very important to make sure that all MEPs support this positive outcome for authors in the plenary, despite the adverse lobbying efforts from the tech industry and digital rights activists that will intensify before the Plenary vote. All MEPs are still receiving thousands of emails being virtually “harassed”.
The vote in the plenary that should approve the report and give the mandate to go into inter-institutional negotiations with the Council and the European Commission should take place on Thursday 5 July 2018. Some members of the Green party will try to block the vote, so it is very uncertain how the vote will turn out.

 

Camille Awards – Pre-selection results

 

ECSA, in partnership with the ISFMF- the International Sound and Film Music Festival is pleased to reveal the final nominees for the inaugural edition of the Camille Awards – European Film Composer Awards. The Camille Awards honour composers of original music for audio-visual artworks in three categories :

Best Orchestral Score:

•Ginge Anvik (Norway) for “Askeladden: I Dovregubbens hall”
•Lasse Enersen (Finland) for “The Unknown Soldier”
•Dario Marianelli (United Kingdom) for “Paddington 2”

Best Electro-acoustic Score:

•Ola Fløttum (Norway) for “Thelma”
•Adrian Foulkes & Lucio Godoy (Spain) for “La niebla y la doncella”
•Jonas Struck (Denmark) for “QEDA”

Best Original Music for a Series:

•Lorne Balfe & Rupert Gregson-Williams (United Kingdom) for “The Crown” season 2
•Jacob Groth (Denmark) for “Modus” season 2
•Ivan Martinez Lacámara and Manel Santisteban (Spain) for “La casa de papel”

A warm thank you to the FFACE committee members for helping select these outstanding nominations. The Camille Awards International Jury (to be announced soon!) will now review these nine works and decide, in each category, which composer should be awarded a “Camille”. The winners will be announced during a ceremony on October 20th in Pula, Croatia. The Camille Awards website will be available soon, so please stay tuned!

 

 

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About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

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