We still barely understand how music and emotion are connected. The scientific community does not even agree on what emotions actually are and how to classify their various manifestations. This means that individual studies on the emotional effect of music remain piecemeal. This preliminary groping in the fog opens up room for original and surprising suggestions as to how expressivity in music can be explained.

Bernd and Daniela Willimek are making an attempt with a "striving tendency theory", which is based on the ideas of music psychologists Ernst Kurth and Deryck Cooke, among others. "Emotions conveyed and evoked by music" are said to be explained by "identification with abstract volitional content". With reference to Schopenhauer and Nietzsche, the authors create a theory that is intuitively difficult to understand and rather unsystematically interspersed with metaphor (a major tonic represents a "person standing upright"). On the other hand, the two do not say a word about historically influential gestalt-theoretical approaches, which should explain the directional energies of tones much more plausibly and naturally than their own approach. The numerous individual musical analyses that can be found in their book Music and emotions - studies on the theory of striving are original and stimulating, but without really clarifying or supporting their theory. The same applies to the series of experiments that the couple carried out at grammar schools and German schools abroad. Obviously, they worked with a fairly homogeneous group of subjects with the same musical socialization, which in itself does not justify the universal claim of the theory in any way.

It cannot be ruled out that the striving tendency theory could make interesting contributions to explaining the expressiveness of music. However, it would have to be made much clearer and more systematic - docked to existing theoretical concepts and results of music psychology, with methodologically sound interfaces for experimental testing.

Bernd and Daniela Willimek: Music and emotions. Studies on the theory of striving, 125 p., € 20.00, Deutscher Wissenschafts-Verlag, Baden-Baden 2019, ISBN 978-3-86888-145-5

The boundaries between serious and popular music in music lessons and concerts are becoming increasingly permeable, and the mutual influence of the different musical styles is an enrichment. The compositions for two violoncellos discussed below take this development into account.

The American composer George A. Speckert was born in 1951 in Missouri (USA), a center of American jazz culture. The booklet The Roots of Jazz includes arrangements of well-known catchy tunes by Scott Joplin (The Entertainer), Arthur Harrington Gibbs (Runnin' Wild) and Nick La Rocca (Tiger Rag) as well as witty original compositions by Speckert himself. Both cello parts have the same level of difficulty and do not go beyond the fourth position. The collection will give pleasure to pupils and teachers and will not fail to have an effect on the audience.

The heavy metal sonata Cantus by David Floer is technically demanding and combines heavy metal rhythms and harmonies in the form of a classical three-movement sonata. The piece is aimed at advanced cellists and combines extended cantilenas with guitar-like rock fingerings. If you want to enhance the heavy metal sound even further, you can use effects devices such as wah-wah or sound distortion to achieve the desired effect.
You can get an impression of the piece on Youtube provide.

George A. Speckert: The Roots of Jazz for two violoncellos, Ready to Play, BA 10649, € 14.95, Bärenreiter, Kassel 2019

David Floer: Cantus, Heavy Metal Sonata for two violoncellos, Floer Music Verlag, Cologne 2017, ISMN 979-0-700351-13-7

The collection by ethnomusicologist Hanny Christen, who traveled through Switzerland between 1940 and 1960 to record or write down melodies, contains a colourful compilation of various folk dances from different regions. In the foreword to her selected edition for two flutes and piano, editor Helene Schulthess points out that the diversity in the Christen collection is a reflection of the "cultural and regional small-scale nature of Switzerland", but is nevertheless also characterized by the influences of other European countries. The collection contains a conspicuous number of pieces labeled "Scottish", which are, however, arranged differently depending on the region.

Schulthess has included 26 dances, one from each canton, in her booklet (three are not from the Christen collection). The unchanged melodies can be performed with two flutes and mostly chordal piano accompaniment, but also sound very good as pure flute duets with the second part added by the editor, which is often contrapuntal. The first dance Scottish from the canton of Zurich has a very concertante effect due to its animated second voice. The melody part of the Mazurka from the canton of Uri is accompanied in the first part by the second flute part, yodeling as it were. Melodiously the Ländler from the canton of Nidwalden and is contrasted by cheeky interjections with suggestions in the second voice. The virtuoso dance of the Trumpet polka from the canton of Zug and is challenging to play for both voices due to its sixteenth-note figures combined with triplets. Even the well-known Basel Fasnacht Arab march found its way into the varied collection. Some pieces, such as the lively Jupiter gallop from St. Gallen or the Venus gallop from the canton of Vaud seem almost like salon music, as does the lively Rose waltz from the canton of Aargau. This successful, interesting collection gives an insight into the variety of melodies in Swiss folk music and can be easily played by advanced pupils.

26 Swiss folk dances from 26 cantons, from the Hanny Christen collection, arranged for 2 flutes and piano by Helene Schulthess, Fr. 26.00 plus postage, www.helene-schulthess.ch/de/kompositionen-bearbeitungen

The name Josef Schelb is probably familiar to very few clarinettists, although his extensive compositional output (including eleven symphonies, other large orchestral works, ballets, several operas and a great deal of chamber music) comprises a number of works for clarinet. In addition to the clarinet sonata from 1947, now published for the first time in print as a Breitkopf Urtext, there is also a concerto for bass clarinet accompanied by ten solo instruments (1930/43), a clarinet quintet, a clarinet quartet and other chamber music works with clarinet from his pen.

Josef Schelb (1894-1977) was born in Freiburg im Breisgau, was a composition student of Hans Huber in Basel, among others, and studied piano in Geneva. In addition to a career as a concert pianist, he was a professor of piano and composition at the Karlsruhe University of Music for more than 30 years. His work cannot be assigned to any particular school, but is characterized by the various influences of his time.

The clarinet sonata, written shortly after the Second World War, cannot be clearly categorized stylistically. Formally laid out classically in four movements, without a fixed key, but still with tonal references and metrically and rhythmically rather traditional, it can best be compared with the sonata by Schelb's contemporary Paul Hindemith.

The first movement is characterized by an expressive, rhythmically pointed melodic line and radiates a forward-pushing restlessness. In the second, calmer movement, the clarinet and piano engage in an expressive dialog. The third movement, written in 6/8 time, is characterized by fast tonal garlands and has a fun, lively character. In the final movement, an optimistic, forward-looking impression prevails again.

This beautifully designed edition with introduction and critical commentary is a welcome addition to the clarinet repertoire of the first half of the 20th century.

Josef Schelb: Sonata for clarinet and piano, edited by Albert Schelb, first edition, EB 8991, € 24.90, Breitkopf & Härtel, Wiesbaden 2019

Creative song is a book for music lessons in the lower school up to 4th grade and shows in an easy-to-understand way how to work with songs. The first step is to learn the songs. The authors offer a variety of methodical and activity-oriented approaches, whereby the musical characteristics of each song form the nucleus for the development. The second step is the arrangement of the song, and this is where the great quality of Song creative. Because the songs are not only sung, they are danced, staged and accompanied with Orff instruments. The arrangements are easy to put into practice. And the authors are rightly proud of this: They deliberately offer suggestions for improvisation so that the children can contribute their own ideas. Incidentally, this approach is entirely in line with the "creative processes" that are prominently postulated in Curriculum 21.

Creative song is divided into three parts, starting with the methodology of teaching songs: although the teaching models are varied, the work on the song follows a clear, structured concept. It starts with breathing and voice training exercises, followed by teaching the lyrics and melody. The instructions are precise and you can feel the experience and expertise of the trained music teachers (EMP). The vocal exercises are embedded in stories and pictures that appeal to the children's senses and take them with them, true to the maxim: "Working on a song means playing with it." The chapter "A possible way to create your own lesson concept" outlines how to do this in a planned way, with the following didactic instruction particularly appealing: "The teacher should guide the activities as non-verbally as possible." In fact, music lessons often suffer from too many verbal instructions and explanations instead of direct guidance through musical actions. Participants are not activated by talking, but by doing, moving and singing. In this way, they are in medias res right from the start, the senses are addressed simultaneously and there is no need to translate from the head to the body.

The idea packs, the second part of the teaching material, offer a colorful bouquet of sound, dance and scenic suggestions for developing and arranging the songs. The welcome song Swing invites you to dance with walking sticks - Come in, into the vaudeville of the thirties! - for soloists, dancers and audience. Also the Song with Andalusian sounds is embedded in a scenic play (Torero), while the vocal percussion liven up the ragtime. The Orff instruments are included as standard in the idea packages. But not only! Baking utensils are needed in the Land of milk and honey, in the African Aye kerunene cloths lead through the mirror dance, the sound colors made of paper underline the Autumn song.

While the idea packs present loose lesson plans, the third part of the volume contains fully developed lesson models. For example Whyba: The spoken song with humorous lyrics can be sung in canon or accompanied by body percussion. A scenic game with a coconut sets the mood for the song, beach activities such as collecting shells loosen up the body, accompanied by rumba music. The word "ko-kos-nuss" is used to generate breathing and vocal exercises that work with the vowels and activate the diaphragm. Parts of the melody are packed into actions and stories ("the coconut has unfortunately been left lying on a palm tree") and prepare for challenging interval leaps. The entire song is repeated several times in variations: speaking the text, showing gestures silently, singing and re-singing sections of the song. Stepping and clapping accentuate the shifts in emphasis in the lyrics, interrupted by improvised "beach poses".

After the song has been worked out and practiced, it is now performed. Singers improvise body percussion in pairs over the rhythm of "Coconut-Coconut-Rumba". The group chooses an impromptu motif and imitates it. Now one half sings, the other accompanies with body percussion and, if it works, even in canon. The playback recording and the piano accompaniment on the enclosed CDs provide support.

Conclusion: Well thought-out ideas, variable implementation. Well done!

Verena Dotzler, Birgit Herwig: Lied kreativ. Singing with children, young people and adults. Idea packs and teaching models for imaginative song teaching, book with 2 CDs, order no. 943, € 29.90, Fidula, Koblenz

It all began with an ending: after eight years, the Geneva quartet Orioxy, whose jazz-based sound was able to combine even the most tender moments with wild energy, disbanded unexpectedly in 2016. "When everything fell apart, I got the blow of my life," recalls harpist Julie Campiche. Nevertheless, or perhaps precisely because of this, she started her new project just two weeks later. It actually happened too quickly for her, she admits, but: "You have to take advantage of the surprises that life has in store."

Three years have now passed and the Julie Campiche Quartet, which includes saxophonist Leo Fumagalli, double bassist Manu Hagmann and drummer Clemens Kuratle in addition to the band's leader, has released a new album at the end of January. Onkalo has released his debut album. The work comprises six songs and is curious and experimental: the first track, Flash Infobegins with an introspective harp melody, which is interrupted after a minute by sudden jazz sequences - at least temporarily.

What is on offer is surprisingly energetic and presents a flair for improvisation and minimalist motifs. Progressive jazz unfolds on the album, which is primarily interested in soundscapes that change constantly and surprisingly. The effect is meditative, but sometimes also fidgety and occasionally even stirring. Perhaps because you can sense that there are always stories behind the compositions. Onkalo - Finnish for cavity - is intended to tell of buried radioactive waste, for example. On the CD, Julie Campiche and her companions succeed not only in developing a maelstrom, but also music that takes you on a fascinating and courageous sound journey.

Here Dieter Ammann, there Jannik Giger: here the recognized Swiss composer Ammann, now professor of composition at the Lucerne University of Applied Sciences and Arts, there his former student Giger, Swiss newcomer and accomplished multi-talent in composition and multimedia. On the CD with the simple title Ammann Giger the two are musically united. Ensemble pieces, duets or compositions for cello and piano solo are performed in beautiful alternation, sometimes by one, sometimes by the other.

There is Alban Berg and Joseph Tal. But there can be no question of differences in rank here. Jannik Giger's works sparkle with vitality. Sometimes it sounds rhythmically playful, then there are refreshingly clear, thoroughly imitative dialogs between the instruments. There are often allusions to the classical-romantic musical tradition in Giger's music. Beethoven shimmers through in some places, and the listener also dips into the sound spheres of Schumann or Stravinsky at times. At no point do the allusions seem flirtatious or kleptomaniac. Giger always retains his own tone. Even more important than the recognition value: Giger knows how to compose, masters form and economy.

Ammann's works also have a very direct and powerful effect, they "jump out at you", as they say in the jargon of new music. The three compositions on the CD were written between 1994 and 2011. In the ensemble piece Après le Silence At times it sounds dance-like and humorous, at others more dense and serious. Ammann interweaves his formal parts so skillfully that one wonders how he got from A to B. In Piece for Cello (Imagination against numbers) he uses the full range of what is possible on the cello. Karolina Öhman knows how to realize the subtle dynamic nuances. The Mondrian ensemble also shows itself in Après le Silence as an outstanding formation that more than does justice to the many "mood swings" in Amman's work.

The CD released on the Basel label A Tree in a Field Records is an event. The recordings sound incredibly live and do justice to the lively music. For audiophile fans, the label also offers the music on vinyl. The purchase is definitely worth it.

The Merel Quartet has already successfully explored the music of Felix Mendelssohn Bartholdy (and his sister Fanny) for an album (Genuin 11204: Felix: String Quartet in F minor op. 80; Four Pieces for String Quartet op. 81; Fanny: String Quartet in E flat major). The Swiss ensemble has now been joined by the young English Castalian String Quartet to record the Octet op. 20.

In the first string quartet in E flat major op. 12, however, the Merel Quartet is still among itself. The four perform the fast middle section of the Canzonetta as an elf dance, the Andante espressivo has great breath. And in the finale, Mary Ellen Woodside (violin 1), Edouard Mätzener (violin 2), Alessandro D'Amico (viola) and Rafael Rosenfeld (violoncello) combine lightness with a dramatic effect that creates a real pull. Only in the opening movement does the quartet take too many liberties in terms of agogic, so that the pulse is lost a little in the numerous small delays when quaver figures are played out too much or caesuras introduce new sections.

Together with Sini Simonen (violin 1), Daniel Roberts (violin 2), Charlotte Bonneton (viola) and Christopher Graves (cello), the octet creates a tonally balanced, narrative interpretation that ranges from fragile intimacy to orchestral power. The composer wanted the octet to play "in the style of a symphonic orchestra". The fusion of the two ensembles into a single, flexible body of sound is impressively successful. The way the tension in the development section of the first movement reverberates and the recapitulation is heralded in the rush of semiquavers chasing through the voices - that's great! A highly emotional Andante and an airy Scherzo are followed by a somewhat rumbling cello introduction and an extremely fast Presto finale that celebrates virtuosity and leaves a strong impression despite minor rhythmic inaccuracies.

Anne-Catherine Sutermeister holds a master's degree in literature from the University of Montpellier, a doctorate in theater studies from the University of Bern and a Master of Business Administration from the University of Geneva with a focus on human resources management. She is currently a lecturer in cultural management at the Universities of Geneva, Lausanne and Basel and in cultural mediation at the School of Social Work and Education in Lausanne.

Anne-Catherine Sutermeister previously headed a research and teaching laboratory at the School of Art and Design (HEAD) in Geneva. She is familiar with the public administration sector thanks to her four years of experience as head of the French-speaking section and assistant to the head of the Department of Culture of the Canton of Bern.

As former director of the Jorat Theater and former Vice President of the Pro Helvetia Foundation Board, she is a well-known personality on the national cultural scene. As an independent consultant, she has carried out several evaluation mandates in the cultural sector.

In this way, the Federal Council aims to "prevent permanent damage to the Swiss cultural landscape and preserve Switzerland's cultural diversity", as it stated in the Media release writes. And further:

"The economic impact of the ban on events on the cultural sector (performing arts, design, film, visual arts, literature, music and museums) is to be cushioned by means of emergency aid and compensation. As a first step, it is making CHF 280 million available as an initial tranche for two months. During these two months, the Confederation will monitor further developments together with the cantons and cultural organizations. The following measures are planned:

Firstly, the federal government provides funds to provide emergency aid to cultural enterprises and creative artists: non-profit cultural enterprises, for example foundations, can receive repayable interest-free loans to ensure their liquidity. Cultural professionals can claim non-repayable emergency aid to cover their immediate living costs, provided this is not covered by the new compensation for loss of earnings based on the Loss of Earnings Compensation Act. This is handled by the cantons (cultural enterprises) or by Suisseculture Sociale (creative artists).

Secondly, cultural enterprises and cultural professionals can apply to the cantons for compensation for the financial loss associated with the cancellation or postponement of events or the closure of businesses. The compensation covers a maximum of 80 percent of the financial loss. The Confederation shall bear half of the costs awarded by the cantons.

Thirdly, amateur associations in the fields of music and theater can be supported with a financial contribution for the financial loss associated with the cancellation or postponement of events."
 

The Federal Council has also Gatherings of more than five people prohibited. He refrains from imposing a ban on going out and instead relies on the solidarity and personal responsibility of each individual. It is important that the population understands the measures. After all, they must be adhered to by April 19. This requires a great deal of perseverance from everyone.

Yes, they do exist, the works that have fallen through the cracks of history. The reasons for this are manifold: in the 20th century, it was often political circumstances that caused them to fall through the cracks, before that a wide variety of factors played a role: a lack of initial success, an unusual instrumentation, an unsuccessful text ... When such scores are unexpectedly found or are performed again after decades, there is often talk of an "unjustly forgotten" composition. Whether it then enters the repertoire or at least comes to the attention of the general public remains to be seen. One heretical question always arises: Aren't there also "unjustly forgotten" compositions - such as all-too-early youthful works or even occasional music?

In any case, the mechanisms of the repertoire do not work according to fixed rules. This is also the case with Beethoven and his rich oeuvre, not all of which is equally well known - on the contrary: there is still much to be discovered. So too the Cantata on the death of Emperor Joseph II. WoO 87 (1790), a work commissioned by the Bonner Lese- und Erholungsgesellschaft (which, incidentally, still exists today and has also admitted women as members since 2019). The old minutes of the Executive Committee contain the suggestion that "perform something musical either before or after the speech" was to be performed. However, the cantata was never performed. As it was later said: "from several causes". Perhaps Beethoven had planned the work too extensively (with a playing time of just under three quarters of an hour), perhaps it was completed too late (there were only three weeks between the commission and the memorial service on March 19), and Elector Maximilian, the brother of the deceased and Prorector of the Society, had asked for an hour of silence in the sense of a funeral service.

Beethoven's autograph was lost unplayed. A copy did not reappear until 1884, and the cantata was performed for the first time at a concert of the Gesellschaft der Musikfreunde in Vienna at the suggestion of Eduard Hanslick. Since then it has led a shadowy existence. - Rightly so? Certainly not, because a great deal of the later Beethoven can already be heard here. It is no coincidence that the master later used musical material in other of his works (including the Fidelio) is reused.

Link to the project homepage "52 x Beethoven"

Georg Matter has been Deputy Head of the Culture Department since February 2018. Before joining the canton, he was a founding member and member of the management board of ProSpect GmbH in Reinach for ten years.

Georg Matter studied prehistory and early history, medieval archaeology and classical archaeology at the Universities of Basel and Freiburg im Breisgau (Germany). In 2008, he completed his doctorate at the Institut d'Archéologie et des Sciences de l'Antiquité (IASA) at the University of Lausanne. In 2012, he completed a CAS certificate course at the University of Applied Sciences Northwestern Switzerland on the fundamentals of business administration.
 

The Federal Council announced today that it now considers the situation in Switzerland to be "extraordinary" in accordance with the Epidemics Act. Among other things, this means that "public and private events (are) prohibited from midnight today. All stores, markets, restaurants, bars and entertainment and leisure facilities such as museums, libraries, cinemas, concert halls and theaters, sports centers, swimming pools and ski resorts will be closed." (...) "The supply of food, medicines and everyday goods to the entire population is guaranteed." Schools will also remain closed until April 19.

The current media release can be viewed here:

https://www.admin.ch/gov/de/start/dokumentation/medienmitteilungen.msg-id-78454.html
 

The Federal Council already promised support for the sports and cultural sector on Friday, March 13: "The Federal Council also intends to make additional funds available for the cultural sector. In an urgent procedure, the FDHA is drafting a temporary bill for additional economic measures that can be used in addition to other instruments to cushion cases of hardship in the cultural sector. In this way, the Federal Council aims to prevent the existence of recurring cultural events from being threatened and, in particular, to support self-employed and freelance cultural professionals in emergency situations. As part of the drafting of the law, it is also to be examined how the cantons, as those responsible for the cultural sector, can be included in the funding."

The exact nature of this support is being worked out. The Federal Council is endeavoring to find concrete solutions quickly.

The program of the March meeting of the Parliamentary Group on Music included Explanations on the new Cultural Dispatch 2021-2024. Business as usual, one might have thought. Nevertheless, never before have so many association representatives and members of the National Council and Council of States gathered in the Schmiedstube hall in Bern as this time. It was obvious: there was an elephant in the room - the forced shutdown of the cultural sector due to the coronavirus, which is putting event organizers, freelance musicians, technicians, concert logisticians and ticket providers in financial difficulties. After the presentations by the Federal Office of Culture (FOC) and Pro Helvetia on the cultural strategy for the next four years, there were also emotional votes, with urgent appeals to the councillors to find solutions to limit the devastating economic damage that is looming for the music industry.

Pro Helvetia Director Philippe Bischof felt compelled to remind those present not to confuse the issues. And indeed, there is basically good news to report on national cultural policy. The Federal Council wants to increase spending again. David Vitali, Head of the Culture and Society Section at the BAK, explained where the priorities lie with regard to music.

Firstly, there is the Youth+Music (Y+M) program launched with the last dispatch. Following an encouraging evaluation, the training of Y+M instructors is to be "adjusted in terms of content" and certification integrated into the courses of study for music teachers at music universities. A database will make information on the program and course instructors transparently accessible. Performance and impact measurements are also to be expanded. From 2022, the Confederation also plans to offer its own program for the promotion of talented students, which will allow around 1,000 talented students to be identified each year. The core of the program will be a "music talent card", which will "provide access to suitable (cantonal) support services". However, according to Vitali, the idea of a talent card did not meet with universal approval during the consultation process. For this reason, the federal government, cantons and other stakeholders will now work together to develop a framework concept.

According to Vitali, the federal government is also focusing on music school fees. The goal remains "equitable access to music education for all children and young people". An evaluation carried out here has also shown that the differences in fees for adults and young people vary significantly within the education regions. Around an eighth of music schools have no subsidized tariffs up to upper secondary level, around two thirds have no income-based tariff structure and over half have no extended subsidized offers for gifted students. This situation has hardly changed since 2016, Vitali admitted. The Federal Council's proposals on how to tackle this remain rather vague: it wants to further sensitize music school providers to the issue and re-evaluate them.

Director Philippe Bischof and Head of the Music Department Andri Hardmeier provided information on the near future of the national arts council Pro Helvetia. According to Bischof, the Arts Council wants to work more specifically to ensure that financial support is increasingly linked to fair pay for creative artists. Pro Helvetia would also like to promote equal opportunities between men and women. In addition, efforts are to be made to establish solid statistics on the cultural sector.

Andri Hardmeier explained that the cultural foundation wanted to take account of the fact that art and cultural forms are changing and merging ever more rapidly. Formats that do not correspond to the concept of works previously applied in the music sector are to be better taken into account in future as part of the promotion of works. Hardmeier mentioned, for example, site-specific or collective works, sound installations and sound art or multimedia works. The promotion of music theater is also to be "consolidated and further developed". Pro Helvetia is also concerned with the cross-cantonal and international dissemination of new works.

This is not enough for the Swiss Music Council. As it writes in a statement, it would like to see "the development of longer-term development strategies for the three genres of folk music, contemporary music (pop, rock, jazz, new classical music) and classical music". The German Initiative Musik gGmbH or the European Agenda of Music (EAM) of the European Music Council could serve as a model here. Furthermore, although the Music Council acknowledges that the visibility of Swiss music abroad has been "substantially improved" in some cases, its members perceive music exports as too fragmented and therefore not powerful enough. In order to improve its effectiveness, the music sector believes that exports need to be more coordinated and better funded.

In a press release, the Swiss Music Council, Sonart - Music Creators Switzerland and many other associations announced that the cultural and performing arts sector was "delighted with the constructive exchange with the federal authorities" on March 12.

The common goal is to preserve the diverse Swiss cultural landscape as well as its locations, organizers and jobs. To achieve this, all stakeholders must and want to pull together. Quick-acting measures are needed to prevent or at least mitigate the damage caused by the coronavirus crisis, which could have a lasting impact on the industry in particular, but also on the economic development of the country as a whole.

The demands are as follows:

"1. temporary unemployment insurance in the cultural sector for self-employed persons and all those for whom short-time work would not apply now (e.g. sole proprietors, freelancers, management, owners and partners)
2. uncomplicated access to short-time work for all SMEs in the cultural sector
3. compensation for canceled events, including artist compensation
4. emergency fund for cultural professionals and businesses facing existential threats
5. public funding for culture must continue to flow, cultural sponsors (including private ones) should coordinate their efforts
6. continued direct involvement of organizations of creative artists and event organizers in the design and implementation of concrete measures"