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CC Questionnaire du Conseil des Arts

Canada Council
Contemporary Music Section Review National Arts Service Organizations

Name of respondant:

Individual or organization:

Name of organization:

Title or function (composer, performer, etc):

ORGANIZATION PROFILE (organisations only)

1. Give a brief hisory of your organization.

2. What is the mandate of your organization?

3. If you consider your organization to be an arts service organization, why? If you do not, why not and what do you consider your organization to be?

4. What is the membership of your organization (size and selection criteria)?

5. What services and/or activities does your organization provide its members? (e.g., education, skills development, professional development, seminars, conferences, lobbying, etc.)

6. What publications does your organization use to communicate with its members? (e.g., newsletters, electronic communications, etc.) 7. How many meetings does your organization have annually?

8. What is the nomination/selection process for the executive positions in your organization?

9. How long is the mandate for each executive position?

10. Has the primary means of communication (e.g., newsletters, meeting, e-mail) changed over the past few years for your organization?

11. Do any of your publications reach beyond the membership to a national or international audience? 12. How does your organization measure or evaluate its services to the community?

13. Does your organization review or update its mandate?

14. Does your organization communicate with other new music service organizations, share initiatives or jointly send representatives to conferences?


National organizations: Canadian Leauge of Composers (CLC) Association of Canadian Women Composers (ACWC) Canadian Electroacoustic Community (CEC) Some sample regional organizations: Association of Atlantic Composers, Manitoba Compsoers Association, Alberta Composers Association, etc.

Organizations - answer these questions according to your organizational practice, mandate and history Individuals - answer these questions according to your personal experience, membership and perceptions

15. What percentage of overlap exists among the three arts service organizations in terms of membership?

16. Who are the primary constituents (practitioners in the new music art form) served by your / each organization and what are the tangible benefits to the new music constituents being served?

17. Who are the practitioners not being served by these organizations? How would the community benefit from their inclusion in an arts service organization?

18. How does each of the three organizations define its membership in terms of:

a) composers

b) performers

c) improvisers

d) producers

e) gender

f) generation - ie: younger practicioners

g) technology

h) new performance and composition practices - technological, social and cultural

19. How do these organizations recruit their members?

20. Do the organizations include members from all regions of the country? 21. Are there national or regional issues that have an impact on the services provided to the new music community?.( e.g,: language, gender, cultural diversity, regionality, representation, inclusivity & exclusivity, etc.)

22. Have there been previous organizational models which benefited the community? If so, how and why? What led to their demise as organizations?

23. How do similar organizations in music and other disciplines serve as models, or not, for the new this artform with regard to both structure and mandate? (e.g., PACT (theatre), Le Regroupment or Dance Ontario (dance) and in music, Orchestras Canada and POCC (opera), the Folk Alliance, Jazz Alliance and WestCan Jazz, etc.)


24. Indicate any initiatives or issues coming from organizations in the new music milieu in recent years (failed or successful) that may have been affected by the presence or lack of service organizations.

25. What are the most important issues in the community that are addressed by the current service organizations?

26. What are the most important issues in the community that are not addressed by the current service organizations?

27. What resources -i.e., time, expertise, maintenance, etc. - would be needed to address these issues? (re: Question 25)

28.Indicate any changes or trends seen in recent years within the existing service organizations, including a. Real - resources, funding, funding cuts, new granting programs, changing technology b. Implicit - new ways of thinking, new initiatives from the community, new energy/players, burnout/reluctance

29. Indicate initiatives in other performing arts disciplines which could be applicable or modified to suit the new music community.

30. Indicate issues that you consider could be more easily resolved than others, including solutions that would require additional resources.

31. Indicate issues that you consider to be larger and therefore need to be identified to further analysis.

32. Can service organizations serve an art form made of many diverse practices and structures as well as they serve more homogenous artistic practices and structures such as orchestras and theatres where the breadth og scael, practice and structure exist?

33. Do you have any other ideas or comments concerning the role of arts service organizations in the new music community?

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