905 resultados para Concert organizations


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Introduction. The European Union’s external action is not only defined by its influence on international developments, but also by its ability and the need to respond to those developments. While traditionally many have stressed the EU’s ‘autonomy’, over the years its ‘dependence’ on global developments has become more clear.2 International law has continued to play a key role in, not only in the EU’s external relations, but also in the Union’s own legal order.3 The purpose of this paper is not to assess the role or performance of the EU in international institutions.4 Rather it purports to reverse the picture and focus on a somewhat under-researched topic: the legal status of decisions of international organizations in the EU’s legal order.5 While parts of the status of these decisions relate to the status of international agreements and international customary law, it can be argued that decisions of international organizations and other international bodies form a distinct category. In fact, it has been observed that “this phenomenon has added a new layer of complexity to the already complex law of external relations of the European Union”.6 Emerging questions relate to the possible difference between decisions of international organizations of which the EU is a member (such as the FAO) and decisions of organizations where it is not (irrespective of existing competences in that area – such as in the ILO). Questions also relate to the hierarchical status of these decisions in the EU’s legal order and to the possibility of them being invoked in direct or indirect actions before the Court of Justice. This contribution takes a broad perspective on decisions of international organizations by including decisions taken in other international institutions which do not necessarily comply with the standard definition of international organizations,7 be it bodies set-up by multilateral conventions or informal (transnational / regulatory) bodies. Some of these bodies are relatively close to the EU (such as the Councils established by Association Agreements – see further Section 5 below); others operate at a certain distance. Limiting the analysis to formal international organizations will not do justice to the manifold relationships between the European Union and various international bodies and to the effects of the norms produced by these bodies. The term ‘international decisions’ is therefore used to refer to any normative output of international institutional arrangements.

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Des recherches au Québec (Garon, 2009), en France (Donnat, 2011) et aux États-Unis (Kolb, 2001) confirment un état de fait général: le vieillissement du public de la musique classique. Si le public du répertoire est reconnu pour posséder un haut niveau d’études, pourquoi les étudiants universitaires de nos jours ne sont-ils pas plus présents dans les salles de concert ? Cette étude explore cette problématique d’abord par une recherche historique et par des entrevues auprès de certains des organismes de musique classique à Montréal, et ce afin de comprendre leurs stratégies de développement des publics concernés de 2004 à 2014. Ensuite, par un sondage auprès de 555 étudiants universitaires de la ville, pour faire un portrait de leur relation avec la musique à l’heure actuelle. Notre analyse, appuyée par une bibliographie en sociomusicologie et en sociologie des pratiques culturelles, confirme des tendances comme celle de l’«omnivorisme culturel» et l’éclectisme musical des jeunes universitaires. Elle nous montre aussi une réception positive des œuvres classiques, quoiqu’incompatible avec les critères esthétiques des genres musicaux favoris. À partir de ce paradoxe, nous étudions la force des motivations extramusicales qui les amènent aux concerts, leurs formats préférés, l’impact de l’éducation musicale, l’influence des parents, de l’internet, des nouvelles technologies. Finalement, nous constatons le nombre peu élevé d’initiatives des organismes musicaux dans le milieu universitaire à Montréal qui, pourtant, se montre un bassin au grand potentiel pour le renouvellement des publics de la musique classique.

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Latest issue consulted: 1945/90.

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Mode of access: Internet.

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Reuse of record except for individual research requires license from Congressional Information Service, Inc.

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Front page of four-page program which contains complete list of performers, works performed, and advertisement for Weber pianos