JACQUELINE NORTON OF THE HAMILTON MUSIC & FILM OFFICE
significant music properties are threatened or have already been lost .” The creation of heritage designations and cultural zones helps with this . As well , Terrill singles out Montreal , London , and Melbourne as three cities that have adopted an “ agent of change ” policy . This means , for example , if a condo building goes up beside an existing music venue , the full onus is on the new developer to mitigate noise through increased sound proofing on the new building or other options .
“ I think you probably saw in some of the different reports that are out there , including in Mastering of a Music City , that it ’ s some of the bureaucracy or bi-laws or legislation that seems to stand in the way of live music ,” says Jacqueline Norton , who manages the Hamilton Music & Film Office . The music component was added to Hamilton , ON ’ s existing film office in 2014 as a result of their formal music strategy . Music offices or music officers are useful as a single point of contact for musicians and music-related businesses as a source of information and expertise and a liaison between city hall and those in the music community .
A music advisory board – or “ music strategy team ” or “ music advisory council ” as it ’ s known in Hamilton and Toronto , respectively – brings together different stakeholders , including musicians , business owners , organization and association representatives , city councillors , and others . It ’ s within this board that proposals can be debated and recommended and where government can seek advice on legislation and regulation .
On engaging the broader music community , the report concedes that “ collaboration across the different segments of the music community doesn ’ t always come naturally as the sector is composed primarily of small and medium-sized businesses . Many operators of these businesses wear various hats , work only part-time in music , and struggle just to make a living ”; however , the report states , “ Evidence shows that cooperation and collaboration across the sector can lead to significant improvements to the regulatory and business environments , and are also the most effective means of gaining support from political leaders .”
Of the seven strategy elements , Terrill notes that audience development is “ probably the area we had the toughest time with .” That said , she notes government can play a role . “ The transportation grid is important , and that is a very concrete thing cities can do . For example , Melbourne has recently announced that they will have 24-hour transit on Friday and Saturday nights . The music community was thrilled because that ’ s been
MUSIC CITIES EXCHANGE EVENT AT NXNE 2015
a challenge ,” she says . As well , through tourism and marketing departments , cities can have a role in promotion . Out west , Tourism Calgary recently stepped up its efforts related to this summer ’ s launch of the National Music Centre , the upcoming JUNO Awards the city will host , and Mayor Naheed Nenshi ’ s proclamation that 2016 is the Year of Music in Calgary .
The elements and strategies stated here are just scratching the surface of the many , many lessons and recommendations found in the 106-page Mastering of a Music City report , which makes a worthwhile read . ( It ’ s not as daunting as it sounds .) And while the report provides a blueprint for identifying and creating a music city , it is not a one-sizefits-all formula . What is evident about the most successful music cities is that each has a unique identity .
“ There should still be uniqueness ,” Terrill emphasizes , recalling a recent meeting she had with officials and industry in Sheffield , England . “ The music industry there is very adamant that they ’ ve always been a little bit edgy . Like Arctic Monkeys came from there and their roots are definitely not mainstream . That ’ s OK , and actually that ’ s perfect because you don ’ t want to standardize your music city to match an international branding . You have to find what ’ s unique to you . It ’ s just that these are ideas to help facilitate or help get rid of some of those barriers so that music identity can flourish .”
Signs are promising in Canada from coast to coast , as Terrill says she is receiving calls and seeing action in cities in nearly every province . At the provincial level , the Government of Ontario has unveiled the Ontario Music Fund and Ontario Live Music Strategy ,
while most recently , Premier Christy Clark announced the BC Music Fund . It ’ s very encouraging indeed .
Now that we ’ ve looked a bit at the “ what ” and “ how ” of the music city concept , in part two in the May / June issue , we ’ ll look at the “ why .” To be a proper music city , it requires the buy-in and cooperation of m ultiple levels of government , businesses , non-profits , audiences , and musicians . What are the economic and cultural benefits for each that make the music city concept so compelling ?
Michael Raine is the Assistant Editor of Canadian Musician
PHOTO : BRAM GONSHOR / MUSIC CANADA
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