THE FINNISH MUSIC COUNCILS POLICY PROGRAMME ON MUSIC CONTENTS

1) MUSIC EDUCATION

The present situation Lower and upper secondary school Basic arts education: Advanced syllabus Secondary vocational education Higher education Objectives Lower and upper secondary school Basic arts education: Advanced syllabus Secondary vocational education Higher education Recommended measures Lower and upper secondary school Basic arts education: Advanced syllabus Secondary vocational education Higher education 2) MUSIC AS A PROFESSION

The present situation Orchestras and ensembles Freelance musicians The educational sector and the parishes Music therapy The Finnish Broadcasting Corporation Copyrights Occupational health and safety Objectives Orchestras and ensembles Freelance musicians The educational sector and the parishes Music therapy The Finnish Broadcasting Corporation Copyrights Occupational health and safety Recommended measures Orchestras and ensembles Freelance musicians The educational sector and the parishes Music therapy The Finnish Broadcasting Corporation Copyrights Occupational health and safety 3) MUSIC AS A LEISURE ACTIVITY

The present situation The role of music in early education Pursuing music as a hobby Objectives The role of music in early education Pursuing music as a hobby Recommended measures The role of music in early education Pursuing music as a hobby

THE FINNISH MUSIC COUNCILS POLICY PROGRAMME ON MUSIC FOREWORD

The activity of the Finnish Music Council is guided by the principles adopted by UNESCO, which recognise access to culture as a fundamental right of all citizens. Founded in 2003, the Finnish Music Council has a membership representing all areas of Finnish music. This policy programme was drafted in cooperation with the Councils member organisations, who were asked to provide a report describing the current state of affairs in their respective sectors and identifying future goals and the steps required to achieve them. We wish to take this opportunity to thank all who participated in the drafting of this policy programme. This policy programme analyses the current situation in Finnish music and seeks to inform decision-makers in both politics and civil service about future needs for development. On the whole, the state of music in Finland is reasonably good. Still, this policy programme will highlight a number of problems, some of them acute. These include regional deficiencies in the availability of music, the diversity of music and the teaching of music in lower secondary schools, the last of which has been significantly impaired by the adoption of the new distribution of lesson hours. A number of recently formulated national strategies for the future recognise the significance of culture as a building block of the welfare society and as a factor contributing to economic well-being. Not only are the direct benefits of culture acknowledged, but its positive effects on the national economy have also become more apparent. In order for us to realise a vision of Finland as a place of culture and creativity, the Finnish society must ensure sufficient resources for artistic endeavour. The money invested in culture represents a minuscule share of the national budget, yet its significance for the well-being and functioning of the nation is crucial. Music changes with the surrounding world, and the central task of the Finnish Music Council will continue to be to offer both local and national decision-makers the information they need. The Finnish Music Council hopes that this policy programme on music will provide its reader with inspiration and food for thought.

Pekka Vapaavuori Chairman

Timo Klemettinen General Secretary

ON THE VALUE OF MUSIC Culture and the arts are such an integral and essential part of society and peoples lives that their significance to the individual human being is difficult to discern with clarity. We can examine the significance of the arts to the individual through the prism of science. A world without music would be a world without culture. Musicality seems to be a product of evolution which has contributed to mankinds survival on Earth. It is precisely in music that we often find the most beautiful and the most exalted aspirations of culture. According to an ancient oriental saying, If you wish know the state of a nation, listen to its music. Kalevi Aho, Composer Cultural and artistic education may play an important role in nurturing socially active, cooperative and responsible citizens, and on the whole in promoting a vibrant Finland with an appreciation for diversity and humane values. Cultural and artistic education can help to cultivate the personality of children, youth and adults, offer fresh insights and skills, and reinforce creative attitudes. Such development will be conducive to the formation of a meaningful sense of life and the promotion of individual life mastery. A well-functioning musical environment can help to develop skills and aptitudes which may prove themselves valuable not only to the arts but also to mental well-being, science, economic life and society at large. Kari Kurkela, Professor From the perspective of business and economics, music appears as a constantly growing area of economic activity and as a foreign export. The economic significance of music is difficult to measure, since its indirect proceeds are often just as important as the visible cash flows. Everyone knows how important it is that Finnish excellence is visible on international concert stages and in international media. Pekka Kivel, Press attach From the vantage point of history, social sciences and social psychology, music can be seen as developing the social skills of people and promoting the social integration of different population groups, as preventing social exclusion, especially among the youth, and as exerting a positive influence on general social attitudes. Moreover, arts and culture serve as regional resources that promote the vibrancy of the peripheral areas of Finland. Adequate cultural services and opportunities for study are key attractors for new businesses and skilled individuals. Arts and culture can also engender new ways of thinking and enable economic innovations in the countrys periphery. Ilkka Lev, Psychohistorian Progress in neurological imaging and other methods of functional diagnosis has provided new evidence about the role of music in enforcing a communication between the hemispheres and other areas of the brain. Better communication between different areas in the brain can also help to explain the fact that children who study music or other arts perform better than average in school and show aptitude for other subjects as well, including mathematics. One indication of the significance of music for the brain are the many good results that have been attained with the use of music and singing in speech rehabilitation. Enhanced brain activity can also show outwardly apparent results such as improved concentration ability. Markku Partinen, Docent in Neurology Research in media and the culture of media highlights such aspects as the significance of technology and digitality for the shaping of musical culture. In our media-centred age,

we must promote the critical ability of citizens to both produce and consume media products. In promoting media literacy, arts education helps us to understand the media culture as an interaction between technology, contents and consumers. The goal is to give consumers an ability to express themselves actively and creatively and to impart cultural significance, and thereby promote an energetic media culture encompassing sound. Sara Sintonen, Research professor Since Ancient Greece, philosophers have explored the meaning of a good life. By examining life, we see how important the arts are to man. The arts can help us connect to our communities and the surrounding world. How better to anchor ourselves to the world that surrounds us than by learning to understand the world and the human experience through music, dance, theatre and the fine arts. Juha Varto, Professor

1) MUSIC EDUCATION The goals established in the latter half of the previous century, namely to produce first-rate players for orchestras and outstanding teachers for different sectors of music, have been successfully attained. In the new millennium, emphasis will be placed on developing musical education towards a greater diversity of values and cultures and on providing broader access to recreational music activities for all citizens. Ongoing challenges include the further development of goal-driven music education and of professional and academic education and research at all levels. The present situation Lower and upper secondary school The adoption of a new distribution of lesson hours in lower secondary school has led to a significant weakening of the status of music education. The proficiency objectives enshrined in the curriculum are out of balance with the amount of lesson hours allocated to music education. In the comprehensive lower secondary school, one weekly lesson per year is dedicated to music education from the first to the fourth year of school. From the fifth to the ninth year, a total of three weekly lessons per year are allocated to music education. In the last three years of lower secondary school, music is taught only during one term of the seventh year to the equivalent of one weekly lesson per year. This concludes all non-elective music education in the lower secondary school. In the 8th and 9th years of school, music education is an elective subject, the hours for which were also reduced in the lesson hours reform. In upper secondary school, only one course of non-elective music education is available. As the number of hours of music education is decreased, subject teachers of music fail to reach the minimum number of instruction hours required of them. Hence, the employment opportunities for qualified music teachers are weakened, especially outside the major cities. The quality of education declines and educational equality suffers. In the training of class teachers, music education plays too small a part to provide the qualifications necessary for successful music education.

Basic arts education: Advanced syllabus Education complying with the requirements of the advanced syllabus of basic arts education is available at 88 music schools and 12 conservatories. The amount of government funding per hour of instruction has remained flat since the early 1990s, even as the number of students has continued to grow, especially in the major cities. It has not been possible to offer government funding to new schools. Higher student fees and the financial problems faced by municipalities increase regional inequality. Despite increased demand, training in popular and folk music has seen no progress, due to stagnant government funding. While significant numbers of new teachers are being trained, they suffer from extensive unemployment and cannot realise their important potential for the development of music education. Secondary vocational education In Finland, secondary education encompasses the upper secondary school and the schools providing basic vocational education in various subjects. The upper secondary school has a non-vocational focus and prepares students for the matriculation examination. Basic vocational education is aimed at the attainment of vocational qualifications. The basic vocational education provided by the conservatories plays an important role within the continuum of music education, and offers an alternative to upper secondary school education. It is also possible to acquire basic vocational qualifications in music while pursuing the upper secondary school diploma. Higher education The Finnish higher education system is based on the so-called dual model, where higher education is divided between two sectors: the universities and the polytechnics. This is the model applied also in music education. In addition to the training programmes of the Sibelius Academy, which cover all areas of music, teachers of music are trained in the Universities of Jyvskyl and Oulu. Dozens of polytechnics around Finland also offer music education programmes. Music therapist training is available at polytechnics, and university-level education is concentrated in the University of Jyvskyl. To address the needs of Swedish-speaking Finns, the Sibelius Academy provides education in both Finnish and Swedish, while the Central Ostrobothnia Polytechnic at Jakobstad operates entirely in Swedish. In recent years, there has been an increase of research in music education, but translating the results of the research into the daily practice of music education and imparting the results to music education professionals require additional measures. Objectives Lower and upper secondary school A sufficient number of lesson hours should be dedicated to the teaching of music in order to make it possible to attain the objectives defined in the curriculum.

Music education should be provided at all class levels. The number of lesson hours dedicated to music should be sufficient to allow the creation of new music teacher positions and continued funding for existing positions. Music should be taught by qualified teachers. Basic arts education: Advanced syllabus Through increased government funding and adequate municipal financing, music schools should be given a level economic playing field in which to operate, regardless of the geographical location of the school. The network of music schools should be extended to the entire country, and children and youth should have access to first-rate music education no matter where they live. The ability of music schools to meet the challenges posed by teaching a wide variety of music traditions, especially popular and folk music, should be enhanced. Secondary vocational education There should be in place a first-rate, diverse and regionally extensive system of professional music education to provide the prerequisites for high-quality education in polytechnics and universities. Adequate economic resources should be made available for one-on-one training. Higher education Higher education in music should further strengthen its position as a producer of excellence, both nationally and internationally. Along with traditional education, the readiness to meet new challenges should be enhanced. Besides top specialists, new professionals with an extensive and diverse skill base should increasingly be trained to fill teaching and research positions in music. Adequate attention should be paid to the needs of different age groups and population segments, including immigrants, in designing the training of music teachers and instructors. The needs for development present in the field should be taken into account when allocating resources to training. Research findings concerning music education should be easily accessible. There should be close cooperation between music educators and researchers, and research resources should be targeted to areas relevant to both research and practical music education. Recommended measures Lower and upper secondary school The distribution of lesson hours should be revised to ensure that music is taught at all class levels. In addition to non-elective lessons for all pupils, music teaching should be developed by increasing the number of elective courses (music technology, musical instrument instruction, etc.). Basic arts education: Advanced syllabus Basic arts education should be developed in line with the Operating and Financial Plan of the Ministry of Education for 2006-2009. Adequate government funding will ensure an outstanding, first-rate music education offering an effective starting-point for professional study.

The municipalities participation in the financing of basic arts education should reflect the true cost of the activity. Government funding should be increased to enhance access to music education, regional equality, and the teaching of popular and folk music. The Ministry of Education should oversee basic arts education and participate in its further development. Secondary vocational education The strong development of professional music education should be reflected in the unit prices. Adequate funding should be allocated to the development of the competence-based vocational qualification system. Higher education The polytechnics and universities should clarify their roles and intensify their cooperation. A sufficient number of sufficiently varied opportunities for further education should be created for individuals who have completed a polytechnic degree. This could be achieved both by developing a distinctive further education degree programme within the polytechnic system and by cooperation between the polytechnics and universities. These two development models should function in a mutually reinforcing way. Their development requires an active approach both by the universities and by the Ministry of Education, which directs the educational development and funding. A centre for applied music research should be established to improve the communication of research findings to the music education field. 2) MUSIC AS A PROFESSION The number of music professionals in Finland is relatively large, and their level of proficiency high. A key success factor is the comprehensive system of music education in Finland, which, in its variety of forms, is the largest employer within the music field. Other significant employers of musicians include the network of orchestras and the church parishes. Moreover, there are a large number of selfemployed freelance musicians, particularly in popular music. The present situation Orchestras and ensembles Finland has an extensive and well-functioning network of orchestras. With a combined roster of a thousand musicians, the 29 orchestras put on a thousand concerts a year for a total audience of one million listeners. Our orchestras also enjoy relatively good international visibility and esteem. Regular government funding is provided not only to the symphony orchestras and equivalent smaller ensembles, but also to UMO Jazz Orchestra, folk music group Tallari and childrens music ensemble Loiskis. Discretionary funding is provided to some 30 groups annually.

In terms of municipal funding, there are major problems in some cities, and even some threats of orchestras being scaled down or eliminated. Not all orchestras have a sufficient number of staff positions or appropriate concert facilities to allow a full-scale orchestral activity. Also, due to the burgeoning administrative workload, the orchestras are understaffed across the board. The operating environment of first-rate small ensembles outside the mainstream of music is constrained. Hence, domestic audiences have relatively few chances to witness Finnish artists who perform at an internationally high level. Professional musicians experience difficulty in gaining access to a suitable workspace, especially in the Helsinki area. Freelance musicians Permanent and open-ended positions for music professionals exist in the education sector, in the parishes and in the symphony orchestras. Music therapists are employed by hospitals and various other institutions. Otherwise, employment opportunities consist of short fixed-term appointments or of self-employment, which, unlike in the rest of the labour market, is not a new phenomenon but an established practice. However, music professionals, too, often find themselves under pressure to go into self-employment, which not all would prefer. The social security coverage of those working fixed-term jobs in the music field is inadequate. One example of this is that copyright royalties - an important source of income in the music field do not provide a bonus towards future social security benefits, yet are deducted from any benefits which may be paid. Also, the implemented pension reform is a cause of concern especially in the symphony orchestras, where the aging of the musician staff is an increasing problem. The number of supplementary artist pensions granted is not sufficient. The educational sector and the parishes The music teachers at various educational institutes and the cantors at the parishes together form a nationwide network of music professionals, who are often essential to a healthy musical life, especially in the peripheral areas of Finland. A recent problem is that in small towns, no employer is singlehandedly able to provide full-time employment to a single music professional. This makes it difficult to hire qualified staff. Music therapy Educational and research activity around music therapy is well established and highly developed. The number of professionals in music therapy has grown steadily as has demand for them, thanks to increased recognition of the potential of music therapy. The status of music therapists continues to be undermined by the fact that the National Authority for Medicolegal Affairs has not recognised music therapist as a restricted profession. The Finnish Broadcasting Corporation The Finnish Broadcasting Corporations mandate of public service is laid down in an Act of Parliament, according to which the Finnish Broadcasting Corporation is responsible for producing, creating and developing Finnish culture, arts and inspirational entertainment (Chapter 3 Section 7 of the Act on the Finnish Broadcasting Corporation, revised and in effect since 1 January 2006).

The role of the Finnish Broadcasting Corporation in presenting and sustaining Finnish musical culture continues to be central, even if the number of musicians employed in the programme production staff is less than half what it was a decade ago. Problems have been seen in the presentation of regional music production in the programmes and in the lack of a clear definition of the Corporations cultural mandate in the music field. Copyrights The national implementation of the EU Directive 2001/29/EC on the harmonisation of copyrights in the information society was completed in autumn 2005 after a four-year legislative process. A national law based on the Directive will become effective largely in the form proposed by the Government. The Act offers a number of important legal protections against the illegal use of music, particularly on the peerto-peer networks. Online commerce in music is transforming from pilot projects into a genuine business, even if illegal distribution and sharing of music files continue to hamper the emergence of a legitimate market. There has been a shift in the public opinion against copyrights. Occupational health and safety Acoustic trauma is increasingly common among music professionals. Excessive noise exposure is a growing problem affecting the working environments of symphony orchestras, freelance musicians and music teachers. Objectives As the funding of cultural activity increasingly shifts from lottery-based funding to funding out of general revenues, the lottery proceeds should be allocated to music and other arts in accordance with the spirit of the Act on the Distribution of Lottery Proceeds. Orchestras and ensembles The operating ability of orchestras should be secured on a sustainable basis to enable the maintenance and development of an artistically and functionally relevant orchestral activity. Orchestras should have a sufficient musical staff to allow them to perform appropriately, suitable performance rooms and appropriate administrative resources. The combined resources of the network of orchestras should be utilised effectively by means of regional cooperation. Audiences around Finland should have continuous access to a wide variety of first-rate Finnish live music in their home community or its vicinity. Musicians should have access to rehearsal rooms suitable for them to practise their profession. Freelance musicians Entrepreneurial activity in the arts and cultural sectors should be supported as one of the key factors of a creative economy, while making sure that entrepreneurship in the music field remains a voluntary choice. The social security coverage of music professionals in fixed-term employment should be at the same level as the coverage afforded to those working in open-ended employment relationships. Copyright royalties should be treated equitably in taxation and when determining eligibility for social security benefits. The negative effects of the pension reform on the activity of symphony orchestras should be

minimised. The number of artist pensions should reflect demand as the large post-war generations retire. The educational sector and the parishes An adequate number of full-time positions should be created also in the smaller towns and cities in order to ensure a successful performance of duties in the music sector. Music therapy Music therapist should be recognised as a protected occupational title and music therapists should be included in the registry of professionals maintained by the National Authority for Medicolegal Affairs. This would improve patient security and the legal protection of therapists and their clients, and would help to guarantee a high quality of therapy and rehabilitation. The Finnish Broadcasting Corporation The Finnish Broadcasting Corporation should uphold is cultural mandate in respect of music by presenting a wide variety of regionally representative Finnish music. Copyrights Copyright should be recognised and respected in the Finnish society as a cornerstone of a creative economy. The legal framework for legitimate commerce in music should be ensured, and effective measures for copyright supervision should be created. The contract culture in the music sector should be transparent and appreciative of the long-term status of domestic actors. The operating conditions for the copyright organisations should be secured. Occupational health and safety The EU Directive on noise exposure should be implemented in Finland, taking into account the common position of actors in the music sector. Noise exposure in the music professions should be studied comprehensively and regularly, and the work-related exposure should be limited to the extent where it no longer jeopardises the health and working ability of music professionals. Recommended measures Coordination of the needs of the educational system and the professionals requires development on the part of all parties and especially the recognition of the work practices specific to the music sector. It should be ensured that the lottery proceeds released when certain cultural pursuits are switched over to funding out of general revenues are used in the spirit of the Act on the Distribution of Lottery Proceeds for the benefit of music and other arts. Orchestras and ensembles The Government and the individual municipalities should act in concert to secure the production, artistic and administrative resources by providing a level of public funding commensurate with actual costs. The regional activity of the orchestras and their cooperation with music educators should be developed further. Public funding for domestic and international touring activity should be secured.

Performances by outstanding small ensembles should be supported by subsidising club performances based on local participation and low overheads. Such a system would offer citizens throughout the country a diversity of musical experiences in the fields of popular, folk and chamber music. Projects aimed at providing music professionals with appropriate facilities in which to practise their profession should be supported with public funds in accordance with the public policy programme on art and artists. Freelance musicians Necessary measures, including studies and legislation, should be launched to improve the social security coverage of persons employed in temporary positions within the music sector. Copyright royalties should be treated equitably and uniformly when it comes to taxation and eligibility for social security benefits. Needs and possibilities with regard to legislative development should be studied. Together with the labour market parties and other actors involved in the music sector, steps should be taken to identify the measures needed to solve or alleviate the problems inflicted by the pension reform on the symphony orchestras. Funds for supplemental artist pensions should be made available to cover the existing need for additional funding. Increased support should be given to make musical entrepreneurship one of the driving forces for a creative economy and for foreign exports. The educational sector and the parishes An inquiry should be launched to determine how the legislative obstacles in the way of establishing joint faculty positions between various types of educational institute, as well as different municipal sectors and parishes, could be removed. Music therapy The status of music therapy in society should be addressed by means of an educational reform in the psychotherapy sector. Consultations should be held with the Ministry of Social Affairs and Health and the Ministry of Education to lay the groundwork for the recognition of music therapist as a separate degree and occupational title, following which the National Authority for Medicolegal Affairs could include music therapists in its register of professionals. The Finnish Broadcasting Corporation Adequate resources should be secured for the Finnish Broadcasting Corporation to provide diverse and varied music programming. The Finnish Broadcasting Corporation should ramp up its own music production. The presentation of new copyright-protected domestic music on Radio Yle 1 or on other channels should not be limited in an effort to achieve savings on copyright payments. The Finnish Broadcasting Corporations cultural mandate in respect of music should be clarified. The Corporations Administrative Council, Board of Directors and Managing Director, the Finnish Parliament and the Parliamentary Committee for Education and Culture, and the Ministry of Transport and Communication should ensure that the Corporations public service mandate and its legally

defined objectives are realised. The research on the presentation of music on the radio funded by the Academy of Finland and other studies should be used as background material. Copyrights Public information highlighting the need for copyrights should be supported to combat the negative attitudes towards copyrights. The legislation should be developed further to meet the challenges of evolving technology and the environments in which music is used. The prevailing contract culture in the music sector should be examined, as needed, with regard to such issues as various regulatory projects related to the copyrighting of works made for hire. Occupational safety and health Necessary cooperation between public authorities and actors in the music field should be launched to implement the EU Directive on noise exposure and to minimise the risk of acoustic trauma for music professionals. 3) MUSIC AS A LEISURE ACTIVITY The majority of Finns practise music in one form or another. For many, music is a lifelong hobby. The age structure of the Finnish population is about to change with the share of the elderly population increasing substantially. On average, people will stay healthy and mentally active longer, so opportunities for lifelong learning and recreational activity should be recognised also in the music field. Hobbyist musicians fulfil an important cultural task. They are a numerous group who both provide a substantial amount of the cultural offerings available in Finland and serve as an active and engaged group of music consumers. The present situation The role of music in early education Parents differ in their abilities to offer their children an exposure to music. Day care workers are pressed for time and children are often placed in large groups. Moreover, day care workers do not have the training to provide music education, and there is relatively little cooperation between day care centres and music professionals or schools. In addition to the music playschool sections operating under the auspices of music schools, early education in music at various levels of sophistication is provided by parishes, societies and private organisations. Pursuing music as a hobby There are several organisations providing an opportunity to pursue music as a hobby, such as adult education centres, music schools, parishes and various clubs or associations. Some of their programmes can be considered to conform with the requirements of the general syllabus of basic arts education. No funding has been specifically earmarked for education complying with the requirements of the general syllabus of basic arts education. Therefore, not all interested individuals have access to

guided recreational activity in music. Finnish municipalities provide different amounts of basic education in the arts. There is not enough cooperation between the different actors in the music sector, which causes both competition and unnecessary duplication of efforts. Different types of educational institutions do not complement each other to form an integrated system which would cater to different types of target groups for music education, such as persons with learning disabilities, minorities, immigrants, or children at risk of social exclusion. Due to the scarcity of public funding, the clubs and associations responsible for music education and hobbyist activity are unable to produce the learning materials required by hobbyist groups or to provide a diversity of recreational opportunities taking into account the specific needs of different population and age groups. The organisations and individuals responsible for hobbyist music activity engage in some cooperation with the schools providing basic arts education. Objectives The role of music in early education Families play an important role as a source of positive music education. The significance of music in promoting the holistic development of small children should be recognised when planning learning environments and the content of education. Day care centres should have sufficient staffs trained in music education. The staff should have the time to plan and carry out music-based activities and projects in cooperation with the surrounding community and with professionals and hobbyists from different music backgrounds. Pursuing music as a hobby The differing roles and objectives of the advanced arts syllabus providing qualifications for professional training and the general syllabus with a hobbyist approach should be mutually reinforcing and supportive of the development of a diversified music education system. Different types of educational institutes and organisations and individuals active in music should collectively organise music education of different kinds and embracing a diversity of values, aimed at students and hobbyists of all ages and backgrounds. There should be a clear division of tasks between the organisers of music activity. Cooperation between them would produce synergy effects benefiting all participants. Through cooperation, numerous shared full-time positions could be created between such establishments as music schools and folk high schools, which would allow trained and qualified music educators and musicians to practise their profession in areas with a low population density. Sufficient resources should be created for the practice of music as a hobby or as part of the general syllabus. This should apply equally for the availability of financial resources and for the training of music professionals. The regional availability of cultural services should be secured. Particular attention should be given to the availability of Finnish musical culture in its diverse forms to the entire Finnish population. Recommended measures

The role of music in early education The training of kindergarten teachers should comprise more music study. The training of music educators active in early education (such as music kindergarten teachers) should be adapted to changing needs (special education, immigrants, etc.). Cooperation with professionals in music education should be increased. Early education professionals trained in music should be hired to carry out early education. Day care centres should be afforded the financial means necessary to arrange concerts and other music events. Appropriate resources should be allocated to music kindergartens run by qualified professionals. The activity of the Taikalamppu Network of Childrens Cultural Centres should be developed in cooperation with other organisations active in music education. Pursuing music as a hobby Various types of schools and organisers of music activity should join forces to increase opportunities to practise music as a hobby or as part of the basic arts education complying with the general national syllabus as well as to develop a diversified music education system. The State should allocate funding e.g. as part of the Ministry of Educations discretionary subsidies programme to both basic arts education complying with the general national syllabus and to the practice of music as a hobby outside the general syllabus. The municipalities should participate appropriately in the financing of basic arts education. The State funding of basic arts education, which is proportionate to the size of the local population, should be made available for use in basic arts education. Further education of music teachers should be developed in cooperation with tertiary educational institutes. Further education programmes aimed at improving music teachers' professional ability to adapt music education to the special needs of different groups should be created. Music education targeted at special groups should be developed and a certain share of the music education professionals should specialise in work supportive of multiculturalism and the social integration of immigrants. State funding should be prioritised to projects aimed at creating educational content and instruction materials for new areas of music education. Before- and after-school programmes at schools should be developed in cooperation with other actors. Such programmes should not take the place of the basic education offered at schools. Composers, lyricists, arrangers and publishers should be encouraged to produce material suitable for hobbyist musicians. The requirements described above relating to the practice of music as a hobby should be given appropriate attention when deciding upon library acquisitions and library funding.

This policy programme was drafted with the participation of the following:
1. The Sibelius Academy Tel. +358 9 405 441 info [at] siba.fi 2. The Finnish Music Publishers Association Tel. +358 9 586 0870 info [at] musiikkikustantajat.fi 3. The Society of Finnish Composers Tel. +358 9 445 589 etunimi.sukunimi [at] composers.fi 4. The Association of Finnish Symphony Orchestras Tel. +358 9 2709 1411 info [at] sinfoniaorkesterit.fi 5. The Finnish Amateur Musicians Association Sulasol Tel. +358 9 4136 1100 info [at] sulasol.fi 6. The Finnish Music Teachers Association Tel. +358 9 148 6133 smol.toimisto [at] smol.inet.fi 7. The Association of Finnish Music Schools Tel. +358 9 490 004 sml [at] musicedu.fi 8. The Guild of Light Music Composers and Authors in Finland Tel. +358 9 407 991 toimisto [at] elvisry.fi 9) The Finnish Society for Music Therapy Tel. +358 50 383 5852 toiminnanjohtaja [at] musiikkiterapia.net 10) The Association of Finnish Conservatories Tel. +358 9 222 4520 mml [at] consa.fi 11) The Central Organization for Folk Music Tel. +358 9 873 1320 toimisto [at] suomenkansanmusiikkiliitto.fi 12) The Finnish Jazz Federation Tel. +358 9 757 2077 info [at] jazzfin.com 13) The Finnish-Swedish Amateur Musicians Association Tel. +358 6 320 6800 kansli [at] fssmf.fi 14) The Finnish Association of Adult Education Centres Tel. +358 9 612 2430 helja.nurmela [at] ktol.fi 15) The Association of School Music Teachers in Finland (KMO) Tel. +358 50 561 1393 kmory [at] co.inet.fi 16) The Finnish Society for Music Education Tel. +358 14 260 1337

jukka.louhivuori [at] jyu.fi 17) The Finnish Association of Church Organists Tel. +358 9 150 2446 kanttori-urkuriliitto[at]akiliitot.fi 18) The Finnish Association for Church Music Tel. +358 9 436 6540 etunimi.sukunimi [at] skml.inet.fi 19) The Finnish Musicians Union Tel. +358 9 6803 4070 sml [at] musicfinland.com 20) The Finnish National Group of the International Federation of the Phonographic Industry Tel. +358 9 6803 4050 ifpi [at] ifpi.fi