NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

instruments

Learn to play an instrument to better your music production

21 Nov 2014 - 10:51

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by Richard Rumney

Many young aspirant composer / producers don’t come from a traditional music background but rather a DJing background with an interest in making dance and electronic music. After getting some all-in-one software package such as Fruity Loops (FL Studio), Reason or Ableton Live they begin making music using the tricks of the trade that modern software offers.

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Before I carry on, it is important to note that good music is good music. There are countless examples of guys who have no background in music and end up making really solid tunes using software.

But this article is to encourage computer music makers to push themselves to be better musicians by learning to play a musical instrument. Being able to play an instrument has been the backbone of music for centuries and is one of the most enjoyable skills to have. Whether its keyboard / piano, guitar, bass, drums, percussion, wind or horn instruments, if you feel you are already making great music with just software and a controller, imagine what you could do if you could play like a pro.

Richness and depth of music

If you have a passion and love for music you’re likely to be able to take a keyboard and bang out a catchy melody just by using your ear. But melody is just the starting point for many songs. One needs to add harmony to the basic melody. And once you’re added harmony you might want to build on the structure of the song by looking at chord progression. The point is although a good melody is often fine on its own, it’s great to be able to harmonise and build upon the melody if you feel that the song could benefit from that. Learning to play an instrument will give you the basic music theory you need to be able to add a richness and depth to your music that you will struggle with otherwise.

Musicians have the ‘feel’

Of course you could study music theory without having to learn how to play an instrument. And modern software such as Ableton, Cubase and Logic have tools that do thing such as making sure that the notes you play stay in a chosen musical scale or others that build chords out of just one note as an example. But the end result, although musically perfect, often sounds too rigid. When you program in music the notes are all perfectly timed and play back at a constant velocity (volume). Playing and recording an instrument ‘live’ means that there are subtle variations in the timing and expression of the notes which makes all the difference. And the best part is that if you really play badly, you have the option of auto-correcting your performance if you really need to.

Nothing sounds better than the real thing

Although many instruments can be faithfully emulated by virtual software some musical instruments will just never sound as good as the real thing. Guitar, particularly acoustic, horn and wind instruments, bowed instruments to a degree, even many keyboard instruments such as piano and percussion instruments such as a drum kit, really need to be played and recorded to get an accurate sound representation. Of course if you are a producer you can hire session musicians to play your music but if you actually know how to play an instrument you can just record your own performance which is a lot cheaper and easier than hiring someone to do it for you.

Sampling: a limited resource

Most music software packages come with bundled copyright-free music sample loops that anyone can use in one’s music. This allows many music makers to get around the problem of not having an understanding of music and because the samples are often recordings of real instruments it helps people get around the problem of certain instruments needing to be recorded to sound right. But how long can you use samples before you create something original? If everyone has access to those same samples as you do, then you run the risk of your music sounding like many other producers out there. Just think about it: You’re all set to release a banging track with a catchy hook and then you hear that same hook in a shampoo commercial on TV. There’s nothing you can do about it, and unless you want your music associated with shampoo, you have to change the song. Better to make your own samples.

Improve your show

DJs are great entertainers and the iconic image of a guy with one headphone pressed between his ear and shoulder with two turntables in front of him has become as cool a look as a guy with a guitar swinging in front of his pelvis. But increasingly musicians and DJs are stepping behind the DJ booth to not only play other people’s records but also play their own instruments. Just look at Goldfish: Sure they make great music, but they wouldn’t be half as popular if they didn’t have such a great live show where they play real musical instruments in night-clubs and live music venues alike.

If you play in a band then this article would obviously be redundant to you. But if you are one of the many aspirant DJ/producers coming out of house-music-mad South Africa, you should really consider learning an instrument. You might want to just learn the basics or you might end up striving to become a virtuoso. In the end the time you invest in learning to play an instrument will really pay off allowing you to create rich, versatile music without restriction.

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