After a walk around the Zurich Opera House, the evening at the Lebewohlfabrik in Zurich will feature sound recordings, film documents and a discussion with Theodor Lichtmann, pianist and Max Lichtegg's son, and Alfred Fassbind, former pupil and biographer of Lichtegg.

Of the 691 first-year students at the ZHdK, 278 enrolled on a Bachelor's or Master's degree course in Music, 117 in Design, 91 in Fine Arts, 111 in Art Education and Transdisciplinarity and 94 in Performing Arts and Film.

A total of 2344 people are studying at the ZHdK. Of these, 1240 are studying one of the eight Bachelor's degree programs and 1104 one of the eleven Master's degree programs. The number of students has remained constant compared to recent years. A numerus clausus applies at the ZHdK; prospective students undergo a strict admission procedure beforehand.

Prague has always been a place of the arts and music in particular. In the Baroque period, Jan Dismas Zelenka was educated here, Mozart composed one of his late symphonies for Prague, his Don Giovanni was premiered there, and in the late Romantic period the music of composers such as Antonín Dvořák and Bedřich Smetana radiated out from Prague into the world. The Swiss composer Frédéric Bolli's second symphony, with dem nicknamed Prague Spring Symphonystrictly speaking, has little to do with it. There are some baroque compositional techniques in it, such as the canon, which of course is not applied in the sense of a pronounced neo-baroque style. Rather, Bolli's composition refers to very private memories during a stay in Prague with his school class when he was a teacher at the cantonal school in Frauenfeld.

The world premiere took place as part of the opening concert of the Constance Music Festival, July 21-29, 2022. Bolli's Spring Symphony followed Sergei Prokofiev's weighty Piano Concerto No. 1 in D flat major op. 10 and Erich Wolfgang Korngold's demanding Violin Concerto in D major op. 35, performed by the Südwestdeutsche Philharmonie Konstanz under the baton of Benjamin Lack. The venue for the concert was the former church of the former Dominican monastery on the island in Lake Constance, in the ballroom of the Inselhotel. Without question a beautiful place for a concert. And it is not very often that you have the opportunity to sit by the lake with the composer after the performance, have a cool drink and chat about the work. "Every day I wrote a short poem in free verse, each time in a different place in old Prague," Bolli told me. "These verses are now a good twenty years old. There are five poems in total, which give the titles to the five movements of my symphony and are scored for soprano solo. In this respect, my second symphony is not just instrumental in character, but has the structure of a five-part cantata for solo soprano and orchestra. A very personal homage to Prague."

Instrumentally, the theme of the first poem Travestita di legno savored in a rhythmically intricate way with lots of wood percussion:
Travestita di legno

Wood masked
she was stuck
in street canyons,
kluftverrannt in
gray tasks,
until the voices
sued horror
they triggered
idle contemplation.
Only then did she turn
for seconds
glances at the light.

The opening movement of the symphony is entitled "Allegretto". An instrumental prelude unfolds in a correspondingly lively and bold manner. As soon as the soprano enters, following the wordplay in a free melody, the symphonic changes to a cantata. Singer Ania Vegry performs her part with both expression and humor. String chords and colorful dabs of woodwind in twelve-tone rows accompany the sung lyricism. Bassoon and clarinet solos enliven the whole as do accentuating timpani. The second poem with the title Postmodernism precedes the second, slow movement with the tempo marking 'Largo'.

Postmodernism

Atavistic savory wisdom
slumber through my
wildest daydreams.

National sleeping patterns
comb through the icy
Suburbs.

Changes in ownership
announce the most frequently performed classics,
while faithless mischief
spreads thickly.

In this movement in particular, Bolli proves himself to be a master of timbre, especially when the bass clarinet and contrabassoon enter into a dialog and are later joined by timpani and cor anglais. A plaintive melody probably expresses the "customary sleeping patterns" and "the icy suburbs" mentioned in the poem, even before the soprano utters the words. Baroque forms also appear in a faster section, which lend the movement a playful note and may refer to the words sung later "Handänderungen künden von meistgepielten Klassikern". This movement ends tumultuously and fortissimo.
The quiet third movement becomes the actual slow movement of the symphony. A floating string line appears pale and dissonant, interwoven with a bright flute solo. The soprano adds the third poem to all of this, lamenting and glowing College with.
College

Udderly muffled interaction
fizzles on long threads.
Krost it in view,
it remains compatible.
Escape is on the horizon
unexpectedly,
and breathes tearfully
easier after all
the oil-soaked air.

After so much floating lament follows a kind of scherzo on La primavera. Significantly, the tempo of this colorful piece is "Tempo di valse". Even before the singer begins the verses, this Prague waltz gallops into the spring day with sparkling brass pomp and snappy rhythms. This scherzo almost sounds like a neo-baroque composition.

La primavera

Greetings kunterbunte,
round lilac bushes
permanently blown away
sky blue
Sunny avenues,
dubious
Worries
to sudden rest,
stay
Side blows emphasizing form
in yellow loops
color-captured and
unspoken
in barely concealed,
traditional considerations
stuck.

Finally, in the finale freely adapted from the poem Jazz dumplingsthe homage to Bohemia and Prague is taken a little ironically to the extreme. After all, dumplings are an important side dish in hearty Bohemian cuisine. The movement begins with swinging tone sequences including pizzicato to rhythmically rumbling percussion. Solo oboe, solo flute and solo bassoon join in. Certain harmonically expressive passages of the poem, such as "slow-fox dancing lament orgies", are accompanied by broad string chords.
Jazz dumplings

Do not hide the fact
can be dwindling
swinging sounds that
to the lush and barren hustle and bustle,
last minutes of the
running out of load
from felt waste dumps
soon slowfox dancing
Lamentation orgies will follow,
meanwhile rail chatter
and claustrophobic rolling
inevitably the art bombast
to rumble.

Finally, the symphony ends abruptly in fortissimo, "rattling off the artistic bombast". Some listeners said that the Prague Spring Symphony has what it takes to become a real repertoire piece.

The conductor, who comes from Chambéry and now works in the Basel region, impressed with her precise and intensive orchestral work. Her strength is the interpretation of lyrical passages. Gaudens Bieri from Graubünden came second and Boris Oppliger from Bern third.

Prizes are only awarded if the high standards set by the jury (Carlo Balmelli, Annick Villanueva and Chiara Vidoni) are met. The criteria include rehearsal work, conducting technique, interpretation, orchestral contact, musicality and overall impression.

For the tenth edition, 18 candidates had registered and had to master a challenging program in a total of four rounds. In the preliminary round, the ten conductors approved by the music commission rehearsed a piece unknown to the Baden Wettingen Wind Orchestra for 20 minutes.

From 2017 to 2019, 30-year-old Elena D'Orta was Assistant to the Artistic Director and responsible for third-party funding acquisition at the Basel Symphony Orchestra. In addition to artistic planning, she also took over the Music Education and Inclusion department in 2019, which she managed until 2022.

In the spring of this year, she took on a project management role at the Hamburg cultural and educational initiative Tonali. Until October, she is responsible for two nationwide cooperation projects with the Reeperbahn Festival - the largest club festival in Europe with almost 1,000 concerts, exhibitions, sessions and more.

As I look around the courtyard of the Progr, where the Bern Music Festival has its headquarters, between two events on the Friday of the festival, the gusts of wind from a nearby thunderstorm whip past. A white festival balloon is flapping back and forth on its string, unpredictably, unpredictably - abruptly. It perfectly attunes me to acoustic events between abrupt emergence, unexpected presence and uncontrollable disappearance. A Cage room is also set up here. The master of chance in new music is an essential part of this motto; on a long Cage night, his sounds sprout like mushrooms ...

Beforehand, I attended the performance in the cathedral. After the busy alleyways beforehand, I suddenly found myself standing in the quiet of the nave before joining the waiting audience at the front of the crypt. Messiaen's Quatuor pour la fin du temps began. A presenter explained how the piece was created: winter 1941, the composer, a prisoner of war, writes for the cast, which is formed from his fellow prisoners. And he writes "for the end of time". One expects visions of horror. But where the end, death could follow, Messiaen lets songs of praise resound, ecstatic colors swirl, instrumental lines drift away from time. How must this music have affected his fellow prisoners in their hunger, coldness and despair? Unmediated consolation.

I was prepared for the music here in the cathedral. I am undecided. Yes, it helps to understand the piece, or rather: to better appreciate the incomprehensible and unbelievable. And perhaps it also helps to arouse curiosity and attract listeners. And at the same time, it prevents encounters out of the blue. According to the festival flyer, mediation is particularly in demand in new music. The Bern Music Festival does a lot in this respect with introductions, listening walks, workshops for schools and young people, and it is also aware of the dilemma - especially when it comes to the topic of "unmediated".

After my balloon encounter, I find myself at a living room opera. On the third floor of a house on Herrengasse, I sit down with a handful of curious people in the armchairs and chairs provided. I'm curious to see how the expected sounds will work among such familiar things as walls of books, sofas and houseplants. Lukas Hasler explains that the duo opera has been reduced to a solo singspiel due to illness. Then he lets a diabolo whir, begins to speak, sing, read aloud, play a dulcimer, sometimes doubled by a cassette player. He always remains quiet, persistent, he insists. The aim, I read in the program, is for the things that surround us to finally speak to us. I like the crazy idea, but apart from the gentle patience of the performer, the project doesn't come across to me. The things don't speak to me. So the unmediated is circled around. Sometimes it presents itself.

The Covid-19 epidemic is still having a financial impact, writes the canton of Lucerne. In the cultural sector, a special credit of a good 4 million francs is required for compensation. The federal government is contributing half of these costs. The cantonal government is also proposing twelve supplementary credits for the 2022 budget totaling around CHF 23.5 million to the cantonal council. The business will be dealt with by the Cantonal Council in the October session.

According to the message, the pandemic year 2021 was very challenging for Lucerne's cultural enterprises as well as for cultural workers and cultural associations in the amateur sector, but thanks to the compensation for losses, it was possible to survive to such an extent that closures and bankruptcies could be avoided for the most part, despite losses in the annual accounts. The canton of Lucerne made a total of around CHF 22.1 million available for this instrument in 2021, of which CHF 16 million was largely used for default compensation for cultural enterprises and a significantly smaller proportion for default compensation for cultural workers and for transformation projects.

On September 23, 2012, the "Youth and Music" initiative achieved an almost historic success: 73% of voters cast their ballots in favor and all the cantons also said yes. This means that our country has committed itself to taking special care of music as an educational asset. The University Institute IVP NMS Bern has together with Education Bern (Professional Association of Teachers) and the Association of Bernese Music Schools VBMS dared to attempt an interim review on September 3 - yes, an interim review after 10 years, because the implementation of Article 67a of the Constitution "Musical Education" has not yet been completed. Paragraph 1 (promotion of musical education for children and young people) was covered by the broad-based promotion program "Youth and Music", and the so-called "Talent Card" is currently being developed to implement paragraph 3 (access to music-making and promotion of talented young people). Of the more than thirty implementation measures proposed by the working group at the time, only two were selected. - The initiators at the time had to learn the hard way that politics is not a concert of wishes.

Paragraphs 1 and 3 are the responsibility of the federal government and were therefore tackled first. As far as paragraph 2 (high-quality music lessons in schools) is concerned, we have not made much progress after 10 years. The legal text quickly comes up against the limits of the principle of cantonal educational sovereignty, which is why the issue has been passed back and forth between the cantons and the federal government like a hot potato for 10 years.

Of course there is good music teaching at elementary school - but is it "high quality", as the law prescribes? The trend tends to point in the opposite direction. The number of music lessons actually held is declining throughout Switzerland. The Curriculum 21, with its greater emphasis on other subjects, the fact that music is no longer an optional subject at teacher training colleges, the current shortage of teachers and the associated lack of musical expertise among many teachers are all contributing to this trend.

The speaker of the Symposium "High-quality music lessons in schools", Letizia Ineichen, is a subject didactician and author of a dissertation on the significance of Article 67a para. 2 of the Constitution for music education in basic education. She presented an analysis of the weekly timetable from the 2019/2020 school year: the number of music lessons varies greatly depending on the canton. The most music is taught in the canton of Schaffhausen: three 45-minute lessons in years 1 and 2, two in years 3 to 6. At the other end of the scale are Zug and Appenzell Innerrhoden with only one lesson throughout. In a second analysis, Ineichen compared the training programs of the PHs in Bern, FHNW, Lucerne, St. Gallen and Zurich. With the exception of the St. Gallen PH (where all subjects are studied), the "multiple profile" applies, i.e. 2 out of 9 subjects can be opted out of. Music is one of them. Students who received good music lessons at grammar school are more likely to choose music as a subject at the PH. "The musical training of primary school teachers begins at grammar school," emphasized Mark Grundler, former lecturer at the Bern University of Teacher Education and head of primary school, but noted: "Unfortunately, we have more and more musically illiterate applicants."

"Too much time has passed without anything significant having changed," says Letizia Ineichen and suggests a number of possible improvements: "High-quality music teaching implies quality and professional expertise on the part of the teachers. Subject-specific, didactic and musical-instrumental skills are an important prerequisite for success." This can only be achieved through good training. Support in the form of coaching and mentoring as well as further training opportunities for career starters and non-specialist teachers are necessary; the "university filling station" alone is no longer sufficient. Cooperation could take the form of institutionalized collaboration between the elementary school, the teacher training college, the music school and other educational partners.

Elementary school should be more open to external music teachers who teach music together with class teachers or on their own. In turn, these teachers should be offered appropriate training programs at universities, for example in the form of a "minor program in primary music teaching".

There is no shortage of good ideas for cooperation. This was also demonstrated by Michael Marending, teacher at the Langenthal and Bantiger music schools, who presented his cooperation project between music schools and elementary school in the form of a music day. The principal of MS Zuchwil, Michael Vescovi, presented the Solothurn model. In his canton, the music schools are part of the elementary school and are usually located in the same building. This makes collaboration easier in many respects. Projects can be set up as joint school projects from the outset.

The conference raised many central and long-neglected questions and hopefully provided the impetus for a renewed discussion of the topic after 10 years. It looks as if the cantons will not be able to avoid "harmonizing the objectives of music teaching in schools" (BV Art. 67a para. 2) if they want to achieve the required high-quality music teaching. A first step can hardly be expected from the federal government.

From 2017 to 2019, 30-year-old Elena D'Orta was Assistant to the Artistic Director and responsible for third-party funding acquisition at the Basel Symphony Orchestra. In addition to artistic planning, she also took over the Music Education and Inclusion department in 2019, which she managed until 2022.

In the spring of this year, she took on a project management role at the Hamburg cultural and educational initiative Tonali. Until October, she is responsible for two nationwide cooperation projects with the Reeperbahn Festival - the largest club festival in Europe with almost 1,000 concerts, exhibitions, sessions and more.

70 people graduated from the HSLU-M (Department of Music at Lucerne University of Applied Sciences and Arts) with a Bachelor's degree and 118 with a Master's degree. In the Bachelor of Arts in Music, 64 graduates received their diplomas, 40 of them in the classical profile and 24 in the jazz profile. There were six graduates in the Bachelor of Arts in Music and Movement.

A total of 53 diplomas were awarded in the Master of Arts in Music, most of them in the classical performance profile (31). In the Master of Arts in Music Education, 65 graduates obtained their professional qualification for teaching at music schools or secondary schools, nine of which at School Music II level.

There were also 65 music education and artistic further education qualifications in the Master of Advanced Studies (MAS), Diploma of Advanced Studies (DAS) or Certificate of Advanced Studies (CAS). Among them are the first seven successful participants of the CAS program "Teaching Music", which was carried out in cooperation with the Lucerne Symphony Orchestra and in close collaboration with the Lucerne Festival as well as regional and international practice partner institutions (from the Haus der Volksmusik to the Hamburg Elbphilharmonie).

At the graduation ceremony, three prizes of CHF 2000 each were awarded by the Strebi Foundation for particularly outstanding Bachelor graduates, namely to: Vincent Rigling, Bachelor of Arts in Music, Jazz instrumental profile, majoring in guitar;
Matthieu Grandola, Bachelor of Arts in Music, instrumental classical music profile, majoring in flute and Raísa Ierone, Bachelor of Arts in Music, vocal classical music profile, majoring in voice.
 

Cultural enterprises and creative artists received loss compensation amounting to CHF 447.9 million. Half of this was financed by the federal government and half by the cantons. Professional artists were also able to apply for emergency aid to cover their immediate living costs. The federal government spent CHF 23.2 million on this. Non-professional cultural activities were also supported by the federal government: Non-professional cultural associations received financial aid totaling CHF 28.9 million.

Finally, transformation projects of cultural enterprises were supported with a total of CHF 57.9 million, half by the federal government and half by the cantons. The aim of these projects is to attract new audiences and support structural realignments, for example to cope with digital change.

More info:
https://www.bak.admin.ch/bak/de/home/aktuelles/nsb-news.msg-id-90312.html

For over 30 years, the music cabaret has been known for its perfected programs, writes the BAK. Its founders met at drama school in Bern and now operate from Berlin, often addressing a non-theater-affine audience, including queer audiences.

The fictional Swiss-American family, which is entirely dedicated to musical entertainment, was founded in the early 1990s by Christoph Marti, Tobias Bonn, Max Gertsch (as Willy Pfister) and Lilian Naef (as Lilo Pfister). Since 1995, Christoph Marti alias Ursli Pfister, born 1965 in Bern, Tobias Bonn alias Toni Pfister, born 1964 in Bonn with Andreja Schneider alias Fräulein Schneider, born 1964 in Zagreb, have been the core formation of the Pfister siblings.

The musical cabaret is accompanied live by the Jo Roloff Quartet. The Pfister siblings usually start their shows at the "Bar jeder Vernunft" in Berlin and then go on extensive tours throughout the German-speaking world. The Pfister siblings were awarded the Salzburger Stier in 1993 and a Prix Walo in 1995.

The special prizes of the Grand Prix Performing Arts are awarded to individuals or institutions who have "made an outstanding contribution to the diverse creative output of the performing arts in Switzerland". The prize money amounts to CHF 40,000 in each case.

The friendship between the bearish Johannes Brahms and the urbane Clara Schumann has already been extensively discussed and illuminated down to the most intimate details. In my opinion, however, this relationship has never been considered in terms of the development of musical life in the second half of the 19th century. It was to be expected that the division into a Liszt-Wagner and a Schumann-Brahms party would play a part in this. But the fact that this friendship proves to be so significant in this respect is a real surprise.

Some comments would be exchanged by the dozen on social media today and described as completely "normal"; but when Johannes Brahms writes to his friend Joseph Joachim on August 7, 1859: "... it would be wonderful if you were sitting in Germany in the summer, composing beautifully and incidentally killing these people with a few flying bows, and I were sitting there, enjoying myself and helping to write music", one is astonished. On the other hand, we are familiar with the shameful jibes from Cosima Wagner's diaries, for example about Mr. Brahms' "harmful muckerish influence on the educated middle classes" or "this lack of performance on the part of Mme Schumann".

However, this "party dispute" alone is not what makes the book so appealing; rather, it is the course of cultural-political history, new forms of mediation and the emergence of a "new modernity" that are effectively addressed. Although the individual works of the two are placed in this development, they are not discussed in detail; the problematic side of the personal relationship between Clara and Johannes, which also existed, is also merely touched upon. The last two chapters contain a few striking sentences about the divisive effect of the music of Wagner and Liszt in contrast to the reconciling music of Brahms. Brahms as a person appears conciliatory in the author's description of how he took part in the opening ceremony of the Tonhalle in Zurich in October 1895, discovered his own likeness behind Beethoven in the ceiling painting and is said to have said: "I am still among the living."

An index of persons, an extensive chronological table and more than a thousand numbered notes round off the high information value of this double biography.

Meinhard Saremba: "... it is too strong a contrast with my inner self!". Clara Schumann, Johannes Brahms and modern musical life, 446 p., 20 ill., € 28.00, Osburg, Hamburg 2021, ISBN 978-3-95510-259-3

Born in 1985, Fabian Chiquet is a multi-talented artist. The Basel native makes films, music, theater and art installations. He graduated with a master's degree in transdisciplinarity from the ZHdK in 2010. Chiquet is co-founder of the pop band "The bianca Story", in which he is songwriter and keyboardist and with which he has toured throughout Europe.

He staged his own plays, which were shown throughout Switzerland, and wrote collaborative music for theater and film with the "Club Für Melodien". With "The Pacifist", he brought his first documentary film to the cinema in 2021. In collaboration with Swiss Radio and Television, he is currently working on the project "I'll Remember You", a documentary film with a web series and podcast about the beginnings of Swiss pop culture.

The ZHdK honorary degrees are awarded once a year and do not involve any financial contribution. Members of the ZHdK can nominate recipients. The Executive Board of the University, advised by a committee, decides on the award. The honorary degrees are awarded at the ZHdK's University Day. The event is not open to the public.

Antoine Gilliéron - in conversation with Xavier Bouvier, specialist in interculturality and diplomacy and coordinator of the ethnomusicology course at the Haute École de Musique de Genève.

Xavier Bouvier, how do you view the international aid that the HEMs of our country have been able to provide in the past, provide today and could provide in the future?

The internationalization of higher music education in Switzerland is the culmination of a long evolution, which began in the first decades of the 20th century - one thinks of the reception, in our Conservatories, of refugees from the Russian revolution. After the 1970s, the reception of students from other continents - East Asia, but also South America - developed considerably.

The integration of HEM into the European Higher Education Area has marked a significant step. Initiated since the Bologna Declaration, this area, inaugurated in 2010, extends far beyond the frontiers of Europe as a whole, as it includes countries such as Russia, Armenia and Kazakhstan. The HEM have greatly benefited from the academic exchanges within this area - even if the fact that Switzerland has left full participation in the ERASMUS+ programs has freed up our inclusion in certain programs: one thinks of the thematic networks initiated by our colleagues from major European musical institutions.

In the field of assistance, the Association Européenne des Conservatoires (AEC) has supported the integration of the institutions of Eastern Europe throughout this construction period. These efforts have been remarkably fruitful, and the exchanges have multiplied. But one can consider, rétrospectively, that the enlarging and consolidation of Europe has coincided with a relative fencing-off with the rest of the world: a frontier has been created, politically, but also culturally.

In fact, the countries of Eastern Europe, including Russia, are far from being périphériques in the great European classical tradition. They were, and still are, centers of vitality. A few years ago, I had the opportunity to visit the city of Kharkiv, dramatically affected by the current war: its monuments of eclectic architecture remain very European-centric.

All the others are the cultural situations of the Middle East, of India, or of Eastern and South-Eastern Asia. We are faced with other musical traditions, millennial ones, which could well have something to teach us. Unless we remain on a Eurocentric position, the notion of help loses its meaning: it is a dialogue that must take place. Rare have been the initiatives taken by European conservatoires in this dialogue, even though we have seen some remarkable achievements, especially from our colleagues in the Nordic countries, such as the Norwegian Academy of Music in Oslo and the Royal Danish Academy in Copenhagen.

Is it true that the solidarity expressed in the context of the war in Ukraine (for example, welcoming Ukrainian students and professors, concerts of support, position-taking and the provision of instruments) seems to you to be emblematic of what they are capable of doing, or could they possibly be more proactive in their actions?

Of course, it would be unwise not to engage in solidarity with those who are suffering from the conflict, and it would be logical to direct this solidarity towards music schools, musicians and music students. But what seems most striking to me is that the Swiss music schools wanted to and have created a sanctuary for their students, regardless of their origin - Russian or Ukrainian. The messages of solidarity between students have been many - for example, one of our Russian students volunteered to give language lessons to Ukrainian refugees right from the start of the conflict. We have also been able to sanctuarize the repertoire - resistant to very specific pressures to deprogram pieces of the Russian grand repertoire. The big debate is about whether music, or art in general, is in line with politics. Opinions diverge, but my experience is that our musical institutions must remain spaces for exchange and dialogue, places where relationships are created.

More broadly, what can you tell us about diplomacy through music and its realization in the HEMs of Switzerland?

Switzerland enjoys a very special position thanks to its neutrality and its tradition of good offices. The city of Geneva is the symbolic center, the venue for major meetings on international issues. As early as 1920, an extraordinary dialogue between cultures was established within the International Commission for Intellectual Cooperation of the Society of Nations. As the researcher Christiane Sibille has pointed out, music did not take part in this movement: Belà Bartók took part in the work, and many international musical institutions saw the light of day.

According to you, what good practices beyond our borders in this regard could be successful in our institutions?

With regard to the diplomacy of music, initiatives are being taken by Swiss music schools, and we are on the verge of becoming aware of the richness that exchanges with other music schools can bring to us. More fundamentally, it is perhaps simply a realization that our repertoire is already the fruit of these exchanges: the last century has never ceased to be the moment of such encounters, from the gamelans for Debussy to the polyphonies and polyrythmies pygmées for Ligeti.

For our institutions, a 2006 UNESCO text, Guidelines on intercultural education, provides an excellent reference of good practices. The basic idea is very simple: our schools and our students can benefit from the knowledge of other musical cultures, ancient, complex, refined, expressive and expressive. D'autres conceptions musicales y sont à l'œuvre, et permettent de décentrer notre point de vue. But the realization of such a programme is difficult: the institutions and the performers are not easily malléables. Among the hundreds of millions of Syrian refugees in Europe were the masters of the great Arab classical tradition: have we created a space to fully benefit from their cultural capital? The signs of an evolution are there, however, and major conservatories around the world are taking the lead on these issues. The Swiss music schools have a role to play in this field; an opportunity is waiting to be seized.