Across all age groups, those who listen to music online exclusively or for the most part and those who only listen to music on traditional players are in balance, each accounting for around a quarter of respondents.

Streaming services are used most intensively by men: 53% of them listen to music online (women 47%), 34% watch films (women 30%) and 27% play games online (women 25%). Only eBooks are used more frequently by women: 21% also read books online, compared to just 16% of men. The survey was conducted in spring 2017.

Users would spend an average of 7.20 euros on music. According to Ernst & Young, even those who do not yet use streaming services but are interested in principle show a high willingness to pay. These current non-users would pay an average of 8.30 euros for films and series and 6 euros for music.

Spotify dominates the paid music streaming market in Germany, well ahead of its competitors. Of those who use paid music streaming services, almost half (49%) access the service from Sweden. Amazon Music is in second place with a market share of 21 percent. The third-largest provider is Apple with a market share of 11 percent. Apple is particularly popular with women, 19% of whom access the company's service.

The film tells the story of the Swiss travel journalist Katharina von Arx (1928-2013) and the French photographer Freddy Drilhon (1926-1976) in both documentary and fictional sequences. Balz Bachmann's music was created in parallel with the film editing and combines the multi-layered elements into a whole. The two co-composers Michael Künstle and Peter Bräker were also significantly involved in the development of the musical themes.

The Fondation Suisa Film Music Prize is endowed with CHF 25,000 and honors "exceptional work in the field of Swiss film music composition". It is awarded annually, alternating between the feature film and documentary film categories.
This year's jury consisted of Mario Beretta (president), composer, conductor, Zurich; Pierre Funck, composer, lecturer, president of Forum Filmmusik, Zurich; Zeno Gabaglio, composer, journalist, member of the board of trustees of the Fondation Suisa, Vacallo (TI); Duscha Kistler, former artistic director of Fantoche, member of the commission for animated film at the Federal Office of Culture, Bern.

The Karl Böhm Collection includes books and music - particularly noteworthy are the study scores with Böhm's annotations and notes. The objects also include life documents, contracts and correspondence, for example with Deutsche Grammophon and the Salzburg Festival.

Karl Böhm's notebooks and diaries document his impressive workload. The collection also includes numerous prizes, honors, awards, orders and medals with the corresponding documents and certificates, batons and even his tailcoat.

Philippe Jordan, born in Zurich in 1974, is music director at the Opéra national de Paris and chief conductor of the Vienna Symphony Orchestra, according to a statement from the Vienna State Opera. He began his career at the age of 20 as Kapellmeister at the Stadttheater Ulm. In 1998, he moved to the Berlin Lindenoper as assistant to Daniel Barenboim and Kapellmeister, and from 2001 to 2004 he was chief conductor of the Graz Opera.

From 2006 to 2010, Philippe Jordan returned to Berlin as Principal Guest Conductor at the Staatsoper unter den Linden. From 2009, he took over the musical direction of the Paris Opera and in 2014, he became Principal Conductor of the Vienna Symphony Orchestra.

In the planning for the first two seasons 2020/21 and 2021/22, the new State Opera Director Bogdan Roščić and Philippe Jordan have already determined the Music Director's premiere conductorships. However, together with the orchestra, the chorus, the ensemble and the other musical and artistic groups of the house, the focus will be just as strongly on the repertoire operations that determine the daily life of the Vienna State Opera.

The "Kultur inklusiv" label promotes "a holistic inclusive approach by more and more cultural institutions that, as label holders, are embarking on the path to natural accessibility and participation". Supporters are inclusive cultural institutions of all cultural sectors, sizes and profiles from all over Switzerland, which ensure that their cultural offerings are as barrier-free as possible and that all interested people, including people with disabilities, are able to participate in culture.

From the 2017/18 season, Theater Orchester Biel Solothurn (TOBS) will be implementing a holistically inclusive approach with targeted focal points in all four disciplines: Theater performances interpreted and surtitled in sign language, audio-described opera performances and open dress rehearsals as a low-threshold concert format are examples of the new inclusive offerings. In addition, TOBS will involve those affected in an advisory capacity via a support group.

With its annual festival themes, which include an examination of sensory perception, its possibilities and its limitations, the Bern Music Festival is embarking on its specific inclusive path from 2017. Music formats that appeal to several senses, an inclusive music education project and several barrier-free venues are also intended to appeal to music lovers with visual, hearing and mobility impairments.

Website: www.kulturinklusiv.ch

MusicTech Germany is committed to promoting innovation and new business models and aims to use its own formats to drive forward the development and dissemination of music technologies in Germany and beyond in order to "strengthen the location for companies and talents from this sector in the long term and sustainably".

The founding members of the association are experts from industry and research, providers of music hardware and software, artists, freelance developers and designers as well as service providers. One of the founding members is the Fraunhofer-Gesellschaft.

According to the Fraunhofer-Gesellschaft, the field of application of music technologies has long since ceased to be limited to the music industry; they are also finding their way into other vertical sectors such as the games and film industry, the education sector and the healthcare industry. Membership of MusicTech Germany is the right move for them, as a strong and interdisciplinary network is needed in Germany to ensure that they don't miss out internationally.

Trauffer is represented with two albums (including "Alpentainer"), the Schwiizergoofe with three (4, "Früelig & Summer" and 5). Bligg and Schlunegger's Heimweh are also in the top ten.

According to BAK statistics, almost 20 percent of Swiss people sing, 17 percent make music and 9 percent dance. Around 95 percent listen to music privately, 70 percent go to concerts. Classical music concerts are most popular in German-speaking Switzerland, chanson concerts in French-speaking Switzerland and jazz, funk and country concerts in Italian-speaking Switzerland.

The majority of the Swiss population listen to chansons and singer-songwriters, including dialect rock and variety or pop music (around 7 in 10 people), closely followed by pop/rock and world music (each with around 65%) and jazz, funk or country (just over 60%). Classical music (including opera) is listened to by around half of the population - exactly the same proportion as techno, house, rap or hip-hop. Four out of ten people listen to Swiss folk and brass band music privately.

When it comes to private music listening, there are striking age differences in the use of the media: people between 30 and 74 years of age are more likely to listen to music on the radio, CDs are more common among middle-aged people, while listening to music via the Internet, a computer, MP3 player or cell phone is very common among younger people. Records and cassettes are mainly used by older people - 4 out of 10 respondents aged 75 and over do so.

The 2013-2017 cultural mission statement is a comprehensive inventory of culture in the canton of Basel-Landschaft and sets out the objectives for cultural policy. With the 2016 Cultural Promotion Act and the associated ordinance, cantonal cultural promotion has been given a contemporary legal basis.

Before the development of the sixth cultural mission statement can begin, the canton writes, the cultural partnership with the canton of Basel-Stadt must be clarified. The results of these partnership negotiations form the basis for updating and supplementing the current mission statement.

Work on the new cultural mission statement is expected to start in June 2018 and "will be accompanied by a participatory process". The diverse interests of a wide range of stakeholders are to be taken into account, the canton writes further. A survey of cultural institutions and interest groups as well as a series of working meetings in all regions of the Basel region are planned.

Photo (from left to right): Government Councillor Dr. Anton Lauber, Vice President of the Government Monica Gschwind, President of the Government Dr. Sabine Pegoraro, Government Councillor Isaac Reber, Government Councillor Thomas Weber, Land Clerk Dr. Peter Vetter.
 

Born in Interlaken in 1945, Polo Hofer's real name was Urs Hofer. At the beginning of the 1970s, he played a key role in the emergence of dialect rock with the group Rumpelstilz and from 1984 to 2003 with the Schmetterband. Since 1976, he has received 15 gold and 8 platinum awards for particularly successful recordings. Hofer has won the Prix Walo, the highest honor in Swiss show business, three times.

Hofer, who also trained as a typographer, showed his special talent as a translator of successful English songs, such as Bob Dylan's songs or the classic "Son of a Preacher Man" with Valais singer Sina. A square in Interlaken is named after him and his colleague Hanery Amman. 

According to the Rendez-vous am Mittag program on Radio SRF 1, a retired man's application to train as a youth+music director of choir camps has been rejected. The person concerned had been certified as having a high level of professional competence. Nevertheless, the licensing authority rejected the application, citing his age as the reason.

According to the Federal Administrative Court, the decision constitutes age discrimination. The ordinance on the Youth+Music program requires contributions to be awarded on the basis of professional suitability.

A highly educated and warm-hearted musician with an incredibly broad horizon, the flautist Susanne Huber-Bitter, passed away on June 28, 2017. As the child of an artistically and academically active family, she fled Berlin in the middle of the Second World War, grew up in Blonay (VD), went to grammar school in Lausanne and completed her flute studies with André Jaunet in Zurich. After further years of study and travel, she moved to Reigoldswil (BL) at the beginning of the 1960s. She was devoted to her husband, the composer Klaus Huber, for the rest of her life. She became his interpreter of world premieres, often alongside Aurèle Nicolet. A CD with flute works by Klaus Huber, released by Egidius Streiff in 2014, is testimony to her creative artistry and her haunting sound. The Swiss Music Newspaper on September 9, 2015 in a Review reported on this. We will remember Susanne Huber-Bitter as a "musicienne complète" and commemorate a personality who was always ready to help family, friends and pupils and who knew how to combine music, social commitment and people in an outstanding way.

The association's premises were originally set up and equipped for the ensemble's rehearsals. Today, however, it also hosts 70 to 80 events a year with around 20,000 visitors. The infrastructure has therefore been reaching its limits for some time. The association is investing a total of around one million francs in its infrastructure project, specifically the renewal of the technical infrastructure and the redesign of the foyer.

Other investment contributions from the lottery fund will go to the Winterthur Short Film Festival (CHF 200,000), the Swiss Theatre Meeting in Zurich in May 2018 (CHF 80,000) and events to mark the 200th birthdays of Alfred Escher and Gottfried Keller (CHF 39,000).
 

The Jazzpects supplement the Darmstadt Contributions to Jazz Research, a book series that documents the results of the Darmstadt Jazz Forum every two years and the Jazz News, and an e-mail newsletter that provides information on current developments in jazz every two weeks.

The first issue of the magazine contains a documentary by Rüdiger Ritter, Krystian Bodacki and Wolfram Knauer with many facsimiles about the II Jazz Festival in Sopot (Poland) in 1957, to which Werner Wunderlich, then living in Darmstadt, took a delegation of Frankfurt jazz musicians led by Albert and Emil Mangelsdorff to Poland. The event proved to be the prelude to and new beginning of cultural exchange between Germany and Poland after the Second World War.

At present, the content for Jazzpects is not subject to peer review. The staff of the Jazzinstitut are also editors; they are grateful for suggestions and proposals for future content. The current issue can always be downloaded as a pdf document at www.jazzpects.de can be downloaded.

Collections of musical instruments have a special status, as they are the only tangible objects of the immaterial art form of music alongside sound carriers and sheet music. The cultural-historical dimension of collecting musical instruments was the subject of the international conference Private Passion - Public Challenge. Collecting musical instruments in the past and presentwhich took place from May 9 to 11, 2017 at the Germanisches Nationalmuseum (GNM) in Nuremberg. It was initiated and organized by the staff of the project Collecting musical instruments - the example of the German Research Foundation. The conference focused on the one hand on the instrument as an object of cultural memory and on the other hand on the international comparison of private collections and their museums. A third complex discussed private collecting and its musealization, while a concluding section was dedicated to the special features of historical musical instruments in the context of provenance research.

In his introduction, FRANK P. BÄR (Nuremberg) highlighted the increasing challenges posed by the transition of a private collection into the public domain. Since the 1990s, research has not only focused on collection objects or collectors as subjects of investigation from a psychological, cultural anthropological or philosophical perspective, but the individual profile of formerly private collections also deserves increased attention from museums. Bär schematically summarized the essential differences between private and public collecting, whereby the profiles diverge considerably not only in terms of acquisition, preservation and presentation, but also with regard to responsibility in questions of administration, ownership, sustainability, documentation, provision and storage, not to mention financial possibilities and scientific expertise. This applies above all to increasingly urgent questions of provenance.

The majority of the contributions addressed fundamental questions about the current handling of collections from the perspective of their own institution. The introductory cultural-historical reflections by DOMINIK VON ROTH (Nuremberg,  The Rück Collection - a view of the whole), TIAGO DE OLIVEIRA PINTO (Weimar, Concepts and experiences of the Unesco Convention on "Music as Intangible Cultural Heritage") and MONIKA SCHMITZ-EMANS (Bochum, Music as an occasion for literary reflection and remembrance) provided the conceptual guideline for the discussion. With over 17,000 documents on acquisition, trade and restoration from the Rück Collection, von Roth highlighted the unique opportunity to rethink the phenomenon of the musical instrument collection in a museum context and to make the extensive network of a private collector and the individual objects digitally accessible not only to researchers but also to the public. For just as the documents form an essential part of the history of the instruments for the purposes of organological research and provenance, their role as representatives of cultural memory should not be underestimated. The collection strategies that can be read from the documents exemplify the cultural-historical field of tension between aesthetic ideas, empirical knowledge and economic conditions that musical instruments are able to represent.

The interrelationship between the immateriality of music and the materiality of musical instruments was also the focus of the following contributions. Pinto outlined the panorama of meanings attributed to musical instruments in the context of debates on cultural heritage. Beyond pure sound production, they function as carriers of a cross-generational transmission of knowledge and representatives of different music-cultural systems. Collecting and preserving thus takes on a global cultural-historical significance. Schmitz-Emans devoted herself to thinking about the symbolism of material objects on the basis of literary reflections. As an object of literature, the high cultural-symbolic significance of historical musical instruments becomes clear, whose immaterial patina points to the origins of music, indeed of culture in general (Carpentier, Los pasos perdidos, 1953), but also, in view of the horrors of the 20th century, even symbolizes the end of all culture (Grymes, Violins of Hope, 2014). However, the immaterial, which adheres to the material, requires constant narration. Although the immaterial, individual attributions have no guarantee of sustainability, musical instrument collections contain a cultural-performative quality in their individual logic, through which the past can become present.

These fundamental considerations were followed by individual and informative contributions on collection histories (FLORENCE GÉTREAU, Paris, Collecting musical instruments in France 1795-1995JOSEF FOCHT, Leipzig, The first generation of collectors at the Leipzig Musical Instrument MuseumBEATRIX DARMSTÄDTER, Vienna, Private collections in the public musical instrument museum). They reminded us that not only the inventory, but also the research and exhibition profile of public institutions is largely determined by the acquisition of private collections. In view of the heterogeneous appearance of many collections, it is not only the history of individual instruments, but also of the collections themselves that deserves to be conveyed. RENATO MEUCCI (Milan, Private and public collecting of musical instruments in Italy) used the example of Italy to illustrate that the ambitions of private collectors today with regard to the acquisition, but also the preservation and presentation of musical instruments are significantly higher than in public institutions. On the other hand, TIAGO DE OLIVEIRA PINTO (Collecting musical instruments beyond Europe - the Southeast Asian Musical Instruments Museum) Insights into an ambitious project in Bangkok, a museum without an existing collection, which will be brought together in the course of completion. Lively music-making determines the idea of an institution that will make the collection and preservation of musical diversity in the Southeast Asian cultural area accessible for research and teaching with a transnational perspective.

Two contributions by private collectors provided insights into the current motives and challenges of building and maintaining a collection (HEIKO HANSJOSTEN, Schweich/Heilbronn, The Hansjosten collection of historical keyboard instrumentsPETER THALHEIMER, Ilshofen, A private collection for concert use and as a source for music research). In addition to the playability of the instruments, the speakers illustrated a differentiated approach to their collection objects. Hansjosten took an economic look at his collection ("Clavieratelier im Barocken Küsterhaus", Föhren near Trier). Part of the tension between relatively high investments and personal satisfaction is the awareness of an uncertain future. At the same time, private owners benefit from greater flexibility on the market for historical musical instruments. The competitive situation among private collectors and the need for closer cooperation between private and public collections are also cited as acute problems. The initial impetus for Thalheimer's collection of recorders and flutes came from the need for "authentic" instruments for the reproduction of music, which could be made available for performance practice, organology and music research in equal measure through the collection. The production of copies is more than just a makeshift solution. Important questions of historical appropriateness are thus elegantly avoided, but not ignored.

The mutual influence of performance practice and instrument collections was also made clear in MARTIN KIRNBAUER's (Basel) insightful contribution (The "stylistically appropriate revival of old works of art" and the "instrument question". The Basel instrument collection between musical practice and museum). For the founder of the Schola Cantorum Basiliensis, Paul Sacher, "stylistically appropriate revival" was also a question of the instrument. The collection of old musical instruments he built up thus goes far beyond the mere display of historical objects and forms an integral prerequisite for historically informed performance practice.

KLAUS MARTIUS (Nuremberg, The Rück Collection from a restoration perspective) gave an insight into the past and current concerns regarding the restoration of the Rück Collection. An enormous effort was made by the Rücks in order to achieve a "historically faithful restoration". The collaboration with the Leipzig restorer Otto Marx and the Erlangen musicologist Rudolf Steglich, which lasted more than three decades, is a pioneering example of close cooperation between the private collection, restoration, research and museums.

The contributions by PANAGIOTIS POULOPOULOS (Munich, Musical instrument collections and new media: observations from a visitor survey at the Deutsches Museum) and GERDA RIDLER (Linz, Art as a role model - New paths for private collections) discussed possibilities for the museum presentation of collections from very different perspectives. Poulopoulos addressed the question of how permanent exhibitions could be improved. Using the Deutsches Museum's instrument collection as an example, the use of new media and interaction possibilities was evaluated by means of an audience survey. In addition to the play and visualization factor, this revealed an increased need for background knowledge. On the visual arts side, Ridler explored the question of why collectors of modern and contemporary art attract so much attention, even beyond the boundaries of the pure art public. The significantly higher media presence of fine art compared to collections of musical instruments is just one factor. In addition to pragmatic, personal and philanthropic reasons (prestige, life's work, desire to create), the motives of private art initiatives include a sense of responsibility towards the public, but also dissatisfaction with the cooperation with public museums.

Critical questions, but also suggestions, were raised in the museological and musicological contributions by PETER VAN MENSCH (Berlin, Private collecting as a challenge for the public sector), FRANZ KÖRNDLE (Augsburg, Private collections - museums with an expiry date?) and CHRISTINA LINSENMEYER (Helsinki, Trends and visions of private and public collections): In his critical outline, van Mensch addressed the many contradictions and problems, but also opportunities, in the relationship between museums and private collectors. Private collections also reflect the diversity of curatorial perspectives, which are determined by dynamic structures, so-called "liquid frames". In future, networks in the sense of a private-public "community of heirs" will increasingly have to take account of the idea of preservation. Körndle, on the other hand, discussed the consequences of invasive measures on instruments in terms of playability and the varying degrees of responsibility of private and public collections. So far, different financial frameworks have led to individual approaches to solutions. Despite the Cultural Protection Act (2016), there are still uncertainties regarding the preservation, presentation and documentation of musical instruments. The future of instruments that have suffered a major loss of their original substance as a result of being played also remains uncertain. Copies offer an alternative. In view of the coexistence of original and playable copy, the question of aura can also be renegotiated. Linsenmeyer summarized the diversity of individual ideas and visions of collecting and asked how to deal with historical diversity in today's exhibition business. Using sometimes drastic examples, she illustrated the acute problems of changing values and current tasks of private and public collecting. The presentation thus formed the starting point for the subsequent panel discussion, which was chaired by FRIEDEMANN HELLWIG (Hamburg).

One of the most important challenges currently facing public collections in particular is provenance research. The fundamental paper by UWE HARTMANN (Magdeburg, Provenance research: only a task for the state?) highlighted the ethical and moral principles in dealing with objects of all kinds that are collected, traded, museumized and presented. The negotiation of the boundaries of public and private responsibility is ultimately aimed at the question of where it should and can be jointly exercised. MARKUS ZEPF (Leipzig, Neupert, Rück, Gurlitt. Private and "semi-public" musical instrument collections between the wars) referred to the importance of academic collections using the examples of Freiburg i. Br. and Heidelberg. He also highlighted the diverse and important connections to Nuremberg and the network around the collectors Rück. In addition to the instruments themselves, acquired and traded accessories, iconographic and musicological literature provide information about the different profiles of competing collections. LINDA ESCHERICH (Nuremberg, Provenance research beyond looted art and restitution - the "Rück-Portal") presented the Back portal which aims to create a virtual representation of the extensive network surrounding the Rück Collection. For example, documents recording the offer, valuation and purchase of instruments make it possible to trace a historical price index. Through the Back portal it is therefore possible to obtain extensive information, for example on questions of attribution, provenance, the histories of individual instruments and their acquisition. MONIKA LÖSCHER (Vienna, Provenance research in the collection of old musical instruments at the Kunsthistorisches Museum Vienna [KHM]) explained the historical prerequisites for the establishment of the Commission for Provenance Research and for the adoption of the Art Restitution Act in Vienna. The systematic and proactive provenance research in the KHM's collection of old musical instruments provided an example of how the history of collections in and from the Nazi era can be dealt with.

CONNY RESTLE (Berlin) recently drew attention to the difficulties of certain provenances (The acquisition of the Wildhagen, Bitter and Paur collections by Alfred Berner between 1957 and 1962 for the Berlin Musical Instrument Museum). The Berlin example was used to explain the problematic situation with regard to acquisition and continued existence in post-war Berlin. Related to this is the question of whether and to what extent this specific situation could be integrated into the museum's existing presentation and research concept, especially against the background of an often unclear provenance.

All contributions to the conference highlighted the urgency of the topic and its methodical approach, both within and beyond public exhibition spaces. In this context, the Rück Collection and the GNM's associated project have a model status, not only by confronting the unpleasant, yet necessary questions, but also by addressing them with the Back portal actively working on their solution. The international orientation of the conference, which facilitated a fruitful dialog between musicologists, organologists, restorers and conservators, curators and private collectors, was an important way of creating new networks that are also sustainable. The suggestions emanating from the conference for a new museology of musical instrument collections, which can formulate consensual goals, form sustainable coalitions and present visions for the future, will not least help to inspire and convince politicians and cultural sponsors of the essentially self-evident topic of "music". An open access publication of the contributions for arthistoricum.net - ART-Books is already being planned.

The project office is intended to support the discourse and underpin it with measures. It builds on the work of the "Women in Culture and Media" round table of the Minister of State for Culture Monika Grütters and adds further elements to this work. The project will focus on the cultural and creative industries.

Various modules are intended to contribute to the qualification of women in the cultural and creative industries and to improve the national and international perception and marketing of their works. In particular, problems arising specifically from the artistic field and the special features of artistic and cultural creation are to be addressed. The project is scheduled to run for three years so that a review can be carried out in the middle of the next legislative period. The office will begin its work in September 2017.