Sustainable health management begins in music education, primarily in music schools, which are well organized in Switzerland and can develop targeted prevention measures. They have the networks and experience to do so. However, more and more private providers, national internet platforms and global offerings in social media are shaking the tried and tested foundations of music education. There is now a wide variety of methodological approaches and providers. As a result, music education is changing from a traditional seller's market with stable, union-protected and therefore comparatively high fees to an almost completely liberalized and globalized buyer's market with high pressure on the income situation of music teachers. There is a danger that health management and prevention will fall by the wayside as dispensable luxury aspects of teaching. This applies all the more to forms of online teaching that hardly allow teachers any physical feedback. In Lucerne, Philippe Krüttli, President of the Swiss Association of Music Schools, Gerhard Wolters from the "Private Academy for Music Education Innovation", which he founded himself, and Dawn Rose, music psychologist at the Lucerne School of Music, will be among those addressing these challenges.

Christoph Reich is a member of Swissmedmusica and was head team doctor at Zurich Football Club for several years. He heads the medical service of the Swiss Paralympic Committee, is the association doctor of the Swiss Association for Disabled Sports Plusport and is the doctor in charge of the Regional Performance Center for Rhythmic Gymnastics.

What can sports medicine teach musicians?
Christoph Reich: In short: a sober look at the mechanics of movement and the state of training. Despite all the emotions and the importance of physical expression in individual sports, sport ultimately has many very factual aspects: Counting, measuring and direct comparison, and so it is not surprising that movement analysis, knowledge of the physical load-bearing capacity of tendons and a look at the state of training are very present in everyday sport.

What can musicians learn from sports medicine?
Thanks to musicians' medicine and music physiology, this knowledge is now also very present in music education, and it has also reached musicians. Ultimately, it's about being in close contact with your own body and working in partnership with it. Our bodies are very resilient, but only to the stresses for which they have been well prepared.

More about the National Health Day Music on November 9, 2024 in Lucerne: swissmedmusica.ch/healthday

Switzerland, with its long tradition of openness and hospitality, is a crossroads of cultures. This unique characteristic is deeply reflected in the social and cultural fabric of the country. Located in the heart of Europe, Switzerland is surrounded by countries with different traditions, which has led to the formation of a multilingual and multicultural society.

Over the centuries, merchants, artists, intellectuals and political refugees have found a safe haven in Switzerland and contributed to the enrichment of the country's cultural heritage. This diversity has created an environment in which different forms of artistic expression can thrive and interact with each other.

Music has played a key role in bringing people together across linguistic and cultural boundaries. Music festivals, schools and academies have increasingly celebrated this diversity, creating a soundscape that is as diverse as the people who inhabit our country. Bands, choirs and Swiss folk groups often incorporate elements from other musics, reflecting a musical identity that is both local and global.

In the contemporary music panorama, competitions are not only a stage for talent, but also a crucial opportunity to promote fundamental values such as inclusivity and diversity on a human and musical level. In Switzerland, various competitions such as the SJMW are playing an increasingly central role in this area and are actively committed to ensuring that all young musicians have equal access to these valuable opportunities.

The influence of diversity on artistic development

The musical diversity at the SJMW has a significant influence on the artistic development of the participants. Performing alongside peers with different styles and backgrounds stimulates creativity and encourages musicians to grow and experiment. This exposure to a wide range of musical styles allows young artists to broaden their horizons and enrich their repertoire.

One of the most fascinating aspects of the SJMW is the variety of musical genres represented here. From the strict classical style to the expressive freedom of jazz, from the infectious rhythm of pop to the complexity of contemporary music, every genre finds its voice and its audience.

Taking part in the SJMW means having the opportunity to perform in an environment that values all forms of musical expression. The competition thus becomes a fertile ground for artistic growth, where influences intermingle and the boundaries between genres become fluid. Young talents can learn new techniques, experiment with different sounds and, above all, discover the beauty of musical diversity.

A path of growth and discovery

The SJMW is committed to strengthening its role as an inclusive and diverse organization in the Swiss music landscape. This commitment is reflected not only in the expansion of the musical genres on offer in recent years, but also in offering all young musicians a fair and open platform. 

In an increasingly globalized world, the ability to embrace diversity will be critical to the success and growth of the next generation.
generation of music makers. Through
By promoting cultural exchange through music, the competition not only prepares participants to excel in the global music arena, but also helps to build bridges between cultures and strengthen the social fabric of Switzerland and beyond. 

Music is a powerful catalyst for change and understanding, and the SJMW shows how competitions can be much more than simple contests: They can be true engines of progress and social innovation.

Andreas Haefliger is recognized for his sensitivity, musical insight and transcendent piano playing. Known for his innovative programming, he brings an all-encompassing passion and humanity to his concert performances and recordings. The piano recital will be followed by "Uri inspires - Beethoven triumphs". The 40-minute music film by Graubünden filmmaker Daniel von Aarburg shows how Andreas Haefliger explores Ludwig van Beethoven's Hammerklavier Sonata in the mountains of Uri during the "Corona period".

Young talents from the Conservatorio della Svizzera italiana Lugano will be performing in Arosa on June 27 as a kind of "pre-opening". "Romanticism? Romanticism!" could be the title of their program. In this concert, they will present works that they have practiced during a rehearsal week offered by AROSA Kultur. The concert will also be performed in Cham on June 28 and in Lugano on June 29. 

The long-standing tradition of opera performances will continue this year. Operetta Ardez will be a guest in Arosa. They call their latest production "Teater musical sotto le stelle dans le quatre Landessprachen", freely adapted from Engelbert Humperdinck's opera "Hänsel und Gretel" in a new guise with music by G. Bizet, F. Lehar, Mani Matter, canzun rumantschas, Cat Stevens and others.

Also to be heard: A "jazzy" saxophone combo from Bern "klapparat", a folk music encounter concert with the "Jodelclub Hochwang" from Landquart and the "Brandhölzler Striichmusig", a formation from Toggenburg Children's concerts have always been an integral part of the AROSA Summer of Culture. On five Mondays from July 8, various theater groups, musicians and puppeteers enchant children's hearts, parents, godparents and nanis with their performances. 

The Bergkirchlikon concerts are almost legendary. Every Tuesday at five o'clock, musicians perform in the 531-year-old chapel at 1900 meters above sea level. 

Readings and an art lecture on Augusto Giacometti round off the varied program.

When the weather is fine, many of the events take place on the magical forest stage in Arosa. 

All information is available on www.arosakultur.ch to find. 

How can musicians like Anaïs shape their professional lives in the future?

Even if fear of failure and existential fears can be paralyzing in such situations, it is not hopeless to regain a professional foothold even at an advanced age. 

In addition to the widespread focal dystonia, professional musicians seem to be affected by an above-average number of illnesses. These include mental illnesses such as depression or anxiety disorders, orthopaedic complaints caused by highly repetitive and asymmetrical movements and, of course, various forms of hearing damage such as sudden deafness or tinnitus.

Even if the causes of such diseases have not yet been conclusively researched, they have one thing in common: psychological stress certainly does not have a positive effect on the course of the disease.

The SRF report leaves a central question unanswered: what professional opportunities do affected musicians have if they can no longer play their instrument and thus no longer perform their highly specialized activity professionally?

What qualifications, skills, know-how or personality structure can they contribute to the economy in other ways so that they can support themselves and their families?

The most obvious answer, which is also obvious in other professional groups with similar problems, such as high-performance sport, is that they pass on what they have learned through coaching and teaching.

There is no doubt that music lessons can be enriched and enriched by a richly packed rucksack of years of professional experience, a mature view of the world and life and lots of tips and tricks - not least through practical experience in health prevention or stress management.

But how realistic are the chances of getting a job at a music school at an advanced age, for example? Admittedly, the competition never sleeps and most music schools are not desperately fighting for their staff.

However, according to a recent study by the Swiss Association of Music Schools (VMS) from November 2023, there is a certain potential - depending on the instrument or teaching subject. The study concludes that a considerable number of advertised music school positions in areas such as pan flute, solfège, jazz violin, music production, yodelling, music and movement, but also in traditional subjects such as guitar, recorder, oboe, bassoon, accordion, cello, double bass, trumpet or choir conducting were difficult to fill. This was most evident in rural music schools.

Apart from professional competence and pedagogical skills, music schools are also looking for fluency in languages, the ability to work in a team, administrative know-how or communication and social skills.

So: the world is changing rapidly, but with these skills you can significantly improve your chances on the job market - skills that you can acquire through training and further education.

To ensure that these are financially viable in cases such as the one mentioned at the beginning, we have decided to extend the requirements for financial support contributions. In addition to outstanding instrumental or vocal skills, which are assessed in a (possibly psychologically stressful) scholarship competition, outstanding didactic and pedagogical skills or concepts now also qualify for the award of scholarships.

So: it's never too late to do the right thing. Why don't you get in touch with us? We will be happy to advise you on training and further education issues.

Xavier Dayer, new Director of the Department of Music at ZHdK, in conversation with his predecessor.

Xavier Dayer, it is no longer a matter of course that artistic careers lead to leadership and management. What led you down this path?
I have a varied CV. As a composer, I was commissioned early on and have written a lot for ensembles and orchestras since the 1990s. At the age of 25, I became a theory lecturer, taught in various places and finally became head of the study program and lecturer for composition at the HKB. I once studied classical guitar and my relationship with the instrument still means a lot to me. I have been President of the SUISA Board since 2011 and have become familiar with management and its legal challenges, market issues and internationalization. It is intellectually stimulating to seek solutions with different personalities and to reach agreements that are not comfortable but sustainable. Complex questions stimulate me. Composing, on the other hand, remains an artistic pursuit that is entirely my own responsibility. 

Management means creating a framework in which employees can work well.
Exactly. Management is not an artistic task, but should enable the success of many interests. And I have great faith in the art school model. I am convinced that in a young generation, the creation and "consumption" of music is more and more connected to other arts, while detached music often has to be defended and communicated. But perhaps even traditional concerts are suddenly acting like a "dopamine detox" again! The art academy is the right place to think about this. 

The world of higher education is challenged by technological innovations and social changes, while at the same time its effectiveness is based on continuity.
Topics such as artificial intelligence are explosive for universities, in a positive sense. AI will take over much of what we have previously attributed to human creativity. This raises big legal, ethical and economic questions. Sometimes I think we should speak of "universal plundering" rather than AI, as a few profit companies are appropriating the entire world culture. All the more we will understand more and more the importance of human transmission. Qualities such as personality, stage presence, etc. will become more valuable. We need to occupy the land that cannot be used by these companies. 

Nevertheless, you have to explain more and more, what music academies do - even to people in the art world who know little about it...
Yes, I know this Sisyphus feeling, there is a trivialization of public opinion. It's just part of the job to mediate and leave the bubbles. But we must never forget that the most important thing happens at the level of teaching. Studying is like photosynthesis between lecturers and students. We all have
Memories of key moments during my studies. These happened in the learning contact, in the
Work on the matter at hand, not in meeting rooms. 

And what do you expect from the Conference of Swiss Music Universities?
It is an opportunity to look beyond one's own university circle, to discuss priorities together - and to become clear about terms such as "excellence" in the sense of an ambitious but broad understanding of quality. And thanks to its collegiality, it can shape the inevitable competition between institutions in a constructive and stimulating way.

What are you looking forward to?
To the people, to contacts, to exciting colleagues in teaching, art and research. I see great things and am very curious. It's a great pleasure to be part of this ZHdK adventure. 

For many of the 70 or so employees at the Pro Helvetia office in Zurich, the working day begins on the train. Quite a few commute from Basel, Bern, Fribourg, Lausanne or Geneva. This guarantees an exciting exchange with people from all regions of the country, which is a great advantage for a national foundation. On the train journey, we check emails, look at final reports or application documents, work on concept papers and plan meetings. An office on wheels. When we arrive in Zurich, the printer is often the first thing to go: the decision letters, final reports and other documents have to be printed out and processed. 

The first meeting of the day is dedicated to a discussion with a Swiss music festival: the new program is presented and funding criteria are explained. As with all other funding opportunities, we pay attention to the supra-regional appeal of the festival: is the festival already established? Has it made a name for itself in the scene? Are acts from another language region programmed? Is it supported by the city and canton and thus fulfills the principle of subsidiarity? Is the festival an important platform for the Swiss scene? The interview notes will be used later to assess the application. 

Sustainable touring

A new submission will then be considered: it concerns the tour of an established Swiss band in China. Before we allow ourselves to make a final decision, we consult our colleagues in the field office. They are close to the Chinese scene and can assess whether the venues are sufficiently established and whether the fee level and contribution to production costs are appropriate for the local context. We also pay attention to sustainable tour planning - this is particularly important when traveling such long distances. In addition to concerts, activities such as workshops, network meetings or research can also take place. Pro Helvetia has six offices in different regions of the world. The exchange with these colleagues is always particularly exciting. 

The next application is for a small local concert series by a young string quartet that is not yet sufficiently established. Although the composers involved have so far performed in their own city, this is unfortunately not yet enough to qualify for support from Pro Helvetia.

International network work

In the afternoon, there will be an internal meeting to plan a networking event at a Swiss festival: Which international curators do we want to invite? On which festival day can we experience as much Swiss program as possible? Which musicians from Switzerland should we also invite to the networking aperitif? The step abroad is enormously important for musicians from small Switzerland. We have a special mission here. Since foreign organizers such as festivals and clubs can also apply to us for funding, we maintain many contacts and thus play a decisive role in shaping the export of music from Switzerland. 

After the meeting, we continue with an email from our "Global Contacts and Initiatives" department. A Bolivian curator wants to spend four weeks getting to know the local electronic music scene. She has a broad network in South America and organizes an annual festival for club music, including workshops and masterclasses. This is very much in the spirit of cultural exchange and a great platform. This research trip seems absolutely worth supporting and with the help of a coach she will be able to make the most of her time. We will make sure that she can make new contacts with DJs, producers, labels and event organizers.

Before closing time, the invitation to the next retreat is confirmed: our aim is to address previously underrepresented music scenes more strongly. New funding measures also mean a lot of discussion! In 2024, we will be implementing two new support programs: Push-it is aimed at up-and-coming musicians and their labels and Feat. is aimed at the hip-hop and electro scene.

It's high time to get back on the train, because there's a concert on the program this evening: the new production of a music theater company, which will soon be shown at a festival abroad. We supported the creation and the tour and are therefore particularly excited to see the piece now.

Facts & Figures

Who is supported: Musicians with a Swiss passport or permanent residence in Switzerland who are established nationwide and create their own repertoire, as well as event organizers in Switzerland and abroad

What is supported: including new productions, international presence (tours, festival appearances), album productions with release tour, festivals of national renown

What are the most important criteria? Supra-regionality, subsidiarity, appropriate fees, innovative program

Tips for submitting applications

-Check the eligibility criteria on the website and submit your application online.

-Fill the online mask with short texts, avoid repetition of the dossier texts.

-A detailed budget and a realistic financing plan are essential.

-Check whether a funding offer from the music department has been selected. 

Peer Abilgaard studied voice and trumpet at the Cologne University of Music and Dance and was a guest soloist as a countertenor at the Staatstheater Darmstadt and in the  opera houses in Halle, Gera, Altenburg and Bonn. After studying music, he went on to study medicine at the University of Bonn. Today he is head physician at the Clinic for Mental Health at the Evangelical Hospital in Gelsenkirchen and an examiner for various German medical associations. 

In 2009, he founded the Peter Ostwald Institute for Musicians' Health at the Cologne University of Music. He also founded the "Netzwerk Musikermedizin Nordrhein", a loose association of therapists and doctors from a wide range of disciplines. As a founding member of the "German Society for Music Physiology and Musicians' Medicine", he has been involved in the interface between performing arts, music education and medicine for many years. Together with his colleagues, he pursues a resource-oriented further development of the still young discipline within the specialist society. 

As an author, Abilaard deals with resilience and dignity-oriented approaches in psychotherapy, the importance of non-verbal psychotherapy  and an ego-strengthening music education.

More about the National Health Day Music: swissmedmusica.ch/healthday

What role does music play in times of personal crisis? How do you deal with creative crises? And how are identity crises portrayed in music? These and other fascinating questions are explored in the latest volume of the Swiss Yearbook of Musicology, which has just appeared as the third publication in Golden Open Access format. The four editors Margret Scharrer, Vincenzina Ottomano, Lea Hagmann and Laura Möckli, who are at home in very different areas of musicology (historical musicology, music theater studies, ethnomusicology), thus complete their trilogy on the topic of "Music in times of crisis".

The terms "crises" and "music" are broadly defined. The first volume of the trilogy (vol. 38, 2021) dealt primarily with pandemics (Covid-19, AIDS) as a reaction to the Covid-19 pandemic, while the second volume (vol. 39, 2022) was dedicated to conflicts and wars (Belliphonia, SARS, border conflicts, etc.). In their introductions to the current volume Identity and creativity (vol. 40) write the editors: 

Crisis situations are an integral part of human, social, scientific and artistic experience. Although they are exceptional situations, they can be found everywhere, not only in areas ravaged by famine, war and disease, but also in affluent societies. Crises manifest themselves in a wide variety of forms and are perceived and managed in different ways. (SJM, vol. 40, p. 7)

The main article in the current volume by Naomi Matsumoto (Goldsmiths, University of London), Representing Insanity and the Crisis of Identity through Henry Purcell's "Bess of Bedlam"  deals with Henry Purcell's ballad Bess of Bedlam (1683), which Matsumoto uses as an example to illustrate how the concept of madness was portrayed in the 17th century in a song genre known as "mad song". Another article by Florian Besthorn examines "You peoples are learning to live dangerously". On the road to peace with disaster music? Jörg Widmann's oratorio Arche in relation to the themes of faith, divinity and personal responsibility, and asks how a society can find new answers to the question of a fairer world in times of crisis. Martin Pensa's article Seeing the world in a new light - Gustav Mahler's late work as a symptom of a personal crisis? takes a closer look at Gustav Mahler's late work and the complicated connections with the composer's personal crisis in 1907 - when he lost both his daughter Maria Anna and his position as director of the Vienna Court Opera and at the same time learned of his terminal heart failure.

In addition to the three main articles, authors in the "Contemporary Witnesses" section deal with other aspects of identity and creative crises, for example in an interview with composer Manuela Kerer, in a conversation with director Alexander Nerlich, in the project Music as Empowerment, which uses sound projects to overcome language barriers between Swiss researchers and young refugees in the canton of Lucerne, or in the stage production by Lea Luka Sikau and Nat Jobbins, which deals with mental health, queerness, madness, failure and creation processes. The "Werkstatt CH" section completes the volume with reports on current musicological projects at Swiss universities and colleges, as well as conference reports and book reviews.

DOI:
doi.org/10.36950/sjm.40

For the past three years, Kalaidos University has been offering the Suzuki Method music education course in cooperation with the Suzuki Institute Switzerland and Suzuki instructor Agathe Jerie. It is open to all those who have a university diploma with violin or viola as their main subject, lasts one year and takes place in an intensive week in Interlaken and then in the Zurich area. Students learn how to apply Suzuki Shin'ichi's practices and theories by studying the latest research findings. 

Ms. Furrer, why did you decide to train with Suzuki?

Because this method has "hand and foot"! Seven years ago, my own daughter started playing the violin using the Suzuki method. As a mother and violinist, I had the opportunity to get to know the method well and thoroughly in practice. Then, during the training, I was given a differentiated knowledge of how the complex process of learning to play the violin can be taught in a clear and simple way. I think that's great!

What distinguishes the Suzuki method from other music education approaches? 

In addition to the early start with the "mother tongue method", it is the interaction from the very beginning: We do it together! It sounds even better together! These are important experiences for the child. It learns to fit into a group, to be considerate of others and to listen! 

Reading music is also dispensed with: This allows the training of the ear, the concentration on rhythm and intonation, the violin posture, the movement sequence when playing, the sound and the expression to take place undisturbed. 

In addition, parental support and cooperation between teacher, parents and child is of great importance. 

The lessons are therefore adapted to the developmental stage, abilities and special physiology of young children and specially designed in terms of teaching methods. With this focus, the Suzuki method is more relevant today than ever: early intervention and group lessons are on everyone's lips and are offered at many schools and music schools.

What were the milestones in your Suzuki training?

I learned a treasure trove of suggestions and ideas for a fun, visual, playful and yet very well-founded lesson structure. Although I started the training with many years of teaching experience, many new doors were opened to me and worlds were opened up - for which I am infinitely grateful!

In addition, I learned a lot about the technical aspects of violin playing in the lively and stimulating collaboration in the course. In a way, all the participants went back to the beginning and questioned some things in a completely new way - all in the service of the child and their path to music. 

Finally, I came to the decisive realization that the Suzuki method is a training and educational path in which valuable skills are developed that are of great importance for all areas of life. The Suzuki Method is a life training in the truest sense of the word.

To what extent has the training changed your teaching practice?

The methodology opened my eyes to the fact that the early beginning in particular needs the love and recognition of the smallest steps. The child experiences a valuable and decisive connection to the instrument, to music and to itself from the very beginning - which is a wonderful thing. 

And a new joy for teaching has grown in me, so that today I can once again experience a deeper sense of purpose. I am very grateful for that. 

How can you imagine the structure of the entire traditional Suzuki method?

The Suzuki school consists of a total of 10 volumes and these are developed in five different levels. Each level usually takes one year to complete. You decide individually how many levels you want to do. Kalaidos University currently offers two levels, i.e. training for Suzuki volumes 1 - 3. 

How do you see the future of the Suzuki method?

I hope that the Suzuki method's knowledge, philosophy and spirit will be understood and lived by more and more people, and that it will be able to reach out to more and more musicians who are looking for a new, deeper or higher meaning in teaching!

Further information is available at: 

www.kalaidos-fh.ch/de-CH/Studiengaenge/CAS-Certificate-of-Advanced-Studies-Musikpaedagogik-Suzuki-Methode

CAS FH Music Education Suzuki Method 

The new CAS FH Music Education Suzuki Method course starts in August 2024, application deadline is July 1, 2024!

After several years dedicated to the direction of the SSM, Helen Geb-hart resigned from her position in order to engage in a doctoral project at the University of Bâle, under the supervision of Hanna Walsdorf. Before taking on the role of Head of SSM, Helen studied musicology at the University of Basel. En 2021, elle avait repris le poste de responsable de la SSM à la suite de Benedict Zemp.

Helen Gebhart is replaced by Luc Vallat. After studying musicology at the University of Fribourg, Luc completed a doctorate at the University of Berne, under the direction of Cristina Urchueguía. Currently a teaching assistant at the University of Geneva and a scientific collaborator on various projects, he has held the position of Head of SSM since May 1, 2024.

At the time of the relay, Helen and Luc are interviewed together. Between souvenirs and projections, the two musicologists talk about their relationship with the SSM.

Helen Gebhart, you have been Managing Director of SMG for the last three years. What was your role within this association?
My work was very varied: I organized the business of the Central Society, such as the Annual General Meeting and meetings of the Central Board, edited the Swiss Yearbook of Musicology, was responsible for RILM Switzerland and wrote articles for the SMZ.

As Managing Director, you led various activities. Which of these has shaped you the most?
I found the publication of the SJM a great job, albeit a challenge. I particularly enjoyed the fact that I was always meeting new people from a wide variety of musical backgrounds.

What have your three years at SMG brought you as a musicologist?
I got to know different research areas and approaches and was able to significantly expand my research and editorial skills. My horizons in music research and working life have broadened considerably as a result. 

Now you are starting a new chapter in your career by joining the SNSF research project "The Night Side of Music" as a doctoral student. What is the overarching theme of this project? What will your doctoral thesis focus on in particular?
As the title of the project suggests, we will be looking at music and night in earlier centuries and exploring what "night music" is, such as whether there is a difference to "day music". In my part of the project, I will focus on the city of Basel. You can be curious! 

Dear Luc, what has been your relationship with the SSM up to now?
During the realization of my doctorate, I rejoined the Bernese section of the SSM, before becoming vice-president in 2020. In particular, I have an excellent memory of a dance workshop of the Renaissance that we organized in 2021. As editor for the Dictionnaire du Jura, I am also very interested in the Dictionnaire de la musique en Suisse. I am therefore very happy to join the SSM management to invest myself in the multiple facets of this academic society!

SSM is a company more than a centenary. What are the challenges it will have to face in the coming years?
Every association is constantly confronted with the question of maintaining and renewing its members. It therefore seems important to me to take into account the interests of each and every one of them in the activities of the SSM. I am thinking in particular of the new generations of musicologists, the different linguistic regions and even the various study programs and projects in our discipline.

The motto of the Health Day is "Prevention and Musical Excellence" and will provide the most comprehensive information possible on prevention and therapy services in Switzerland. High-caliber speakers will provide information on the latest developments in musician-medical research, while workshops will offer the opportunity to experience healthy music-making techniques.  A table-top exhibition with information materials provides an overview of therapy and prevention services throughout Switzerland. Experts will also be happy to answer questions about individual strategies for healthy music-making and how to increase well-being in everyday musical life. The presentations will be simultaneously translated. The members of the nationwide Swissmedmusica network will be presenting themselves at the table fair. This ensures the high quality and seriousness of the offers. 

Become a member

Interested parties who would like to present their own musician-medical offers at the Health Day table fair can apply for membership with Swissmedmusica. Interested musicians can also become members. Swissmedmusica supports everyone on the path to healthy and emotionally fulfilling music-making. Members also benefit from networking platforms for all those active in music medicine in Switzerland and internationally, an exclusive, content-rich newsletter with information on media, events and current research in music medicine, as well as discounts on specialist journals and admission to the Music Health Day.

More info: swissmedmusica.ch/membership

Practical training, especially for people who are already in professional life, is central to the KMH. It is a traditional notion that talented concert soloists are just waiting to be hired. The "Specialized Performance" Master's degree course addresses precisely this issue in order to show graduates how they can independently tap into the music market and/or design and implement their own projects:

Part of the final examination, which leads to the soloist diploma, includes the task of putting together an orchestra or getting in touch with one in order to realize a solo concert. The course director provides support in the background with know-how and a network.

Successful cooperation

A prime example of this model is now on the home straight: KMH student Aristotelis Papadimitriou and conductor Martin Studer will perform Sergei Rachmaninov's Second Piano Concerto in Zurich on May 16. For the upcoming project, in which Bruckner's Fourth Symphony is also on the program, Studer is now bringing together "his" various orchestras, which consist of a rich, well-cultivated pool of musicians. Here, seasoned professionals harmonize with young students and amateur musicians. 

Intergenerational promotion and motivation

Martin Studer has always focused on supporting young musicians in his many and varied activities. The fruits of his energy can be seen in the Phil-A, the NZO and ALSO: all orchestras that he has built up alongside other institutions and for which he is virtually solely responsible. The classic, motivating image of a "self-made man" who can look back with satisfaction on what he has achieved and is happy to pass on this experience and the associated knowledge. It is only right that the Canton of Zurich's Department of Culture has recognized his commitment with an award.

Stagnation is a step backwards 

Ideal conditions for Aristotelis Papadimitriou. Born in Greece, the multiple competition winner has already attended various music academies, completed artistic and music education studies and studied with various professors. In addition to his active solo career, he teaches at music schools in Zurich and the surrounding area. Even though he appreciates the stability, it is still not enough for Papadimitriou. In order to move forward and not stagnate, he wanted to fine-tune his skills with Barbara Szczepanska, who is also an accredited piano teacher at the KMH in addition to her professorship in Düsseldorf. The flexible, modular and highly independent study model is the only way he can combine the curriculum with his preferred lecturer and complete it while working.

The number one hit of classical-romantic literature is in C minor

Before Papadimitriou concludes his studies with a recital at the end of June, the penultimate exam is still to come. He and Studer have not chosen the work on the agenda at random; they want to offer the audience a favorite: Rachmaninov's Opus 18 leads the Classic FM Hall of Fame - so were voted on by the listeners of the British radio station.

It was already a hit when it was created: his concerto helped the Russian composer and pianist to make a comeback after a deep depression and creative crisis and manifested his fame.

Concert tip
"Romantic longing 3.0"
Thursday, 16.05.24, 19.30h Zurich, Church of St. Peter
Program:
S. Rachmaninov: Piano Concerto No. 2 in C minor, op. 18
A. Bruckner: Symphony No. 4 in E flat major "Romantic"
Tickets: www.nzo.ch

This marked the end of around a year of preparatory work: based on the 2016 version, the content of the Swiss Music Charter was critically reviewed and adapted to current circumstances in the run-up to the 20th anniversary: The term "Swiss music" is now defined as follows: "Swiss music - regardless of style and language - is defined as recordings by authors and/or performerswho and/or are Swiss, who and/or have a clear connection to Switzerland, who and/or are regarded as Swiss due to their previous career". A certain degree of modernization has also become necessary due to changes in society's media consumption: for some years now, the content produced by SRG has no longer only been available in linear form as radio and TV channels, but is also available around the clock in digital versions via numerous other channels such as social media, podcasts, streaming, etc.

The following two principles from the Charter are certainly particularly important for the associations that support music in Switzerland:

(1) "It is recognized that the diversity and novelties of the music scene throughout Switzerland - also beyond the language regions - should be brought to bear and the general public should be made aware of them."

(2) "SRG SSR makes an indispensable cultural contribution to the public by taking Swiss music into account."

The SRG's editorial contributions on the Swiss music scene are just as important: music criticism (or cultural criticism in general) is almost non-existent in private media.

The renewed charter also states that SRG is committed to broadcasting an appropriate proportion of Swiss music productions on its radio programs. To this end, benchmarks are set annually with the partners [see right] of the charter, which fortunately are usually exceeded.

At the signing ceremony for the charter in Zurich last March, SRG CEO Gilles Marchand highlighted SRG's successes in the music sector in his speech. He sees the company as being well positioned for the challenges of the future. Representing the associations, Sandra Tinner and Cécile Drexel, Managing Directors of the Swiss Music Council and SONART respectively, addressed the invited guests. Sandra Tinner briefly recounted the history of how the negotiations between the music industry associations and the SRG began at the end of the 1980s and ultimately led to success. Cécile Drexel also praised the charter, but did not fail to appeal to the SRG that there was still "room for improvement" in the benchmarks for Swiss music. It was agreed that the SRG makes an indispensable contribution to Swiss music and that the commitment against the halving initiative will be correspondingly strong.

Partners of the Swiss Music Charter

• IFPI Switzerland
• IG Folk Culture
• IndieSuisse
• orchester.ch - Association of Swiss Professional Orchestras
• Swiss Music Council (SMR)
• Swiss Performers' Cooperative (SIG)
• Swiss Musicians' Association (SMV)
• Swiss Association of Music Publishers (SVMV)
• SONART - Musicians Switzerland
• SUISA, Cooperative Society of Authors and Publishers of Music

In his Bachelor's project, Pavel Stöckmann tried to answer the question of "why people are needed in art and what makes them special and why they cannot be replaced by AI."

How to inspire new audiences for the existential dimension of classical music
Alla Belova asked herself in her master's recital. "Many people go to India for a retreat because they think it will help their mental health. But they simply don't know that they could go to the KKL on their doorstep to have a similar experience."

Both students of the Lucerne School of Music spared no effort to address their questions artistically: Pavel Stöckmann through extensive compositions of his own, the inclusion of various art and media
forms and the collaboration with several dozen musicians, Alla Belova through musical exploration of the perception of time in a wide variety of works for five different keyboard instruments from several centuries - and her recital was linked to a mediation project lasting several months with lectures, workshops, chat groups and short videos on social media, and audience discussions.
questionnaire. 

The pandemic as a factor?

There are occasional discussions about whether the pandemic and the associated restrictions on the music industry have also triggered artistic and creative developments. "Much faster than anyone could have imagined, the questions from that time are far gone," is the assessment of Institute Director Michael Arbenz. Other factors are far more significant for the developments, such as the now ubiquitous availability of tools that make it easier than ever before to work on and implement artistic concepts on the computer at a professional level.

In the long term - the curriculum factor

For four decades, Peter Baur was responsible for training young musicians in various roles. During this time, it is not only the professional field and the students that have changed. Baur points out that today's examination formats also allow and even encourage much more individualization: "These possibilities didn't even exist before the introduction of Bachelor's and Master's degrees. The main achievement in today's Bachelor's project is the independent idea, which is implemented artistically and organizationally and then reflected upon. Without content requirements." 

Study coordinator Erik Borgir sees great added value in experimental formats that are directly and continuously integrated into the course: "The focus of the degree courses is on performance experience. You can practise as much as you want, without a performance you don't know where you stand. Whether an idea works is only revealed in the interaction with the stage situation, with the audience - everything else is gray theory."

Infrastructure factor

In 2020, the Lucerne School of Music moved into a new building with many places to experiment and perform so that ideas don't remain gray theory. "When you have the possibilities and the space right in front of you, it's inspiring. Being able to try things out in a room is also central to the development process. That wasn't possible at the previous locations. The new environment has really encouraged the desire to create," says lecturer and study coordinator Sascha Armbruster. However, new projects also bring with them new requirements, as Cornelia Dillier, Head of Events/Technology, knows: "Today, you need a crew around you to guide and advise you... You need other forms of support."

The human factor and more

Of course, space, technology and support are not enough. Creative projects depend on individual people and their questions. But today's formats of creative projects often materialize in collaborative structures, as the great importance of interaction in Pavel Stöckmann and Alla Belova's final projects shows. "The more the students realize that these possibilities exist and the more they are in an environment of creativity and creation, the more interested they are in doing something like this," says Erik Borgir. And the students' environment extends beyond the universities: "Switzerland has a fantastic landscape for this kind of work. There are many small places where such performances are possible. There are good support structures. There are close-knit communities that are interested in it and get together. And everything is geographically close to each other, so you get to know each other quickly."

Compiled by:
Valentin Gloor, Director Lucerne School of Music