Gaudenz, what motivated you to apply for a position on the VMS Board?

I was very interested in having a say and helping to shape things at a national level. I'm really looking forward to it! I'm excited to see how I can contribute my many years of experience from primary school and music school. The fact that I can use my knowledge of French also appealed to me.

More and more music schools are working together with elementary school. You know both institutions very well - what do you think is the benefit of such collaborations?

In short: music schools have the specific expertise, and schools have a certain know-how in organizing learning. Cooperation can further develop music education. This in turn is important because music offers the opportunity to address urgent socio-political issues. Music is an important element in the individual and social development of people and can have a unifying effect.

How did you make the leap from the teacher training college to the music school?

After ten years as a teacher and ten years at the PH, I was looking for something new. By chance, I found a position as a substitute at the Zurich University of the Arts in the training program for school musicians. It was there that I realized how much I enjoyed this professional combination of learning and music. It really fascinated me. And just as coincidentally, shortly afterwards the head of the music school in my place of residence was advertised.

How big was the difference in your day-to-day work?

The change from the classroom to the PH was more drastic than the change to the music school. Both at the PH and now I work with adults. However, there is one point that concerns me a lot, namely the big question: can I manage a music school? This had a strong impact on me when I took up the job. Over the last ten years, I've realized that many musicians feel the same way. Can I do the piece? Do I know the instrument well enough? Can I do it?

Impostor syndrome does indeed seem to be widespread - people doubting their abilities despite obvious qualifications.

Exactly - what do you dare to do? That's something I think about from time to time. After ten years at the music school, I know that I made the right decision, but there was a lot of uncertainty at the beginning. I feel the same way about being on the board - there is also a certain amount of uncertainty involved. Will I be able to get involved? Will my input help the cause? But if you don't try, you'll never know. I am therefore very grateful for this opportunity.

Do you actually play one or more instruments yourself?

I play the trumpet and take part in the music camp every year. I've also been playing the cello for three years - I was interested because I'd never tried a string instrument before. I also play the piano a bit. I know roughly where the keys are, but not much more.

Do you practise a lot?

(No (laughs). Unfortunately not. I try to pick up an instrument once a day. But I don't always manage that.

And finally this: Do you have a favorite music?
At the moment I would say Jon Batiste. I've just heard him in Bern. He's extremely versatile on the road, he plays jazz and classical music and everything in between. And he has a great connection with the audience. He told me that he used to play a lot of music with his family at home and then led the audience in such a way that the atmosphere in the concert hall was just like at home in the living room. That was really touching.

Over 100 school bands from all over Switzerland registered for the "Eurovision School Song Contest" by SRF as part of the ESC in Basel. The bands submitted videos of their own and cover songs, recorded in the band cellar or outside, with matching choreography and clothing. There was also a wide range of styles - from yodeling to hard rock, from funky pop to chanson.

Countless of the participants take lessons at Swiss music schools. This includes the six band members of "The Returners", who impressed the jury members led by Anna Rossinelli. They reached the final and were among the four best school bands and performed two songs in the Eurovision Village on May 14. We spoke to the two guitarists Lean Melone and Samuel Binkert, Lean's guitar teacher Yiannis Papayjannis and music school director Diana Bauchinger.

Lean Melone (14) and Samuel Binkert (14), both take guitar lessons at the Möhlin Music School

How did you experience the live performance in the Eurovision Village?

Lean: "It was mega cool. A mega opportunity to be on such a big stage. We'd never done that before. We'd only played one gig before, in front of about twenty or thirty people, at the birthday party of the father of one of the band members.

Samuel: It was really fun. The fact that people thought it was great what we were doing was awesome.

Were you nervous?

Lean: Surprisingly not. A little bit before the gig, and I think the others too. But then almost not at all during the playing.

You played songs by Guns N' Roses and the Foo Fighters. How did you come up with that?

Samuel: We all just think the music genre is pretty cool. So rock'n'roll and rock.

How were you informed that you had made it to the final?

Samuel: There were two votes: from the audience and from the jury. We found out about the public vote by e-mail. And the jury's decision came by phone on a Wednesday afternoon. One of our singers answered and then informed us. We almost couldn't believe it. We had actually registered more for fun and didn't expect it.

And what's next for the band?

Lean: We'll just keep going. We have a gig at the school next week and have already received several other requests. We'll be playing quite a few concerts in the near future (laughs).

What's it like for you: Do you both practice a lot at home, apart from the band rehearsal?

Samuel: Yes, I practise every day, even at the weekend. I simply enjoy it. When I'm bored, I always practise. I never have to force myself.

Lean: It's the same for me. I always try to practise when I have time.

Yiannis Papayiannis, Music teacher at the Möhlin music school, guitarist and sound engineer 

"Lean Melone and his brother Mael, who also plays in the band "The Returners", have been coming to me for guitar lessons for about two years. They have a very high level and have both passed very good level tests. Both of them also play pieces by the progressive rock band Dream Theater, for example, which are very difficult to play, with meters like 7/8 or 14/16 and lots of key changes. I have already transcribed several Dream Theater pieces for them. I spent three days on one of them during my vacation. I was also interested in it myself, so I really enjoyed doing it.

It's great to have interested students like these two. They both practise a lot at home and I invest a lot of time in their preparation. We use every minute in the lessons, the lessons are always far too short! They are also interested in effects, pedals and amplifiers. Guitar lessons are very varied, you learn to read music, chords, accompaniment, soloing, phrasing, but it's also about sounds and gear.

During the lesson, we often also look at pieces that they play in the band. We discuss ideas for solos and recreate certain guitar sounds. I've already heard the band play. They do it really well!"

Diana Bauchinger, Head of the Möhlin Music School, trumpeter and also director of the Knaben- und Mädchenmusik Basel

"Of course, I think it's brilliant that students from our music school and our neighboring school took part in this event. It's particularly great that the young people formed the band themselves and registered for the competition independently. We were able to lay the foundations for this through the individual lessons at our school.

I think it's sometimes not visible to the public what's behind a performance like this. It's a long road - from being interested in music to having your own band and even a success like the one at the Eurovision School Song Contest. The young people, parents and teachers invest a lot of time and passion.

First of all, there are the children and young people who are committed to music lessons and their instrument. They want and need to take the time to practise, which requires much more personal effort than in sport, where you go to training in a group and don't have to practise for yourself at home.

Then the parents are also needed. It is very important that they support the children, that they incorporate regular practice into their everyday lives and thus enable them to keep at it over a longer period of time. It really pays off.

And the music teachers also make a significant contribution to this. If they respond to the pupils, if they recognize and encourage talent, then so much is possible! Sometimes it's not easy for them. Many have small workloads at several schools, sometimes in different cantons. It's a big task to keep track of things when it comes to talent promotion and competitions, for example, which are organized differently everywhere. Our music teachers are very committed, which is really worth its weight in gold.

Ultimately, it also needs the right structures and support from the community and the canton. Musical education is hugely important. We are delighted that this has now become visible with the competition as part of a major event such as the ESC!"

"We want children to spend more than just thirty minutes a week at music school," says Stefanie Dillier, Head of the Alpnach Music School in the canton of Obwalden, "The music school should be a low-threshold center for musical experiences of all kinds." With three new teaching formats under the joint title "Musikschule+", which will be launched permanently in the 2024/2025 school year after a pilot phase lasting several years, her music school is well on the way to achieving this.

Creative days - experiencing and learning together

Several times a year, teachers from the small municipal music school offer a creative day - a half day that replaces the individual lessons of the week and gives the students a shared experience. This can be a visit to the largest organ in Switzerland at Engelberg Abbey, a recording day in the studio or the construction of a monster drum, where all the percussion instruments from the music school are brought together and put together. "The teachers are very creative and the feedback from the students is great," says Stefanie Dillier. The parents also give the new format very high marks.

Workshops for music students and external participants

While the creative days are aimed at registered music students, other interested children and adults can also register for the newly advertised workshops, another new format. These include a pop choir, a pan ensemble and various bands. For younger children, the music school offers the "Music Mind Games" workshop, which promotes access to music in a playful way. Courses in music theory are also planned.

Practicing at the music school

The third format is supervised practice time. The fact that the music school is located in the same buildings as the elementary school allows music students to practice over lunchtime. Due to the space available, this is currently only possible on Mondays and Tuesdays - interested children can sign up for 15-30 minutes of practice time at the beginning of the semester, parents pay a symbolic amount and a teacher is always present to answer questions. "We want to get even more out of this," says Stefanie Dillier - the current stumbling blocks are the lack of space and the costs. She sees potential in the format because many pupils use the daytime structure of the elementary school and are therefore present over lunchtime anyway. It also takes the pressure off parents and encourages pupils to be independent at the same time.

When the anniversary becomes a village festival

"As an overall project, the Music School+ is cost-neutral," says Stefanie Dillier. This certainly contributes to acceptance - but she also emphasizes that the music school is highly valued in the village and is well anchored in the population. "Last year we celebrated our 50th anniversary, a real village festival. A lot is possible when the relationships with the school and the community are so good."

Singing at the school

The Münchenstein Music School in the canton of Basel-Landschaft also works closely with elementary school. As part of the "Klingende Schule" project, school classes from grades 1 to 6 take part in singing and music classes free of charge. The participating primary school teachers benefit from further musical training and teach with music teachers in team teaching. Highlights are the performances at the end of the school year. "I have to say, I'm absolutely thrilled," says Salome Zumbrunn, co-principal of the primary school in Münchenstein. "Singing and music are generally very important for a school."

Making the most of a cost-cutting measure

The basis for the project was originally not very encouraging. The municipality of Münchenstein was forced to cut the third lesson of music and movement for primary school pupils as part of a package of cost-cutting measures. As a compromise, funds were made available to the primary school and music school for cooperation projects. "We wanted to give the children musical experiences in Münchenstein," says Aloisia Dauer, who has been running the music school since 2023. As there is a large existing children's choir culture in Baselland, the project team from the two institutions quickly decided on joint singing classes, which were to be integrated into the morning lessons, and courses in percussion and Orff instruments over lunchtime. In addition, the primary school teachers should be able to attend further musical training courses.

Final concert in a packed hall

The response was already very positive in the first year of the project. At the final concert of all singing classes in July 2024, over three hundred children took to the stage. "We had a full concert hall, despite a Swiss football match," reports Aloisia Dauer, "The joy of music was clearly evident among the children, the teachers, the parents and the entire municipal council. It really was something very special."

Pilot project evaluated positively

The evaluation of the pilot phase also showed encouraging results. Teachers reported an improved class atmosphere thanks to singing together - the pupils would also sing the rehearsed songs together on excursions or in the playground. The further training courses in voice training, song repertoire and, from August 2025, "Song accompaniment with the guitar" were also particularly appreciated.

Form a network

"As a music school, we need to think more as a network and not just work on our own," says Aloisia Dauer. Individual lessons are still very important, but we also need to work together with schools and other institutions. "We have to make sure that as many children as possible come into contact with music. Community can develop through music - it brings people and generations together."

Award-winning

Both music schools were honored for their innovative projects at the VMS-Good-Practice-Wettbewerb 2024/2025 were awarded. The Münchenstein music school won 2nd prize from the jury, and the Alpnach music school received the audience prize.

"I have my little lab at home," says Sarah Perruchoud-Cordonier, "I have dyslexia and dyscalculia and I am the mother of three little girls who are also 'multi-dys'." Sarah Perruchoud-Cordonier doesn't mince her words when she explains why she became interested in teaching children with learning difficulties and why she opened the first specialized department for these children at EJMA Valais.

Since August 2020, this area has provided access to music learning for all children, regardless of their cognitive and intellectual level, disabilities or illnesses. Pupils can take lessons in accordion, percussion, piano, singing, cello, flute, keyboard, musical introduction and musical language. Nine teachers have specialized in this subject area as part of a CAS. And this CAS was awarded to them by M4All, the association that Sarah Perruchoud-Cordonier founded herself: "At music colleges, this kind of specialized training is not part of the basic curriculum. I had students who weren't doing well, but instead of letting them give up, I tried to find keys and integrate them into my lessons. My home lab helped me. Then I did a DOLCE training focusing on educational music therapy for children with learning difficulties, followed by a specialization in Paris. I tried to list what was possible and combined these pedagogical tools into a method that I called Les Clés de la Pédagogie M4all and immediately founded a training organization, M4all Formation Sàrl."

Learning to interact

The idea of this training is to offer action-response style teaching based on case studies and teaching materials adapted to each individual's characteristics. It is about learning how to deal with the child as an individual - rather than learning how to teach them music. A pupil with dyslexia, for example, will be dyslexic all his or her life, even when it comes to reading music. Together with the pupil, the music teachers clarify how participation in lessons and concerts can be made possible.

The students from each department are involved in cross-school projects. They take part in workshops, group courses and even concerts, "and nobody notices," says Sarah Perruchoud-Cordonier. "We give group lessons with real education for others. For example, we explain what Down syndrome is. We pretend to believe that these different children will integrate into normal society. And if the disability is too severe, we look for a solution. It has to be a win-win for everyone."

Around one hundred children and young people have benefited from adapted music lessons since this section of the EJMA Valais was founded. And some of the trained music teachers are now also using the method in other music schools in French-speaking Switzerland.

Find out more about the project here.

Bringing music closer to people who have no easy access to it has long been Fabio da Silva's wish. He held composition workshops in prisons, set the life stories of addicts and the very elderly to music - it made sense for him to look for new ways as a music teacher too. He approached the curative education school (HPS) and found a committed project partner in Joëlle Bieri, a former primary school teacher with extensive experience in teaching music. Since summer 2022, pupils from the music school have been meeting with pupils from the HPS to rehearse songs such as "Believer" by Imagine Dragons and "079" by Lo & Leduc.

Learn to play real instruments - as a band

These "Happy Fridays" initially focused on percussion instruments, the music students' instruments (saxophone and clarinet) and the Skoog. The Skoog is an easy-to-use cube specially developed for inclusive music-making. After a short time, however, several HPS students expressed the desire to get to know acoustic instruments as well.

"There is some absolute talent there," says Joëlle Bieri. All of the participating pupils now play the djembé, piano, electric guitar, electric bass, saxophone, clarinet and drums in varying formations. They are supported by a seven-member management team consisting of music teachers from the music school and HPS staff. The workshop usually starts with an improvisation piece with which the music students warm up and practise ensemble playing. They then work together on a piece, developing the melody, the beat and the accompaniment.

An ensemble like any other

"We make no distinction between children from the music school and the HPS and therefore no longer use the term 'inclusion'," says Fabio da Silva, "The Happy Fridays are exactly the same as other ensembles at the music school." Special needs teacher Joëlle Bieri also sees it this way: "It's not important who goes to school where. The children identify with the project, they have become a team." The Happy Fridays concerts are well attended and demonstrate this natural togetherness to the audience.

Approach each other

The project has met with great interest within the music school, but can also cause uncertainty, especially for music teachers without experience with children with disabilities. "I think it simply requires an openness to approach each other," says Joëlle Bieri, "You have to get to know each other, try to meet the pupils where they are at the moment and enable them to discover their talents and experience the joy of making music." The collaboration within the management team is characterized by great commitment and a mutually appreciative and supportive attitude. For Fabio da Silva, the Happy Fridays are a great enrichment alongside the individual lessons with the saxophone students. Several HPS students now attend individual instrumental lessons at the Oberemmental music school, which makes Joëlle Bieri and Fabio da Silva particularly happy.

1st prize in the VMS good practice competition

As far as the finances are concerned, the two project parties have found a good solution: the costs are split equally. The personnel costs are borne by the respective institutions for their employees. In order to keep the ensemble lessons free of charge for the music students, all of whom already attend individual lessons, various financing options in the form of foundations and other project contributions are constantly being sought. Both the music school and the HPS are planning to further develop and expand the project. "It would be great if other music schools were also inspired to start such projects," says Fabio da Silva. Winning the 1st prize in the VMS Good Practice Competition may be a first step in this direction. Congratulations!

It is light and easy to transport, and it works both as a solo and as an accompanying instrument - two interesting plus points for the Schwyzerörgeli. The right hand plays the melody and the left hand plays the accompaniment, usually with three melody lines and two bass lines. Dominik Flückiger, musician, composer and music teacher, has been playing the Schwyzerörgeli since childhood and now teaches at three music schools in addition to his concert activities: in Stans, Rottal and Lucerne.

Is the Schwyzerörgeli on trend?

"We've been hearing for years that the Schwyzerörgeli is booming - but I don't think it's ever not been booming," he says. Nevertheless, he notes that the attitude of today's young people towards the Örgeli and country music has changed: "As a child, I had to justify playing the Örgeli, but today it's considered cool." He sees the reason for this in the fact that musical styles are more mixed today and that there are more and more musicians who also make modern music with traditional instruments - like himself, who not only plays Ländler with the Schwyzerörgeli, but also explores the limits of the instrument in all (stylistic) directions.

Equipment for the Stubete

He mainly teaches children at music schools - with the aim of ensuring that pupils know the most common time signatures and keys of Swiss folk music and can play along spontaneously at a Stubete. "I cultivate both traditional and new folk music with my students," he says. He therefore tends not to include pop pieces in his repertoire, but more modern folk music that incorporates influences from pop, jazz and international folk music.

Everyone can learn to yodel

Yodeller Silvia Rymann has also been asked time and again for years whether interest in yodelling has increased. "The question shows that interest has always been high, which of course makes me very happy"she says. She teaches at the Neuenkirch music school in the winter months when she is not on the road or performing. "Anyone who can sing well can also learn to yodel""But it takes time, bite and a little talent to reproduce the yodeling technique - the change between chest and head voice or the tongue beat - in a cultivated and perfect way," she says. Similar to the alphorn, yodelling is also said to have originated for communication reasons - to pass on information or the state of health of the alpine herdsman from alp to alp. "You can't prove this 100 %"Rymann says with a smile, "but it's always a nice story!" However, there is evidence that yodeling is not only widespread in Switzerland, but throughout the entire Alpine region, with different yodeling techniques in each region.

Yodeling Taylor Swift songs - why not?

Silvia Rymann teaches both adults and children, and is always impressed by how quickly the younger ones can put things into practice. She includes both classics and new compositions in her repertoire. She can also imagine arranging pop songs for yodelers: "I'm very open to that. For example, if young people want to sing a Taylor Swift song and integrate a yodel, why not?" Trying something out is nice and important, but the classic yodel songs are wonderfully timeless and should be left to stand. She herself also likes to sing songs without yodeling and listens to a lot of other music. But basically, she is already completely fixated on yodeling.

Alphorn - simple and yet difficult

Of course, the alphorn should not be missing from the list of traditional Swiss instruments. "It's simply a wonderful instrument," says Valentin Faivre, who plays on the Conservatoire de musique neuchâtelois (CMNE) teaches eight adult students. "The sound is pure and full of natural harmonies - even though it only consists of a simple wooden tube." However, it is precisely because of its simplicity that the alphorn is difficult to play. Although the technique is similar to that of other brass instruments, to which it belongs, the challenge lies in the fact that all sounds have to be produced using only the mouth and air pressure. As only natural tones can be played, the repertoire is limited - but beginners can quickly improvise.

The alphorn at Creux-du-Van

"Playing the alphorn is like yoga," says one of Valentin Faivre's students, "It's contemplative, you're in touch with your surroundings and nature. It gives you a feeling of peace, contentment and calm, which is very relaxing in these times." Another student remembers standing with his grandfather at Creux-du-Van as a six-year-old and hearing an alphorn for the first time in his life: "That's a moment I'll never forget!" He hopes to soon be able to play well enough himself to play in nature and make people happy.

Becoming a futurologist

We live in a (working) world that is constantly changing and evolving, and closing ourselves off from it is difficult, impossible and also unnecessary - this was the basic tenor of the speakers. Raphael Gielgen encouraged people to take on the role of a futurologist in order to actively shape the future. It is worth developing new skills and reflecting on them. He sees the power of stories and rituals as extremely important, as they can help to create a desirable future for everyone. He sees particular potential in music to create such a connection.

Barbara Josef also emphasizes the power of the "we": "The challenge is to find a strong we in an individualized world." It's about cultivating shared values. The era of innovation and individuality is over - we are living in a time of omnicrises and resilience and teamwork are more important than ever.

Preserve and optimize - and reduce if necessary

School development specialist Stephan Huber presented his BIO+ approach. "Schools need innovation," he said at the start. The focus is on the question of strategy. The BIO+ approach proposes finding a balance between "preserving, innovating, optimizing" and at the same time taking care of existing resources by reducing or suspending what proves to be costly and of little use. It is also worthwhile to go on a treasure hunt instead of looking for mistakes - based on the realization that the work is never finished and that it therefore makes sense to focus on positive and pleasing things. Finally, he wished the principals present a lot of courage: "If you run a school, you have to make courageous decisions," he said, "and I wish you a good hand in doing so."

AI and music lessons

How has artificial intelligence developed? What can artificial intelligence do today - and how can we use it? After an outline of the history of artificial intelligence by Gilbert Nouno (Haute école de musique de Genève), Richard Eastes, who supported the VMS in the development of the digitization concept, gave specific tips on the use of ChatGPT. For example, he pointed out how important prompt engineering is: AI can only respond helpfully if it is given a role, a tonality, a mission and a format. In music lessons, both see four tasks for AI: as a reference work, as an assistant, as a sparring partner and as a ghostwriter. These include concrete applications such as AI playbacks, the compilation of exercises or a practice plan.

Finally, they had AI summarize the presentation in the form of a song. ChatGPT wrote the lyrics and the music tool Suno composed the music in the desired styles of trash metal and reggae. Excerpt from the generated lyrics: "Algorithms dance through the melody, giving the music new magic."

Building the music school of the future from Lego

Finally, the participants worked on design thinking with the Zukunftslabor team from Baden. "We want to get started quickly," said Simona Hofmann - identifying needs, developing, implementing and refining ideas and prototypes. In four different workshops, the participants dealt with questions relating to the music school as an institution, as well as composing music with the help of AI. "It was great to build with Lego again," said one participant in the Lego Serious Play workshop, where the ideal music school was built and discussed - and, as in the other rooms, there was a lot of laughter. Finally, the ideas for completely new events/concerts and target groups developed within a very short space of time, and especially the AI songs created by several groups, were met with applause.

Two main prizes for inclusive projects

Ten innovative projects from Swiss music schools presented themselves to a jury and the public with videos and live interviews as part of the Good Practice competition. The Münchenstein Music School took second prize with its project "Ringing schools", and the audience award went to the Alpnach Music School with the "Music School Plus" school development project. The jury unanimously decided to award not just one, but two first prizes - one to the Music school Oberemmental with "The Happy Fridays" and the other to the École de jazz et de musique actuelle EJMA Valais "Musician-ne au-delà du handicap" (detailed report in the next issue).

Live on air: the radio bus

A class from the cantonal school in Baden went live on air with the Pestalozzi Children's Foundation's radio bus and asked the guests exciting questions. The radio bus will be visiting music schools throughout Switzerland this year - a campaign as part of the association's 50th anniversary. The latter was heralded with a special highlight, namely the unveiling of the VMS's refreshed visual identity. The new logo plays with the visual representation of frequencies and the colors are fresh and cheerful - a first bang in the anniversary year.

"As a music teacher, you often work alone - if you were to collect all the teaching material that comes out of it, you would be faced with a huge treasure trove," says Matthias Tschopp. The jazz musician and music teacher - who states with a healthy dose of self-irony that the baritone saxophone is without doubt the best of all instruments - therefore published a book six years ago together with his colleague Monica Boffo a workbook for instrumental lessons.

However, as his personal repertoire of methods and exercises continued to grow, he decided around two years ago to launch a podcast entitled "Teaching Saxophone" and, in parallel, the "Sax Teacher Mastermind" training course for saxophone teachers from German-speaking countries.

He now publishes a new podcast every two weeks in which he interviews colleagues on specific topics. Also every two weeks, the music teachers registered for further training meet via Zoom to, in Matthias Tschopp's own words, compile secret recipes and talk about everyday worries - with the aim of "boosting" their own teaching.

Podcaster - a new profession

During the pandemic at the latest, countless people have been gripped by podcast fever, both as listeners and creators. But you don't make a podcast on the side - as Matthias Tschopp, who invests around half a day to a whole day a week, also realizes. "It's a profession in its own right," he says, "Like a bottomless pit. You could always do more, even better, even more creatively."

However, the positive feedback from people in the saxophone community gives him the energy to keep going, even if the effort is not yet financially worthwhile. In a recent episode, for example, he put together a list of useful apps and tools, and he spoke to his colleague Mirjam Scherrer about teaching children of kindergarten age. "It's incredible how much work is lost because most people develop things on their own," he says. "Promoting exchange became my mission."

Sax Teacher Mastermind - intensive exchange

Saxophone teachers who would like to benefit even more directly from Tschopp's work can register for the "Sax Teacher Mastermind" training course. This gives them access to a platform with numerous materials and a forum for questions, and every two weeks they can discuss specific questions from their lessons via video call. Every month there is also a focus topic and corresponding material.

"If someone asks a question that none of us have an answer to, it's my job to do the research," says Tschopp. He researches topics, puts together exercises or sometimes creates a memory game with grip cards. The participants support each other and provide each other with specific tips and experience.

"I find both the work for the podcast and for continuing education extremely satisfying," says Tschopp. He also uses the ideas and newly created materials himself in his lessons at the music school in Zug.

Registration is currently open for the next edition of the training course "Sax Teacher Mastermind" (online). Interested parties can register until the end of February.

"The 'Young Talents in Music' program has developed great momentum," said Eva Crastan from the VMS Board at the start of the afternoon in front of around 50 participants. VMS President Philippe Krüttli also emphasized that it was impressive to see how the work in the cantons was progressing - by the end of 2024, 16 cantonal programmes had already been accredited as part of "Young Talents in Music", and numerous others were in the consultation process. This makes it all the more important to exchange ideas in order to learn from each other and move forward together.

How did the "Young Talents in Music" funding program come about?

With the establishment of Article 67a in the Federal Constitution, the Confederation and cantons were given the task of promoting the musical education of children and young people. On the one hand, this includes broad-based promotion - which has already been given its own program with "Youth and Music" - and on the other, the promotion of talented young people. Many programs already existed at both cantonal and municipal level to support particularly talented music students, but there was a lack of national coordination. With "Young Talents in Music" and the associated framework concept, this has been available for two years, and the cantons can now have their cantonal program for the promotion of particularly talented students accredited by the federal government.

From the framework concept Young Talents Music 

"As part of the 2021-2024 Cultural Dispatch, the Federal Council has promised to define principles and introduce specific measures to promote talented young people. With its "Young Talents in Music" program, the Confederation supports musically talented children and young people within the framework of cantonal and intercantonal talent promotion programs. With its program, the federal government is not creating its own talent promotion system, but is building on cantonal and intercantonal talent promotion programs. These must meet the content and structural requirements of this framework concept in order to be eligible for federal support. For the development of corresponding programs, the Confederation also supports the cantons with one-off financial assistance."

(Source: BAK, Framework concept for young talents in music Page 2)

Learning from each other

During one part of the afternoon, the participants informed themselves about the cantonal programs by means of a poster exhibition. They discussed cantonal principles, political structures and enrolment figures - the exchange was intensive and fruitful.

"There is a great deal of commitment in the cantons," said Lorenzetta Zaugg at the end of the afternoon. Philippe Krüttli also expressed his thanks and added that the milestones achieved in a relatively short space of time were something to be proud of.

Under the following Link you will find information on the funding programs in the cantons that are already accredited.

Simona and Urs, you write on your website that innovation is a must these days. Why is that?

Urs Dätwiler: Exactly, we even say"Innovation means survival" in a rapidly changing world. So much is happening with digitalization and now also with AI - if you don't evolve, you run the risk of going under. 

That could certainly be seen as negative - innovation out of necessity, so to speak. What is positive about innovation?

Simona Hofmann: Discovering new things is exciting per se. People are often a little afraid of change, but it offers a lot of potential.

Urs Dätwiler: Switzerland has been the world champion in the Global Innovation Index for ten years - so we are already pretty innovative! What we offer with the Future Lab is process-based, method-supported innovation work, especially for small and medium-sized companies and organizations that don't have their own research department.

Is innovation expensive?

Urs: The way we look at innovation, it doesn't have to be expensive. Innovation is in the minds of an organization - all in all, this results in an incredible surplus of innovation that just needs to be tapped into. Unfortunately, this is done far too rarely.

Simona: Changes don't always have to be huge - sometimes they can be small and implemented very quickly and still have a big impact.

Urs: Of course, even small changes are associated with uncertainty. That's why we always say that the majority of operations must continue as normal - but a small proportion can take time out of their daily routine to work on changes. But not dictated from above or from outside, but from within, together with those involved.

If you assume that innovation is in people's heads - does that also have to do with trust? Trusting your team to come up with cool ideas?

Urs: Definitely. Our approach is to bring together people with specific expertise from their respective departments. This results in eureka moments. 

Simona: We experience this every time. The best ideas come from working together.

Do you have an example of such sometimes small ideas?

Urs: We recently went on an innovation trip with an entire school. In kindergarten, the children suggested postponing the snack break - they would rather come to the kindergarten, start the day together and then eat their snack instead of playing for a while first. The childminders immediately put this into practice. And after the process, a member of the school management introduced free workshops that enabled them to work on projects. A short time later, pupils were able to sign up for workshops such as dance, art and theater.

Music schools are structurally rather static. Is innovation realistic?

Simona: Even if the structure is static - people never are. Ideas can arise anywhere. How do we organize closing events such as concerts? How do we integrate electronic instruments or AI? Or could we repaint the walls to make them friendlier?

Urs: What we won't get rid of: learning an instrument means practicing, and that's that. You need a craft. With Design Thinking, however, we put the student at the center and look at how we can get young people excited about an instrument and thus also the craft.

Simona, you studied at the Teatro Dimitri and are active in the cultural scene - do you see it as innovative?

Simona: I think the idea of innovation is there, but more in detail. Often everyone works on their own, even out of necessity. However, I see the younger generations working together much more often. It is also the case in culture: together we are stronger and can achieve more. I am convinced of that.

In summary, it can be said that things are better and more innovative in a group - and innovation is always possible?

Urs: Exactly. At the Forum Musikalische Bildung, we are giving an impetus to this with teams made up of people from all over Switzerland. We will simply stir things up and not judge them. If someone then has the desire to try something within the framework of the circumstances, we have already achieved a lot.

The workshop on Design Thinking will take place on the second day of the Forum Musikalische Bildung 2025 on January 17 and 18, 2025. 

www.zukunftslabor.ch 

More information and registration for the Forum Musikalische Bildung 2025: www.musikschule.ch

For the eleventh time, the Swiss Association of Music Schools is hosting the "Forum Musikalische Bildung" in centrally located Baden. This edition will focus on the future of work and artificial intelligence. Raphael Gielgen, trend scout at the design furniture brand Vitra, will report on the findings on the future of work from his visits to around 100 offices and companies each year. "Both the conservative and the rebellious have their strengths," he says, for example, "Ideally, you combine the two." Barbara Josef from the company "5-9" focuses on the further development of organizations. 

Dr. Richard-Emmanuel Eastes and Prof. Dr. Gilbert Nouno will demonstrate concrete applications of artificial intelligence for music schools. "These are topics that will open many windows - I'm looking forward to it," says Philippe Müller, Director of the "Cercle Lémanique d'Etudes Musicales" and VMS Board member.

Innovative projects from music schools

The VMS Good Practice competition shows just how lively and creative the work at music schools already is. A jury selected ten final projects from numerous submissions, all of which will be presented at the forum - several of which will be able to take home a prize.

50 years of VMS

Musical entertainment will be provided by performances by prizewinners from all categories of the Swiss Youth Music Competition. A radio bus will also be present - a group of young people from the Baden cantonal school will create live radio broadcasts and conduct street interviews with passers-by on the topic of "music schools". This will also mark the start of the association's 50th anniversary celebrations, which will culminate on November 19, 2025 at the Hotel National Bern.

Find out more and register: www.musikschule.ch

The Basel Music School was founded in 1867. Today, the campus of the Basel Music Academy Foundation unites both the music school and the Basel University of Music FHNW.

For principal Thomas Waldner, taking over the music school department of the Music Academy five years ago has brought everything full circle. He was born and raised in Basel and studied here: "It was like coming home." He appreciates the proximity to the internationally renowned university and the creative urban environment - at the same time, the music school has been at a structural disadvantage for years, which causes him and his team great concern. "With the resources available to us, we can finance a certain amount of lessons, no more and no less. But the interest in them is much higher" "he says. This means that for popular instruments such as piano, guitar or drums, the waiting time for a place at music school is three or even four years. "If a child is enthusiastic about an instrument and has to wait four years, the spark will go out"he says. Families with sufficient financial means could switch to private providers that are not subsidized - this contradicts accessibility for all and equal opportunities. Thomas Waldner: "As head of the music school department, it is my job to ensure that as many children and young people as possible have fair access." The canton's contributions to music education are agreed every four years - the new performance agreement period starts in January 2025. Despite these challenges, the Basel Music School is proud of its wide range of offerings, which range from early music to classical to jazz and producing/songwriting and, in addition to broad-based promotion, also offers a support program, including PreCollege. The age range of the students extends from 2 to 84 years. "A music school for everyone, that's what we work for every day," says Waldner.

Playing like in the old days - and writing for professionals

In addition to individual lessons, various ensemble projects are also offered at the music school's four locations. In the field of jazz, these include various bands, choirs and big bands. At the Schola Cantorum Basiliensis music school, talented young people from all over Switzerland gain an insight into baroque music in the "Youth Baroque Orchestra", develop a program and play concerts in Basel and the region. Future composers, on the other hand, write their own music in the KOMPOSITION PLUS course, which is then reflected on together with a professional ensemble and performed as the crowning finale. The latter is a new offer - "a real heart project", says Thomas Waldner, "Now we can also support and promote talented composers."

Musicschoolbasel.ch

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"Sono molto felice, è una grande gioia" says Katalin Müller, "e allo stesso tempo sono un po' triste perché mi piaceva molto andare a Berna". La violinista e violista ha conseguito il Master of Advanced Studies in Music Management nel giugno 2024 e contemporaneamente il diploma di "direttore/direttrice di scuola di musica ASSM". Vive a Erlenbach ZH e, dopo aver completato il primo modulo da casa tramite zoom, si recava alla Scuola universitaria delle arti di Berna più o meno ogni due settimane. La motivazione che l'ha spinta ad affrontare questa formazione è stato il suo crescente interesse per il lavoro nell'ambito della direzione della scuola di musica. "Il mio cuore batte per le scuole di musica" dice, "E più andavo avanti, più mi rendevo conto che ero anche molto interessata a temi quali l'organizzazione e la strategia". During her training, Katalin Müller is a candidate for the position of director and from 2022 she will be the head of the Lachendorf School of Music and Art with a 55% budget - above the 35% as a music teacher and a lively concert activity. "Questa formazione ha stravolto la mia vita, ovviamente in senso positivo" dice. "I have opened many doors and my professional life has become even more versatile".

Mentre questa formazione continua è offerta già dal 2005 dalla Scuola universitaria delle arti di Berna- sviluppata e diretta da Felix Bamert - dal 2021 la Scuola universitaria di Lucerna offre, sotto la direzione della Dr. Andrea Kumpe, il corso di laurea "DAS Direzione di istituzioni culturali ed educative" come pure due moduli CAS specifici per la musica. Violinist Aloisia Dauer also completed this course of study in the summer of 2024 and took part in the final certification in December, gaining the diploma of "Direttrice di scuola di musica ASSM". "It was certainly a very intensive phase, considering that I was working on the 100% at the same time", she says, and took just one year and a half instead of the normal two or three years to obtain her diploma, "but for me it went well that way". Even during her training, she had already obtained a position as director of a school and appreciated the combination of practice and theory, and especially the management elements that, in his opinion, are still lacking, especially among musicians. Dal 2023 è alla direzione della Scuola di musica di Münchenstein, una scuola di musica comunale con circa 400 allievi e allieve, e ora non vede l'ora di realizzare il progetto che ha sviluppato nell'ambito della sua formazione continua insieme alla scuola elementare. During her studies, it was particularly important for her to see the interaction between the participants, who are not only active in the musical world but also in other institutions, and the diversity of the teachers, who come from different disciplines. "Mi sono sentita molto ben seguita" dice e, as Katalin Müller, osserva che entrare direttamente a far parte della direzione di una scuola si è rivelato un grande successo.

Scuola universitaria delle arti di Berna

MAS Music Management

• 4 CAS con tesi finale di Master (self-management, leadership, concept and project design, pratica professionale in istituzioni musicali e culturali). Il corso di laurea modulare pone l'accento sul riferimento all'ambito professionale, che si attua con studi di casi e contesti, stage e lavori a progetto. Questa formazione continua riunisce diplomati con rinomati docenti ospiti provenienti dal settore scientifico, dal'insegnamento e dalla pratica.
• bilingue (tedesco/francese)
• Collegamento con gli eventi degli alumni MAS Music Management

Dopo aver completato almeno 3 CAS su 4, i diplomati ricevono il diploma di "direttore/direttrice di scuola di musica ASSM"

Scuola universitaria di Lucerna - Musica 

DAS Direzione di istituzioni culturali ed educative

CAS Nuovo modo di imparare la musica

CAS Strumenti pratici per la gestione di scuole di musica e di istituzioni culturali 

• Il DAS è composto da moduli introduttivi flessibili con particolare attenzione alla gestione aziendale (a seconda della scelta, al Dipartimento di economia o Musica della Scuola universitaria di Lucerna o all'Università di Lüneburg/Goethe-Institut) e moduli obbligatori (tra cui gestione, amministrazione, innovazione, possibilità di sviluppo). Il DAS fa parte di diversi programmi di Master della Scuola universitaria di Lucerna. 
• i due CAS sono dedicati all'innovazione e ai temi della direzione e della comunicazione

L'ASSM rilascia il diploma di Direttore/direttrice di scuola di musica ASSM se gli studenti hanno completato il DAS e uno dei due CAS.

Ulteriori informazioni sulle due offerte e sul diploma di Direttore/direttrice di scuola di musica ASSM ((link))

Bern University of the Arts

• MAS Music Management: 4 CAS with final Master's thesis (self-management, leadership, concept and project design, professional practice in music and cultural institutions). The modularized course of study emphasizes the relevance to the professional field, which is implemented with case and context studies, internships and project work. The continuing education program brings graduates together with renowned guest lecturers from science, teaching and practice.
• bilingual (German/French)
• Sustainable network with alumni events MAS Music Management

After completing at least 3 out of 4 CASs, graduates receive the "VMS Music School Director" diploma.

Lucerne University of Applied Sciences and Arts - Music 

• DAS Managing cultural and educational institutions: The DAS consists of a choice of flexible entry-level modules with a business management focus (depending on your choice at the Department of Business or Music at the Lucerne University of Applied Sciences and Arts or at the University of Lüneburg/Goethe Institute) as well as compulsory modules (including management, administration, innovation, scope for development). The DAS is a component of various MAS programs at the Lucerne University of Applied Sciences and Arts.
• CAS Rethinking Music Learning // CAS Practical Tools for the Management of Music Schools and Cultural Institutions: the two CAS are dedicated to innovation and leadership and communication topics

The VMS awards the VMS Diploma in Music School Management when students have completed the DAS and one of the two CAS.

Further information on the two courses and the "Music School Director VMS" diploma can be found at on the website.

https://www.verband-musikschulen.ch/it/musikschule/weiterbildung/weiterbildung

Philippe, come hai vissuto gli ultimi due anni?

Prima di tutto: vivo l'incarico di presidente di ASSM come un grande arricchimento e ampliamento di orizzonti. Negli ultimi mesi ho visitato numerose scuole di musica, ho ascoltato concerti e partecipato ad anniversari. Each time I was deeply impressed by the commitment and enormous creativity of the music teachers and school directors. The cantonal associations are also very active and promote the activities, which is something that is happening ever more frequently, even during the delegates' assemblies. It's important to continue to cultivate and develop the partnerships in the field of music education in Switzerland: it's a very precious thing!

Have there been special political moments that have been important for you?

We have enjoyed many good things, for example the federal "Giovani Talenti Musica" program. Since becoming part of the ASSM, I and my colleagues on the Board of Directors have been able to take direct responsibility for its implementation: now, after many years of intensive work, among others by my predecessor Christine Bouvard, it has been put into practice. Also the program "Gioventù+Musica" is in continua evoluzione. We are aware of the promotion at mass level and of talent, but paragraph 2 of article 67a of the Federal Constitution on basic promotion and musical education in elementary schools still remains an important issue. Continueremo a lavorarci, insieme ad altre associazioni. 

We have fundamentally noted that there is a lot to be done at the political level. Legislation on music schools is being drafted in various cantons. I am very pleased and believe that there is a desire to give all music schools a stable basis to further improve their equal opportunities. This remains an absolute priority for me.

La tua vita quotidiana è caratterizzata da progetti, ad esempio la pubblicazione del nuovo modello professionale di "insegnante di musica" o il concetto di digitalizzazione.

Esatto. Lavorare al modello professionale, in collaborazione con diverse associazioni, è stato molto stimolante. Il profilo professionale ha riscontrato interesse anche in Germania, Francia e Austria. Credo che questo documento ci permetta di mostrare quanto sia versatile, creativa e stimolante la professione di insegnante di musica. At the same time, there are indications of how the image of pedagogy has changed and how music schools are keeping pace with the evolution of society. The professional profile has become even more important, considering the number of qualified teachers in music schools, which continues to grow - an evolution that we are watching closely. Ne stiamo discutendo con la Conferenza delle scuole universitarie di musica svizzere (CSUMS).

Proseguono i lavori sul concetto di digitalizzazione, che supporterà le scuole di musica nello sviluppo della propria strategia di digitalizzazione. We are not about to get the first digital publication. This is also a very interesting project, characterized by the high pace of technological development, not least in relation to artificial intelligence.

Quali saranno i momenti salienti per te nei prossimi anni?

Attending with particular impatience the 50th anniversary of our association next year. With the Radiobus project, music schools and students from several cantons will have the opportunity to present and show how diverse, colorful and varied music is in Switzerland.

Hai ancora tempo per suonare i tuoi strumenti: la tuba e il serpentone?

Sì. Me ne rallegro molto. Ogni mattina prendo in mano uno dei miei strumenti, che mi dà armonia e rafforza il mio equilibrio interiore. I also conduct orchestras and choirs, among others in the context of my music school. Musical practice and what it conveys are and will always be very important to me.