Translation has never been as easy as it is today: AI-powered programs deliver results for any language in seconds, seemingly making universal understanding possible. Paul Ricoeur, however, has already pointed out that the perfect translation is an illusion and advocates for linguistic hospitality between one’s own language and foreign languages. This is a particularly compelling idea for music and music education, where forms of knowledge that are embodied and non-verbal come into play. He set the tone for the music education research conference, which took place on May 8–9 in Muttenz. Two articles serve as examples of how research can highlight translation services and provide them itself.

Collective Beliefs

How can research bring implicit knowledge to the surface and thus make it available for reflection? In a project funded by the Swiss National Science Foundation on music education in high schools, a research approach was adopted that involved group discussions, which were analyzed using the Documentary Method developed by Ralf Bohnsack. In his analysis, David Lichtsteiner was thus able to identify shared action-guiding orientations among teachers. Among other things, these included the central importance of shared experiences as both a means and an end, performances as the linchpin of instruction, the unquestioningly accepted positive effect of music education, and complaints about a lack of foundational training in elementary school. Complementing this, Christoph Marty pursued an ethnographic approach. Through participant observation of classroom lessons, he explored how school music practice in high schools is jointly constructed by all participants and what forms of subjectification are associated with it. He outlined a tension between the pedagogical norm of individualization and collective music-making, and demonstrated how corresponding subjects are produced through mutual engagement.

Translations in Identity Formation

In their symposium, Anne Günster and Sabine Mommartz explored the question of how the biographical experiences of music education students can be significant for their future teaching careers. Based on their data, the two presenters were able to demonstrate how, in biographical interviews, the adoption of positions serves as a form of problematizing subjects, thereby constructing specific meanings. This was illustrated, among other things, by an empirical example in which an interviewed student adopted different positions regarding the topic of «practice.» Drawing on her biographical experience, she first placed herself in the position of she Schoolgirl was and said that she herself had practiced very little. She then adopted the perspective of a future instrumental teacher and described Practice as an essential element of musical and instrumental development. This example illustrates how reflecting on and translating one’s own biographical experiences into one’s future role as a music educator can become a fundamental component of professional identity formation.

Patient, painstaking work

Understanding—whether collective or biographical in nature—does not happen simply at the push of a button; rather, as the examples show, it must be rebuilt time and again through patient, painstaking work negotiated This attitude served as the underlying theme throughout the conference, where the topic of translation proved to be relevant to various areas of music education, research perspectives, and theoretical foundations, and fostered a culture of open discussion.

«On Translation—Music-Related Pedagogy in Discourse and Practice»: Music Education Research Conference and Closing Conference of the SNSF Project «High School Music Education as a Reflection of Practice-Based Pedagogy,» May 8–9, 2026.

• • • • Organization: Sarah Allenspach (Zurich University of the Arts), Olivier Blanchard (Lucerne University of Teacher Education), Andrea Ferretti (Bern University of the Arts), Jürg Huber (Lucerne University of Music), Sabine Mommartz (FHNW University of Teacher Education)
      • FHNW Muttenz Campus, May 8 & 9, 2026
      • Conference: https://www.fhnw.ch/de/ph/aktuelles/veranstaltungen/alle/3-musikpaedagogische-forschungstagung
        SNSF Project: https://data.snf.ch/grants/grant/215658

The vast majority of students at Swiss music schools are of elementary school age. The children choose an instrument during trial days or information sessions held in cooperation with their elementary schools and take private lessons for several years. Many also play in ensembles; they practice playing together in choirs, orchestras, or bands and perform on stage together. Their instrument accompanies them through their childhood and adolescence and provides formative experiences. So when is the best time to start at music school?

„Basically, there’s no specific age for this, because hearing develops as early as the embryonic stage,“ says Philippe Régana, director of the Conservatoire populaire in Geneva, where expectant parents can take prenatal singing classes. In addition to programs such as „parent-child singing“ and courses like „Music and Movement“—known in French as „initiation musicale“ and „éveil musical“—he has observed a significant shift regarding when children begin music lessons. „More and more 5- to 6-year-olds want to learn an instrument—which is now possible thanks to specially adapted instruments,“ he says. Due to a child’s motor and social development, it used to be standard practice to wait until around age eight or nine to start with certain instruments. Today, many music schools and specially trained music educators offer even preschoolers playful lessons on their favorite instrument.

The Tiger Clarinet makes it easier for children to get started early (Photo: Daniela Engel)

DThe Tiger Clarinet as a Beginner's Instrument

This is also confirmed by Daniela Engel, who introduced lessons on the so-called „tiger clarinet” at the Uster Music School. “The spacing on the Clarinet “are still too difficult for a five-year-old,„ she says, “but with the Tiger clarinet—which has a clarinet mouthpiece but only three keys—it’s no problem at all.„ Lessons take place in small groups with parents present. “The goal is to engage the children early on and guide them musically,„ says Daniela Engel. “The lessons are designed to be more holistic; it’s about the music and not just the instrument.”

Suzuki Method: Learning to Play the Violin at an Early Age

Early violin instruction using the Suzuki method has been well known for some time.

Doris Estermann offers these classes at the music schools in Stans and Alpnach. When they start, students are given a cardboard violin so they can get used to the instrument and practice their bowing technique without their parents having to worry that a valuable instrument might get broken. The transition to a „real“ violin is then all the more exciting and serves as proof to the child of just how much they have already learned.

How do I hold a violin? Practicing with a cardboard violin (Photo: Doris Estermann)

Group Classes as a Community

The basic idea behind the Suzuki Method is early ensemble playing—children take one individual lesson and one group lesson each week and are able to join the beginner’s orchestra at an early age. At the Stans Music School, this concept is carried through throughout a child’s school years, so that music students get to know one another well, friendships develop, and close contact with parents can be maintained. This is all the more important the younger the children are—especially in early music classes, parental involvement is encouraged. „I always say: Parents are my assistants.”", says Doris Estermann. It won't work without parental support. It's important to create a supportive environment, incorporate the instrument into the daily routine, and show appreciation when the child plays.

Getting to Know the Child During the Intake Interview

At some music schools, it is customary for prospective students and their parents to be invited to an admission interview—and the Bern Conservatory is no exception. This practice allows the school to get to know the child, assess their current level, and support them on their musical journey. „Every child is different,“ says Saara Vainio, a member of the school administration. „During the admissions interview, we determine whether private lessons are appropriate at this point or if the child might need a little more time—and we can assign them to a teacher who can provide the best guidance.“ What matters is not a specific age, but the child’s individual level and preferences.

Pros and Cons

If music students start playing an instrument at an earlier age, does that mean they’ll also stop playing sooner? Opinions differ on this point. Philippe Régana from Geneva sees a potential risk that children will set the instrument aside after four or five years and pursue a different hobby. Doris Estermann sees it the other way around: „Those who start early are less likely to quit because the instrument becomes part of their daily routine at an early age and is an integral part of their lives.“ Both agree that puberty is a critical phase during which many music students stop taking lessons. Philippe Régana emphasizes how important it is to take the pressure off at this age. „Teachers need to accept that students might not make much progress on the instrument for a few years, and ensure that the connection to—and enjoyment of—the instrument remains.“ Saara Vainio also emphasizes how crucial the teacher-student relationship is during this phase. „That’s where the teacher is important—someone who says: ‘I understand your situation; I’ll be there to support you through it.’”", Saara said. „Often it’s just stress that keeps them from practicing, not a lack of interest.”."

The Joy of Music

In the end, Philippe Régana emphasizes, age is secondary anyway: „It doesn’t matter whether you make music—it’s how you do it that counts. A strict curriculum that isn’t tailored to the child won’t work, whether the child is four, five, six, or seven years old.“ Or, as Doris Estermann from Sarnen puts it: „If you love music and can spark that passion, that in itself makes a huge difference.”."

Top 3 Instruments: The Violin (Photo: Gabi Pavanello)

The violin has been one of the most popular instruments at music schools for many years. Why? What do you think?

I think one of the reasons is the opportunity to play in an ensemble or an orchestra. You don't just get to play in your own little room—you get to be with friends, become part of a large orchestra, and maybe even perform in a big concert hall.

How long does it take for a child to be able to play in an orchestra?

At the conservatory, we’ve developed an orchestra program alongside individual lessons so that children can start at an early age. These orchestra classes are free—that is, they’re offered by the school, and families don’t have to pay extra for them—which, of course, makes it easier for them to attend. We also offer group lessons in which the children experiment with playing together—first in unison, then in two parts, and so on.

How did you come to choose the violin?

I don't remember exactly. I really liked the sound. It wasn't exactly easy, though, because my parents come from a family of lawyers that goes back generations, and they assumed their daughter would pursue a serious education—playing the violin wasn't exactly a serious pursuit (laughs).

Here’s the funny thing: a few years after I started teaching, my uncle called me and said he’d found a violin in the closet at my grandmother’s house—would I like it? It was a wonderful instrument. I studied in Milan and then started teaching in Lugano, which I really enjoyed. It was an environment that allowed me to continue learning alongside my work.

In your opinion, what is the ideal age to start playing the violin?

In my opinion, there’s no ideal age. When working with very young children, parental support is crucial—parents need to remind the child to practice and guide them through it. Generally speaking, a child can start as early as three or four years old; I’ve seen this firsthand. When I start working with an eight-year-old, the lessons and the approach change completely. Support from the family is still important, but it’s crucial to gradually allow the child to become more independent. Parents can make sure the child has a good practice spot where the violin is always ready to go.

Teaching adults is different, too. One of the first students I had was already sixty years old; he had worked with his hands his whole life and could no longer even bend his index finger. After that, he played the violin passionately for twenty years. Every now and then I hear the cliché that the violin is very difficult to play. But I’m convinced that’s not true.

Giuseppe, why is the guitar so popular?

It’s a very accessible instrument. You can pick it up right away and play notes on the strings with your right hand. If the piano is even more popular, it’s perhaps because you can play two or three notes at the same time to form a chord—which is more difficult on the guitar. Besides, guitars aren’t expensive; you can find good ones for as little as forty or fifty francs.

Why did you decide to play the guitar?

I grew up in a small village in Italy where there were hardly any opportunities to take music lessons. There were no professional musicians. A worker at Fiat played the guitar, and since we had one at home, I started playing it. My father played bass guitar, but he didn’t have much time—he ran a small supermarket. Since I took to music right away, I later went to the neighboring village, where I was able to take lessons.

What made you decide to pursue a professional career?

When I was 12 or 13, my passion for music began to grow, and I was able to learn from well-known musicians who lived in the area from a very early age. My friends also played music, and there were many bands in the region. I was really lucky.

These days, you focus primarily on contemporary music.

Exactly. I've been playing in ensembles for years and recently took over as artistic director of the Nouvel Ensemble Contemporain (NEC) in La Chaux-de-Fonds.

Besides teaching, do you still have a lot of time for music and artistic pursuits?

I’ve decided to teach no more than 50 % classes; otherwise, it’ll be too much with all my other responsibilities. I try to make sure I can practice for at least an hour and a half each day. When you play a lot of contemporary music, you have to be careful not to lose the classical sound—that’s something I’m working on a lot right now. For example, I enjoy playing pieces by the Catalan composer Miguel Llobet. On top of that, there are many administrative tasks and computer work.

What advice would you give to students who are interested in the electric guitar? Is it better to start with the classical guitar?

On an acoustic guitar, the string spacing is greater, and the way you use your right hand is also quite different. It’s perfectly fine to start with an electric guitar, but you should still learn to read music—it helps a lot. If someone is interested in a specific instrument, that works too: it’s a bit like the difference between a drum set and classical percussion.

In your experience, how long do the students stay in class?

I couldn’t say for sure, since I’ve only been teaching for a few years. But I’ve taken on students who have been at the music school for six or seven years. The geographical aspect is very interesting. In some regions, recreational options in the villages are limited: perhaps there’s one sport and two or three instruments offered at the music school, which rotate depending on the day of the week. Students who only have time on a single day learn the instrument that’s available on that day.

How do you motivate your students?

When I notice their motivation waning, I ask them what they’d like to do and what kind of music they like to listen to, and then I put together little arrangements for them—for example, of pop or rock songs. They’re always happy when they realize they can play the music they like on their guitars. As a teacher, it’s important to be flexible.

Do you also play contemporary music in class?

Absolutely. There are students who are very interested in it; generally speaking, children and teenagers are like sponges—they soak everything up. Sometimes, though, parents also want to know why their child isn’t playing the Beatles anymore (laughs). It takes a lot of empathy to understand what inspires students and to support them accordingly.

My favorite instrument is the piano

Sara Mendes is a pianist and piano teacher. She studied in St. Petersburg and Switzerland, and after working in Wollerau, Sydney, and Willisau, she has now been teaching at the Lucerne City Music School for four years. She teaches children and adults and, starting in the fall semester of 2026, will introduce the new course „Early Piano“ together with three colleagues.

For years, the piano has been the most popular instrument of all. Why do you think that is?

Maybe because it goes well with so many styles of music. The piano always works. It’s a very visual instrument; there are lots of great tutorials on YouTube where you can see the keys from above and learn pieces quite easily. Many children and teens do it this way, and for us educators, these are often interesting discoveries as well. And the piano is very accessible. We have a grand piano in the entryway of our home that’s always open. Everyone who comes over—even little kids—tries out the instrument. It’s very spontaneous, it happens quickly, and it’s uncomplicated. And yet there are so many other great instruments out there (laughs).

How did you get into playing the piano?

For me, it was a bit of a coincidence. As a child, I attended a ballet school that also offered music lessons, and the ballet teacher gave me piano lessons. She had a small class, but she was very active and even sent us to competitions in Italy. When I was about 12 or 13 years old, I realized that I wanted to learn more and continue my studies—that I wanted this to be my career.

Have you ever gone through some kind of crisis and wished you played a different instrument?

As a teenager, I wasn’t so much going through an “instrument crisis” as a “time crisis”: I wondered if I wanted to keep devoting so much time to music. My friends were doing a lot of other things in their free time, and I practiced a lot every day. My teacher was very strict. The other things came later. I often think I should have chosen the cello instead. I feel like a melodic instrument would suit me even better. The cello is my favorite instrument after the piano—or maybe they’re both tied for first place.

So you're going to learn to play the cello, too?

No. I’ve already tried it—my son plays the cello, and I quickly realized how difficult it is. It’s a long road to reaching a certain level; it takes time, which I don’t have right now. So I guess it’ll remain a dream. With the cello and many other instruments, you have such a close connection—you can actually hug it. You can’t do that with the piano. The relationship with the instrument—that physical closeness—has to come from the imagination. That’s why I’m a little jealous of cellists (laughs).

Is there anything you do with all your students in their very first piano lesson?

I place a lot of importance on good finger placement on the keys. I try everything out with the students—all the octaves, including the pedals. We improvise with animal sounds, play high and low notes. The children make up sounds, play only on the black keys—all kinds of experiments. That way, they get a feel for the size of the instrument right from the start.

How old are the students when they start, for example?

There’s still this idea that you shouldn’t start playing the piano until third grade—I don’t know where that comes from. I think it’s wonderful to start as early as age five. I love this work. Sure, the pace is different; you can’t have the same expectations, but if you’re patient, you can achieve so much through play, spark the student’s imagination, and really connect with the child. In Lucerne, we’re now starting early piano classes in groups for five- to seven-year-olds. I really like this teaching format—it creates a different dynamic. As a piano teacher, I usually spend a lot of time sitting at the piano, but in a group there’s a lot of variety—you stand up, you dance—it’s very playful. The idea is for the children to have a positive introduction to music and to be able to play together with others.

How many of your students have a real piano at home?

About half. I always recommend acoustic instruments, but I also understand that this isn’t possible for every family. However, it’s important to know that a piano doesn’t have to be expensive. There are so many good instruments on Ricardo that are practically being given away. And it’s enough to have the piano tuned once a year. But ultimately, of course, it’s up to the family to decide what’s feasible.

What has been your experience—on average, how many years do the children attend classes? Is there a critical phase?

As teenagers, they often realize that they’re interested in other things as well and want to hang out with friends. When they start high school or begin an apprenticeship, they often participate less. In elementary school, however, it’s rather rare for them to drop out.

How much should piano students practice, roughly?

I always say: play five times a week, including piano lessons—that means four times at home. That’s how I do it with my kids, too, both of whom are learning an instrument. A large part of the responsibility falls on us, the parents: we have to create the structure for it. They need help organizing it, at least during elementary school. After all, we remind them to brush their teeth and take a shower, too. At the City of Lucerne Music School, we have annual parent-teacher conferences—this year, I focused on the topic of practicing. Parents keep saying that their children forget to practice, and I tell them, “You’re allowed to remind them; they’ll thank you for it later.” But I know from my own experience what it’s like: as a mother, it takes an enormous amount of energy for me to take on this role after a long day at work and practice with the children. But then they sit down at their instruments, and it’s wonderful.

How long should they practice?

I don’t think it makes sense to give them a set amount of time; it can tempt them to just sit through it. I give the children a specific plan to follow. We often roll dice during class to determine how many times they should repeat something—they really enjoy doing that. I always assign three homework pieces: a short exercise to get started, a piece we’re working on, and then either a bit of theory, a rhythm exercise, or the “treasure chest.” This is a way to maintain their repertoire—playing a piece they really enjoy.

You also teach adults. Who takes piano lessons as an adult?

Some people long to return to their youth and want to play more again. There are those who were already very advanced as children, and I can always give them new challenges. Then there are those who want to start from scratch. They often come with high expectations of themselves, and their minds grasp things very quickly, but putting that knowledge into practice—something that comes so intuitively to children—is much more difficult. Coordination is also a challenge. I noticed that myself when I tried to learn the cello.

Do you also use digital tools in class or at home?

I have an online platform where every student has their own folder. There, for example, we save recordings of the pieces they play so that when they leave the program, they can download a portfolio of their best pieces. I also post recordings or exercises there—videos or audio files—that might help them practice at home. I think this is great. They can access it anytime via a QR code.

More about the Statistical Report learn

Let us say right off the bat: The Association of Swiss Music Schools owes an enormous debt of gratitude to Hector Herzig. He helped initiate a popular initiative for greater equality of opportunity in music education, launched the Forum for Music Education, established a training program for music school directors in collaboration with the Bern University of the Arts, and supported the Association in its professionalization. We look back with gratitude on the years we spent together and extend our heartfelt condolences to Hector’s family.

After studying trumpet at the Zurich University of the Arts, he served as director of the Liestal Music School from 1991 to 2007 and continued to develop the school with a clear focus on quality. From 2006 to 2012, he served as president of the Association of Swiss Music Schools (VMS) and was one of the initiators of the «jugend+musik» popular initiative. Together with fellow advocates, he drafted the text of the initiative and campaigned for it until the Swiss people approved the new constitutional article on music education on September 23, 2012, with a historic 72.7 percent “yes” vote. This marked a milestone for music students throughout Switzerland.

Hector loved looking toward the future. He crafted visions that inspired others and set things in motion. Anyone who worked with him felt his trust: He let people take the lead and created space for them to act, rather than dictating what to do. He saw himself as an enabler. «Trial and error,» he often said, adding that success had three letters—T, U, and N. Do. Do it together. Achieve something together.

What would a music school „built from the ground up“ look like, he wondered. He was particularly driven by the desire to bring the music school, as an educational institution, closer to the elementary school. He wanted music to be valued just as much as other school subjects, and was convinced that every young person benefits from a solid musical education—regardless of whether they pursue a professional career. To him, it was clear that society needs culture, and music in particular.

The Forum for Music Education (FMB), which he co-founded in 2002, was also part of his vision. Every two years since then, music school directors, music educators, and others interested in music education have gathered for two days in Baden (AG) to exchange ideas, network, and develop new ideas together. He also played a key role in shaping the “quarte Open Label” quality management system for music schools and the professional development program for music school administrators.

His clear stance, undeterred by outside noise, could certainly be polarizing, and there were sometimes intense discussions on the executive board. It bothered him how slowly the wheels of politics sometimes turned. Nevertheless, he remained politically active even after his time with the VMS: as mayor of Langenbruck and, from 2011 to 2019, as president of the Basel-Landschaft GLP.

Hector Herzig was a man who thought big yet remained approachable. He was a friend of music and a source of support for many people and institutions. We bid him farewell with deep gratitude and respect. We will remember him as someone who repeatedly encouraged us to think big, but to stay grounded in action.

___________________

On July 25, 2026, Hector Herzig's family is hosting a public memorial service.

25.7.2026
Reformed Church
1 Erikaweg
4438 Langenbruck

„The shortage of skilled workers is an issue both nationally and internationally,“ said VMS President Philippe Krüttli at the start of the event, which was jointly hosted by the Association of Swiss Music Schools and the Conference of Swiss Conservatories of Music, „We would like to create a space for dialogue so that we can work together to develop strategies for addressing the looming severe crisis.“

Rico Gubler, head of the Music Department at the Bern University of the Arts, provided an overview of the activities of the working group formed by the two organizations. The joint effort focuses on three areas of activity:

• Continuing Education for Music School Teachers
• Additional Training for Music College Graduates Without a Master's Degree in Education
• Internships/Work Experience Programs

In addition, the program directors for the MA in Music Pedagogy have already established a common minimum language proficiency level of B2. More information about the joint working group can be found in the VMS 2025 Annual Report.

Following a discussion in small groups, Mathias Lang, executive director of the Vorarlberg Music School Association, presented two recent studies. The „Mikado Music“-A 2025 study from Germany reveals a glaring shortage of new talent. Due to retirements and declining student enrollment, there will be a shortage of approximately 11,000 music educators in just ten years. Recommendations for action at all levels include, for example, better pay and working conditions, the promotion of mental health, and support for and flexibility in the artistic activities of music students and music educators.

In Austria, the starting point appears to be significantly better than in Germany, as indicated by the initial results of a Study by the Conference of Austrian Music Schools as shown in a report to be published at the end of 2026. The demand for teachers is expected to remain roughly the same—with approximately 3,600 teachers and about 3,000 graduates. However, the limited availability of data makes it difficult to draw firm conclusions.

Peter Röbke, a music educator, professor emeritus of music, and author, then broadened the discussion. Given the shortage of teachers at music schools, he said, we must ask ourselves whether this is a matter of cutbacks or job reductions—or whether we should instead be thinking about transformation. „We all want to fight for music schools,“ he says. „We can see crises as opportunities.“

He encouraged people to think of the music school as a „different kind of school“—one that is flexible and opens up worlds of learning and music-making even beyond the actual classroom. The Mikado Music Study clearly highlights the tension between artistic and pedagogical practice. 70% of the study participants agreed with the statement that artistic development is better facilitated in other professions. As an example of a „different kind of school,“ he cited Dortmund Music!, a music school with seven divisions, including „Live on Stage,“ „Digital,“ and „House of Pop.“.

Finally, he urged that the unique situation of Generation Z be taken into account. The concept of the future has become uncertain for them; never before has there been such a concentration of global crises. If the music school opens itself up to new ideas, it could thereby become a more attractive workplace for young employees.

„I’ve been very inspired by the lively discussion and the ideas for the future,“ said Valentin Gloor, president of the Conference of Swiss Conservatories of Music, in closing, and called on everyone to continue thinking together. Philippe Krüttli also expressed his gratitude for the dialogue and sent the participants off to enjoy a sunny weekend.

It's almost nine o'clock in the morning in Belp, in the Music School Region Gürbetal in the Canton of Berne. The door to the hall opens, a two-year-old girl comes in holding her mother's hand, another jumps up and brings him a rattle, beaming with joy. Shortly afterwards, course leader Anja Martin sings a welcome song: „Who's here today?“ Each child and parent is greeted personally. Over the next fifty minutes or so, little bells and tambourines are used as well as the piano, which provides the musical accompaniment to a dance - and lots of songs.

Getting into music together

„The children literally soak up the music,“ says Anja Martin, „Parents keep telling us that they now sing at home. It's a great introduction to music.“ The violinist, who plays in the Bern Chamber Orchestra and the Sinfonietta Basel, among others, has been teaching parent-child music at several music schools for five years. She also plays children's concerts and invites the young pupils and their parents to a main rehearsal of a concert in which she herself plays. „Making music at an early age is particularly useful, as many studies have shown,“ says Dorothee Schmid, Head of the Gürbetal Region Music School, „And it's also great for us that children and parents come into contact with the music school at an early age.“ The subject of parent-child music has been offered for thirty years - the only downside is the lack of subsidization, which only begins at school age. Thanks to a foundation, the prices can still be kept low. In collaboration with a parish, a new offer is soon to be launched that combines German courses for migrants with parent-child music.

An experience for children - and for parents

In French-speaking Switzerland, too, pre-school music education is one of the cornerstones of the offer. „Young children have a natural musical sensibility,“ says Marie Reymond, head of the Ecole de musique de Lausanne. While courses for children and parents in German-speaking Switzerland often only start at around two years of age, there are three levels of „Eveil musical“ here: for the youngest children, for 2-3 year olds and for 3-4 year olds, in each case together with their parents. Around half of them then attend the three-year „Initiation musicale“, which builds on this, and so are already well equipped for instrumental lessons at the age of seven. „It is very rewarding to accompany the children for several years,“ reports Wolfgang Leresche, who teaches all age groups, „The very youngest children approach music in such a playful and happy way. I also see that the courses create space for nice moments between the children and their parents. I think that's very nice.“

Specialist training: also for daycare centers and playgroups

Music teachers can qualify to teach music to the youngest children with subject-specific CAS courses offered by several universities in German-speaking and French-speaking Switzerland. The music school „Espace musical“ and the Parent-child singing association train interested parties. All training courses provide an insight into musical and general developmental psychology, methodology/didactics, age-appropriate song and play repertoires as well as planning and implementing your own programs in the music school, but also in the daycare center and playgroup.

Musical and social learning field

A ritualized schedule is particularly important when planning lessons. „This is crucial for the children, because the lessons are very demanding for them,“ says Andrea Strohbach from the Lucerne Music School. If the process is always similar, the children know how it works after the second or third time and they feel more and more confident. With the help of songs, stories and sound experiments - for example drumming loudly and softly, imitating noises, recognizing high and low tones - the children gain their first musical experiences. But parents benefit too. „It's good for parents to let go and make music without pressure,“ says Martina Felber, Co-President of the Parent-Child Singing Association, which is made up of numerous music school teachers,  Anja Martin and Andrea Strohbach are also members. She also observes that families with young children sometimes lack contact with their peers: „Friendships develop in the courses.“

Continue singing at home

This is also confirmed by the participants in Belp, where the lesson has now ended with the farewell song. After a visit to the dwarf world, experiments with noises and sounds and a wild stop dance, the little ones are visibly exhausted. One mother says she was looking for an activity that would allow her and her daughter to socialize during the week, and another adds that this is all the more important because she doesn't go to daycare. The children are still too small for parent-child gymnastics. But not too small to sing the songs from „El-Ki-Singen“ at home or to sing them to their grandparents.

The Swiss Association of Music Schools (VMS) is the umbrella organization of local and regional Swiss music schools and their cantonal and intercantonal associations. It represents the approximately 360 music schools integrated into the cantonal associations. The seven recognized music schools in Switzerland have joined forces in the KMHS.

In 2026, the new section will focus on the different age groups that benefit from music education in Switzerland - from toddlers to senior citizens. The current issue focuses on the very youngest. How do professional first encounters with music develop for pre-school children? What role do parents play? At which institutions can music teachers qualify for this important professional field? Editor Anicia Kohler spoke to experts and parents, and Dr. Mary Brice reports on the pedagogical content of training at the Haute école de musique de Genève (HEM).

„Youth development is an issue for everyone,“ says Fabian Gaberthüel, „You can't just drive to the village, teach and go home again.“ The percussion teacher at several music schools in Aargau, who also plays in the Rothrist music association, says this from many years of experience. Brass music clubs need new blood, young people benefit from playing together in a club - and music schools take care of their training. As there were five brass bands in the region but only one youth band, he decided to take action two years ago. „In the five municipalities in the area, we have 4,400 schoolchildren, around one in five of whom plays an instrument,“ he calculates, „Around 80 play a wind instrument and around 90 play percussion. That gives us enormous potential." He developed a concept for regional youth music, organized meetings with music schools and music clubs to get to know each other and also presented the idea to all music teachers in person. „We wanted to get everyone on board,“ he says, „It needs everyone: the clubs, the music schools and the teachers.“ The first rehearsal with fifteen young people took place in February 2026, and the first concerts are already planned.

Close cooperation with music schools

Thanks to the three-part structure, regional youth music is closely integrated into existing programs. The „Mini“ level is held at the music schools, where children and young people can gain their first playing experience in wind ensembles. The „Midi“ level corresponds to the newly founded Regional Youth Music, and at the „Maxi“ level, young people join the wind band association. „Regional youth music is intended to be the pot from which the music clubs can finance themselves,“ says Fabian Gaberthüel. The fact that it has now worked out with the new youth music after intensive development and mediation work is the greatest reward for him.

Regional structure also in the Bernese Oberland

Marco Aebersold reports something similar. The current head of the Aarberg Music School Together with his colleague Jörg Burkhalter, both brass band conductors, he founded the Lower Simmental Youth Wind Orchestra - in short JBUS - on its feet. „The preparatory work for this was very intensive,“ he says, „It was about raising awareness and also countering fears.“ Thanks to a cross-association OC, the youth wind orchestra was able to ensure that the next generation would join the individual associations. It is important to take intensive care of the next generation, to build bridges and create a connection to the adult clubs.

A win-win situation for both parties

Even back then, the JBUS sought to collaborate with music schools - both founders also taught at the local music school themselves. As music school director, Marco Aebersold still sees this as an advantage today: „When music teachers are also involved in brass music clubs, it's an absolute win-win situation for both parties.“ Brass bands are very important partners for music schools. As they are very active musically in the catchment area of the Aarberg music school, it is all the more important that the children and young people are prepared and supported at the music school. „Brass bands are central to social cohesion,“ he says, „They bring different age groups and different people together. You can't pay enough tribute to the fact that brass music exists - it's a unifying hobby.“

The 2026 Federal Music Festival

She is a club person, says Nadja Günthör, OC President of the Federal Music Festival 2026 in Biel: „Club life is shrinking, which is a great pity.“ Accordingly, when organizing the first federal festival in ten years, care was taken to ensure that there was plenty of room for young people and that generations were brought together. „We humans live from emotions and passion - that's what music is for,“ she says. Brass music clubs, music schools, cantonal and national associations are all pulling in the same direction, which is why it is worth communicating with each other, being courageous and working together.

Music schools also took to the stage at the EMF

The deputy head of the music school, Isabelle Lehmann, is delighted that the Biel music school - like all music schools in the region - was asked to take part in the EMF. Several formations, some of which were founded especially for the event, took to the stage. In Biel, the number of wind instrument students is stable, with around a fifth of all students taking individual lessons in a wind instrument, plus twenty classical percussion students. A third of all wind instrument students are also members of JUBIS, the youth ensemble of Stadtmusik Biel. „Wind music clubs cover something that we can't,“ says Isabelle Lehmann, „Making music together in a large ensemble, the club feeling and the excursions or weekends. We can enrich each other.“

„We humans live from emotions and passion - that's what music is for. That's why cooperation is important. It needs everyone: brass music clubs, music schools, cantonal associations and sections.“

Nadja Günthör, OC President EMF 2026

According to educationalist Margrit Stamm, giftedness describes a potential for unusual achievement. In other words, a potential that does not unfold by itself, but that needs to be discovered and carefully nurtured and developed. Important factors here are a supportive and nurturing environment, as well as a child's individual motivation and social skills. Cooperation between music teachers and parents - and between educational institutions - is just as important, especially when it comes to discovering talented children and young people, according to the VMS guidelines for the promotion of gifted students.

Young talents in music

Within the framework of „Young talents in music“ the federal government supports the cantons in the further development and implementation of programs to promote gifted children. The grants are awarded to talented students between the ages of 4 and 25. There are four levels of support in total: Basic, Advanced I, Advanced II (amateurs) and Pre-College. Talent is accepted into the support program after successfully passing an entrance examination. As of spring 2026, almost all cantons have already submitted their own concept for promoting talented students to the federal government. In concrete terms, this means that gifted children who successfully pass the entrance exam for the talent promotion program will now receive financial support of between CHF 1,000 and 2,500 per year, depending on the level of promotion. The cantonal programs include not only the instrument in the main subject, but often also a secondary instrument, as well as workshops, theory lessons, various ensembles and performance opportunities.

Pre-College Days 2026

For the third time, the Pre-College Days for talented students at the highest level took place at the end of January 2026. This year, they were hosted by the Basel Music Academy. Around 100 participants from all over Switzerland traveled to Basel-Stadt for a weekend, attended workshops from a diverse, interdisciplinary range and played concerts together. „The young musicians were very open and curious and enjoyed the exchange with each other,“ reports Martin Neher, Deputy Director of the Basel Music School. Lecturers from the fields of classical music, early music, jazz and music and movement also benefited from this exchange at a national level, as did the site directors from other pre-colleges in Switzerland.

„It is important to have structures that can recognize talent,“ he says, „Where is there an affinity, a curiosity, joy in the subject matter?“ This requires institutionalized tools and competent teachers: „There are so many hidden talents. Being able to develop and express your individual talent is an educational right that everyone should be entitled to.“ That is why it is not possible to promote gifted children without broad-based support, he emphasizes. „Broad-based support is the basis. This is the only way to discover talent and ensure equal opportunities.“

Key players in broad-based promotion

Music educators are ambassadors for music education and are committed to equal opportunities, confirms the Job profile ‚Music teacher‘ of the VMS. On the one hand, they play a key role in discovering musical talent - and on the other, they inspire enjoyment of music, promote self-confidence and set goals that are appropriate to age and interests. Ensembles, leisure camps and concert projects, which pursue not only musical but also social and societal goals, play a particularly important role in the promotion of the general public. Such offers - from music schools, but also from music clubs - are supported by the Federal Office of Culture with the „Youth+Music“ supported.

Youth+Music

One example of this is the Société des accordéonistes „L'Echo des roches“ in the canton of Fribourg, led by music teacher Julien Tudisco. He teaches accordion in individual lessons and conducts the ensemble rehearsals for the various age groups. „For the children and young people, it's not just about making music,“ he says. „In addition to school and home, it's another place where they can find their place and express themselves.“ The club is mixed in age, which means that older children can support the younger ones musically, but also socially. In addition, the young people can help with the organization and gain experience at an early stage. „I think that's very important,“ he says. „Of course, I'm a musician and I want to introduce them to the accordion, but when I see how relationships build up over the years that sustain them even in difficult times, I'm really happy.“ The social factor in particular leads to children becoming interested in the accordion because they also want to play in the club - which is great for an instrument that children and parents don't think of first. The fact that young people who are active in the club should also not be underestimated,  would be less likely to put their instrument down during the otherwise critical transitions to upper school or when starting an apprenticeship. „I lead L'Echo des Roches for 15 years now,“ says Julien Tudisco, „There are many in the adult ensemble who started with us as children. They go to recruit school and then come back to the club, they go to university and then come back again. That's very nice.“

„Nowadays, it's practically impossible to produce music without a computer,“ says Mauro Fiero, music teacher at the Centro Studi Musicali (CSM) in Lugano. A fact that is increasingly reflected in the courses offered by VMS music schools. While some run regular one-day introductory courses in Ableton or other DAW (Digital Audio Workstations), others offer group or individual lessons.

Introduction to synthesis

On Dalcroze Institute in Geneva For example, Margaret Harmer has been teaching for ten years  the subject „Current electronic music“ (musiques électroniques actuelles) in weekly group lessons for young people. „Electronic music has been around for fifty years,“ says the electronic artist and drummer, „so it's very important to teach it.“ She does sampling projects with the young people, teaches them about the history of hip hop and techno (among other things) and introduces them to synthesis. They work with GarageBand, Logic, Ableton or Maschine, depending on the students„ prior knowledge or wishes. At the end of the school year, the 12 to 17-year-olds produce their own projects, sometimes entire albums. What is particularly important to Margaret Harmer: “I want the young people to develop their very own musical taste."

The musical world of pupils

„It's a huge field - the computer is an instrument in itself,“ says Marc Scheidegger, Head of Division at the Sursee Region Music School. He has also been teaching producing to pupils from senior school age for some time, in addition to electric guitar. The offer at the music school came about because the mixing console in his classroom kept coming up - can I record with it? What effects are there? He went to the school management with the idea of teaching the subject of producing separately, developed a subject description with his colleague Mathias Droll and then put together material boxes for the lessons. They each contain a laptop, a tablet, a Zoom recorder and microphones and can now also be used by other music teachers on a low-threshold basis - and in class courses at the school as well as vacation offers. „The students are very interested in producing,“ he says, „It's their world of music. It was clear to me that we should offer this.“ He uses practical examples to address topics from harmony and rhythm. There are also plans to expand on live mixing in the future.

Courses with waiting list

Do the students practice at home? It's comparable to practicing any other instrument, says Marvin Trummer, keyboardist, producer and teacher at the Zurich Conservatory Music School - Some do a lot at home, others don't. He has been teaching a group course with two levels for five semesters, which is free of charge for students who take individual lessons on an instrument at the MKZ. The course has met with great interest and there is a waiting list.  „I see the lessons as a door opener,“ he says, „I would have been very happy about it back then, I only had Chopin ...“. For example, he recreates the drumbeat of a song in class, from recording to editing, to train the ear, or he brings along an analog synthesizer or a tape machine to the delight of the students.

Producing in PreCollege

Since the 90s, producing has been practiced under different names at the Music School of the City of Basel offered. Tomek Kolczynski teaches the young people in individual lessons. Around three quarters of them work with Ableton, others with Logic or Fruity Loops. The students also have the opportunity to prepare for the audio design course at the university in the PreCollege. As part of this preparation, he teaches the basics of synthesis, sampling and live electronics. He also considers it important to show students influential artists from the history of electronic pop and dance music.

Learning competence

Artificial intelligence doesn't worry him: „It's not really usable musically yet,“ he says. „And when the time comes, I'll be looking forward to a new tool.“ Marvin Trummer also sees AI as an interesting tool, but it could also become a „creative killer“. That is why it is not currently an issue in lessons.

Mauro Fiero emphasizes that competent use of the available tools optimizes the music production process: „This allows you to concentrate fully on the artistic and creative side of music.“

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Brief information on producing at music schools

• Courses, individual or group lessons
• Equipment: laptops, midi keyboards, DAW
• Prerequisite: sometimes parallel to solfège lessons, or lessons on an instrument (e.g. piano, guitar, drums), but not mandatory
• Age: usually from about 12 years

There was already a bit of snow in Bern's old town when the guests arrived at the Bern Conservatory in the late afternoon. To get them in the mood, they listened to a compilation of over 100 hours of podcasts that had been produced at music schools in 17 cantons as part of the anniversary tour in September. The Jugend Sinfonie Orchester Bern (JSO) then took to the stage. The musicians, aged between 13 and 23 and conducted by Droujelub Yanakiew, did not open the event with an energetic popular hit, but on the contrary very quietly with shimmering chords from the strings and gentle question-and-answer playing from the woodwind players in the gallery. A top-class interpretation of the Piece "The Unanswered Question" by Charles Ives, for which the JSO received much applause - and loud bravos.

Philippe Krüttli, President of the Association since 2022, welcomed those present with heartfelt thanks, a look back and an outlook on the activities of the VMS. He particularly emphasized the great commitment of the 370 or so music schools that are affiliated to the VMS via cantonal associations.

Federal Councillor Elisabeth Baume-Schneider opened her speech with a quote from Albert Einstein, who said that he would probably have become a musician if he had not been a physicist. He thought in music, lived his daydreams in music, saw his life as an expression of music. She emphasized the skills that music and playing or singing together in choirs and orchestras promote and described them as key skills for the future. The VMS is a key partner for the Confederation and together they have developed the two national programs Young Talents Music and Youth+Music. "Music is not a luxury and must not become one," she said. Finally, she thanked the music schools and music teachers. Their work requires competence and passion - surely those present could all remember dedicated music teachers who had opened up the world of music to them. She also received a big round of applause for her speech and the spontaneous questions to the musicians of the JSO.

Yvonne Glur, Vice President of the Swiss Music Council, standing in for SMR President Stefan Müller-Altermatt, said in her speech: "The existence of music schools is invaluable for society as a whole. 600,000 amateurs and professionals are united in the Swiss Music Council. Without the VMS, without the music schools, it would only be a fraction." Andreas Wegelin, President of the Swiss Youth Music Competition and CEO of SUISA, also thanked the VMS. Promoting musically talented children is meaningful work that the VMS and the Swiss Youth Music Competition have in common, he said. He also pointed out the dangers threatening Swiss music and culture: Artificial intelligence, which requires reliable rules worldwide so that creativity is not rationalized away - and the halving initiative.

With three pieces, 14-year-old Yann Hostettler showed what is musically possible with the hammered dulcimer. He played a piece by the Beatles, the Appenzeller Bläss and Yann Tiersen. And David Barta from Lausanne, who is passionate about electronic music, played a drum'n'bass track and then gave an insight into his Ableton session, presenting his favorite synthesizer and explaining the effects he had applied to the individual tracks. The performance of a jazz ensemble from the Swiss Jazz School Bern was also met with enthusiasm - the musicians played two modal pieces full of energy at the very end.

Finally, board member Eva Crastan thanked the music schools and a team from power_up Radio of the Pestalozzi Children's Foundation for making the anniversary tour possible.

The evening came to an end with an aperitif riche and a cozy get-together. The guests from all over Switzerland and nearby countries exchanged ideas and toasted each other. Here's to another 50 years, they said several times - we hope so.

It is intended as a strategic framework for action for music schools and cantonal associations as well as the VMS itself and contains background information and recommendations for the digital transformation in music education. The key question is the following: How can the opportunities of digitalization be used effectively and meaningfully for music education and the organization of Swiss music schools? The concept is designed as a website. It provides music schools with basic principles and recommendations and thus becomes an instrument for developing their own digitalization strategies.

AI in music schools?

Richard-Emmanuel Eastes holds a doctorate in education and philosophy and works as a science communicator, consultant, lecturer and head of the Department of Educational Development and Innovation at the HES-SO. He is also a member of the AI steering group there. He advised the VMS on the development of a digitalization concept for Swiss music schools.

Richard-Emmanuel Eastes, how can AI benefit a music school?

It is important to distinguish between tools and implementation. For the VMS, implementation is important. When developing the digitalization concept, we defined four categories: administration, teaching, musical creation and communication. Chatbots such as ChatGPT are very helpful in supporting us with time-consuming tasks: Writing letters, taking minutes and creating short reports. AI can, for example, convert handwritten notes and help us structure documents, course overviews and timetables. There are also tools that generate vivid images or even videos. Meanwhile, there are various specialized tools, such as Metronaute (see article on the Focus page, editor's note), which can be helpful in the classroom. Another possible application is tools that provide support in finding ideas or sounds. AI can also have a supportive effect in the area of inclusion.

Continue directly to Digitization concept

Felix Bamert, former board member of the association, was one of the first graduates of such a further education program. When he took over as head of the MA in Music Pedagogy at Bern University of the Arts, he developed the MAS in Music Management, a modular continuing education program that also enables graduates to obtain the "Music School Director VMS" diploma. The continuing education course celebrated its 20th anniversary in November 2025 with a wide-ranging symposium.

VMS: Felix, when you look back on the last twenty years of MAS Music Management - how do you feel about it?

Felix Bamert: It feels extremely wonderful, fulfilling and enriching. It's a huge pleasure that this was possible, with all the people; the cooperation with the VMS, the lecturers and, above all, with the students and graduates. And there is also a certain sense of awe. We were able to accompany so many people on their journey.

Have there been any important changes in continuing education in recent years?

Yes, we are constantly developing and are almost always on the move. We offer one CAS per semester and we try to pick up and implement new ideas promptly. There are also various developments and changes among the students: They build on diverse backgrounds and careers, are even more actively involved and have become more mixed. I am pleased that many are interested in taking on responsibility and becoming leaders.

By the way, it's always nice to see former students again and to hear where and how they are doing. We have graduates who run music schools or other institutions, as well as those who have entered politics. I think that's brilliant: musicians and education managers who are helping to shape and mold society.

Where does your personal motivation to get involved in education and music come from?

I studied music, but had previously experienced various other professional fields and their aspects. Music education and music management then really grabbed me. I see a lot of scope and many opportunities for development and creativity. I am convinced that we can make a real social impact in and through this field! I want to pass that on.

Who is the MAS Music Management aimed at? Who should register?

In principle, anyone with a musical or educational background who is open and curious and who is looking forward to learning from us and our fellow students. We have been able to build a broad community, especially after graduation - and we want to consciously cultivate this. Music teachers and music directors have a lot of freedom in terms of opportunities to get involved and make an impact. However, this also comes with the risk of sometimes feeling a little lonely. That's why contacts and regular exchanges are all the more important.