Every spring, Swiss youth music experiences a moment of particular intensity: talent meets commitment, passion meets discipline, and young people listen to themselves and to each other. It is a unique opportunity to experience the diversity of musical expression in our country at close quarters.

The SJMW Final 2025, which took place in Zurich from May 1 to 4, was a concentrated interplay of creativity, precision and inspiration. 326 young musicians from all parts of the country reached the final round. They competed in the Classica, Composition, FreeSpace and Jazz&Pop categories.

During three intensive days full of music and exchange, which were spread across the Zurich Conservatory music school, the Hirschengraben school building, the University of Zurich and the Mehrspur music club, 67 expert judges assessed the participants' performances. Once again, the exceptional quality of a competition that offers just as much to young artists as it does to the audience and the musical education landscape as a whole became apparent.

The figures for the Classica category speak for themselves: 36 first prizes with distinction, 94 first prizes, 112 second prizes and 58 third prizes were awarded. In the Composition and FreeSpace categories, 3 first prizes with distinction, 3 first prizes and 3 second prizes were awarded. In the Jazz&Pop category, 13 prizes were awarded.

As every year, the prizewinners' concert was the highlight of the finale. It took place on Sunday, May 4, in the Great Hall of the MKZ. In a festive atmosphere and in front of an enthusiastic audience, the young prizewinners impressed with their musical maturity and stage presence. The variety of the programs and the high technical level were just as impressive as the palpable joy of making music.

The concert, recorded by Radio SRF 2 Kultur, will be broadcast on Sunday, July 27, 2025 at 4 pm in the program "Im Konzertsaal".

In addition to artistic excellence, the SJMW impresses every year with its ability to create community. Behind every performance are individual paths, committed teachers, supportive families and institutions that believe in music education. It is a world in motion, supported by invisible but strong networks.

Looking ahead: the 2026 edition and the 50th anniversary

Looking ahead, this much can already be revealed: The next final will once again take place in Zurich from April 30 to May 3, 2026. The Entrada prelims will be held in various Swiss cities from March 13 to 15.

But before this new chapter begins, the year 2025 has one more special event in store: On Saturday, September 13, the 50th anniversary of the SJMW will be officially celebrated at the Tonhalle Zurich.

A multifaceted and emotional celebration awaits guests - with concerts, encounters, an exhibition and the participation of prizewinners from five decades. The event kicks off with the children's concert "Die kleine Fräxli" in the Kleine Tonhalle under the direction of Fränzi Frick with our youngest prizewinners. There will be an exhibition on the history of the competition and a book launch in the concert foyer. The crowning anniversary concert will feature works by Johannes Brahms, Frank Martin and two important world premieres by Richard Dubugnon and Daniel Schnyder. They will be performed by the SJMW prizewinners and the Tonhalle Orchestra Zurich under the direction of David Bruchez. A musical jazz finale in the foyer will round off the day.

Fifty years is a significant milestone for any institution. For the SJMW, they are a living expression of an ongoing commitment to youth music - a cultural and social investment that has created inspiration, value and a future.

Course weeks for folk music, alphorn and Bohemian brass band are particularly popular. If you would still like to attend a course, you can find all the information about the courses, registration and free places on the musikwochen.ch website. Some courses are already fully booked.

Master classes Arosa

Under the label "Masterclasses Arosa", Arosa Culture bundles all those courses of the Arosa Music Course Weeks that offer the level of masterclasses. There are a total of 16 individual courses for various instruments. A special offer within the master classes is the "AROSA MUSIC ACADEMY", which combines individual lessons with intensive chamber music lessons. Lecturers at the master classes include well-known musicians such as Maurice Steger, Simon Fuchs, Lars Mlekusch, Markus Fleck, Jens Lohmann, Isabelle Schnöller and many others.

Attractive awards for participants in the master classes

Arosa Culture has created attractive awards for participants in the master classes. The Hans Schaeuble Award is presented to a maximum of nine participants. One award includes a concert engagement as part of the Arosa Klassik festival in the following winter. Arosa Kultur offers the opportunity for chamber music performances with renowned musicians.

The award can be presented thanks to the financial and non-material support of the Hans Schaeuble Foundation.

Arosa cultural summer with a wide range of cultural activities

This year's cultural summer will open on Saturday, July 5, with the salon orchestra of the "kammerphilharmonie graubünden". With the program "m-ta-ta, m-ta-ta... Waltz or never!", the musicians pay tribute to the undisputed waltz king Johann Strauss (son), who would have celebrated his 200th birthday this year.

The long-standing tradition of opera performances continues this year. This time, the Opernkollektiv Zürich is a guest on the Waldbühne. In "Viva la mamma" by Gaetano Donizetti, Mamma Agata causes quite a commotion on the opera stage.

Children's events have always been an integral part of the Arosa Summer of Culture. On five Mondays from July 7, various theater groups, musicians and puppeteers enchant children's hearts, parents, godparents and nani's with their performances. Also to be heard: Swing de paris, gypsy jazz; Izamanja, rock; Philipp Furrer & the Transatlantik Ensemble, Swiss world music; Trio Willi Valotti, folk music; "Wiibli ond Mandli" and others

The Bergkirchlikon concerts are almost legendary. Every Tuesday at five o'clock, musicians perform in the 532-year-old chapel at 1900 meters above sea level. Readings and lectures round off the varied program. When the weather is fine, many of the events take place on the enchanting forest stage in Arosa.

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

There are still people who press the "2" button three times on their old cell phone to type the letter "c" in a text message. However, the progress-oriented and competitive order in which we live makes the number pad devotees into out-ers and everyone else into insiders. As a rule, we can't afford to invest more time than necessary in anything. New ground-breaking technologies that save us time on everyday things are therefore bound to fascinate us - and they also make us a little nervous at the same time.

Artists are very familiar with the oscillation between fascination and nervousness about technological progress. Friedrich Nietzsche, for example, warned against the typewriter in 1882. He wrote (ironically on his new typewriter): "Our writing utensils collaborate in our thoughts". However, skepticism towards the new never really took hold, neither then nor later. In hindsight, this is a good thing, because after all, the typewriter helped with writing books. And even after that, the phonograph never pushed the live concert out of the market, nor did the cinema put an end to the theater.

The new phenomenon that we're not so sure we should really be embracing is called Generative Artificial Intelligence, or GenAI for short (or simply "AI") - again, both fascinating and unnerving at the same time. It is fascinating that this technology can compose, arrange, produce, mix and master music within seconds. What makes people nervous is the fear of their own dispensability and the associated financial bottlenecks, as well as the concern about the possible extinction of "real" music. Should creatives use this tool or not? Should art colleges even teach how to use GenAI? And where does that lead?

There is one fundamental difference between GenAI and earlier technical achievements that needs to be looked at more closely: Strictly speaking, GenAI does not work, but reacts. In other words, it does not do what it is instructed ("prompted") to do, but what it most probably wanted to be instructed to do. For example, if you enter the letter "c" in the input field of a text-generating AI, the AI does not write a "c", but something like "Hey! You only wrote a 'c' - was that a mistake or do you need help with something specific?" So if you just want the AI to write the letter "c", you have to tell it to "Write the letter 'c'!". To write a new book (yourself), you are therefore better equipped with a typewriter (or even the number pad of an old cell phone) as a tool. However, if you simply want to (have a new book generated), ChatGPT is probably the more efficient tool (regardless of the qualitative component).

Basically, making music is about carefully realizing an idea; by controlling parameters, analysing the result, comparing the intermediate result with the underlying idea, realigning the parameters, etc. Composing, producing and interpreting is therefore the actual interface between (inaudible) ideas and (audible) musical works. If this interface can now be completely automated, we can at best speak of music in the case of the audible, but this music was not created but merely discovered. We still have to determine the cultural value of such music, but from a legal point of view the situation is clear: it is not the discovered music that is eligible for copyright protection, but only the mentally created music.

Against this backdrop, it would be misguided to conclude that making music is now everyone's business. However, this insight will be of little consolation if at some point music-making can no longer be monetized because generating music with a click is much cheaper and faster. However, it will hardly be possible to counteract this on an artistic level, but rather on a regulatory level.

With regard to the artistic use of GenAI, it is to be hoped that this new technology will also produce unexpected results in music. After all, there is nothing fundamentally wrong with the fact that our writing utensils contribute to our thoughts, as long as there is still collaboration between man and machine. However, the creative process that realizes the idea should not be left entirely to chance or to the inscrutable algorithm. A tool is only a tool that can be used as such, i.e. that can be operated in a targeted manner. In this respect, the art - perhaps even in the literal sense - lies in using GenAI like a tool: it should work, not react freely.

Noah Martin

... heads the General Secretariat of SUISA and is responsible for the AI dossier.

Lukas Züblin (32) has already taken part in two EOV youth orchestra network meetings. He is a board member of the Lucerne Campus Orchestra, studied viola and now works at the Lucerne University of Applied Sciences and Arts.

Lukas, what instrument do you play and in which orchestra?

I've been playing the viola in the Lucerne Campus Orchestra for two years now. It is the orchestra of students, staff and alumni of the three universities on the Lucerne campus.

What position do you hold on the Board? Since when?

I have been a member of the Board of Directors since summer 2023, where I am responsible for the actuarial work in particular. I am also currently acting as interim President, as our esteemed "real" President is deservedly traveling.

What motivates you to work on an orchestra board?

I am fascinated by the enormous passion with which my colleagues play in the orchestra alongside their studies, work or family. As a trained violist and university employee, I have a "professionalized" view of music. It is an important and inspiring task to promote the exchange of these two perspectives and to learn from each other.

What challenges do you face on your Management Board?

I think the huge abundance of opportunities, but also the longing for stability and more commitment are issues that can currently be found in larger contexts.

What do you like about the EOV network meetings? Where could you benefit?

There is a cohesive force in making music together, in the shared experience of music, which can radiate beyond orchestras, clubs and projects into society. During the EOV network meetings, I was able to meet young people who share this idea and find it a driving force.

What added value can potential participants expect?

No two orchestras are the same and yet they operate within comparable structures. The feedback from colleagues is extremely valuable as an "informed external perspective".

What else would you like to see from the EOV?

More and better attended network meetings! Ideally, I would like five meetings a year.

Save the date

The next network meetings for orchestra board members will take place as follows:

Sat, 20.09.2025, 1.30 to 4 p.m.: Network meeting for amateur orchestras

Sat, 15.11.2025, 1.30 to 4 pm: Youth orchestra network meeting

Location and details will be announced at a later date via newsletter and website.

The preliminary rounds of the competition (Entrada) took place last March, with over a thousand young musicians from all over Switzerland taking part. The cities of Arbon, Geneva, Neuchâtel, Risch-Rotkreuz, Sion and Winterthur hosted an intense musical marathon event where soloists, duos and chamber music ensembles were able to present themselves to a jury of experts. The participants gave their best to win one of the coveted prizes that entitle them to take part in the next round.

The auditions were closely monitored by a 101-member jury, which conducted a total of 51 rounds of judging. The experts assessed the performances with great care and provided valuable feedback to help the young musicians progress on their artistic path. At the end of the Entrada, 621 prizes were awarded - including 71 first prizes with distinction and 181 first prizes.

The preliminary rounds in the Composition, FreeSpace and Jazz&Pop categories took place in digital form. 9 young composers, 1 artist in the FreeSpace category and 25 participants in the Jazz&Pop competition qualified for the final.

Finale: symbol of new artistic departures

There are stages in the lives of young musicians that mark a turning point - the finale of the SJMW is undoubtedly one of them. Not only the emotions on stage, but above all what this moment means remains in the memory: a first major milestone, an opportunity for real confrontation - and above all a starting point for new artistic impulses.

From May 1 to 4, 2025, Zurich will welcome the 287 finalists of the competition. These are young people who have mastered the challenges of the preliminary rounds with perseverance, talent and passion. For them, music is not just a discipline, but a language with which they express what often cannot be said with words.

For four days, the Musikschule Konservatorium Zürich will become a center of art, energy and exchange for the finalists: young people from all language regions of Switzerland will share their stories through performances that bridge eras and styles.

The final round of the Jazz&Pop category (Come Together) will also be part of this special weekend: The selected projects will perform on stage at the Mehrspur music club on May 3, 2025 - in an authentic club setting that offers space for spontaneity, groove and encounters.

But the final is much more than the final stage of the competition. It is a profound learning experience - you learn to listen to yourself and others, to accept constructive criticism and to see the stage as a place of togetherness, not just a touchstone. The encounters between the performances, the conversations in the corridors, the supportive looks among the participants - all this makes up the experience, which goes far beyond making music.

The juries will not only evaluate, but also recognize the potential, uniqueness and development of each individual. Every word received is a seed that continues to grow, every encounter a potential source of inspiration.

In a world that is spinning ever faster, the SJMW gives young people a special time: time to listen, to delve deeper and to dream. This is exactly what makes the finale an event with a view to the future - because it honors the past and focuses on what is yet to come.

Prizewinners' concert: Listening to the future of today

The highlight of the entire event will be the prizewinners' concert on May 4, 2025 - the glamorous conclusion of the final. The winners from a wide range of disciplines will take to the stage. Each of them brings not only technical excellence, but also the ability to touch with passion and authenticity.

As in previous years, the program will be varied and surprising: a sonic mosaic ranging from the finest chamber music to contemporary forms of expression.

For the audience, it is a unique opportunity to experience the most promising talents of the Swiss youth music scene live. For the young artists, it is an unforgettable moment: performing in front of an enthusiastic audience in a prestigious setting is a formative experience that can open up new artistic perspectives.

We cordially invite everyone - teachers, families, professionals and music lovers - to take part in this special event. The prizewinners' concert is not just a performance, but also an invitation to share the enthusiasm, commitment and vision of an entire generation of young people who look to the future with hope through their music.

The history of music in Switzerland in the 18th and early 19th centuries, characterized by the emerging urban concert scene, a music-loving bourgeoisie and many other actors, has so far only been known to a small group of specialists. In order to counteract this research gap and make local music history accessible to a wider audience, the Swiss National Science Foundation is promoting dialog between academia and society as part of an Agora project. The aim of the project is to communicate current musicological findings to a broad public in an innovative way. The project, which is anchored at Bern University of the Arts (project leader: Claudio Bacciagaluppi) and the University of Geneva (co-applicant: Christoph Riedo), has already realized two exhibitions (at the Basel Historical Museum and the Zurich Central Library) and offered a large number of workshops - including specific formats for school classes under the direction of music educator Irena Müller-Brozović. Before the education project comes to an end in July 2025, two more exhibitions will be presented, offering fresh insights into Switzerland's rich musical heritage.

Lukas Sarasin

Both the Lucerne and Bern exhibitions place local musical life in a national context. Both follow the central theme "From the music room to the concert hall", which emphasizes the two central and closely linked poles of Swiss musical life: domestic music-making and the emerging concert scene. This connection is exemplified in both exhibitions by the Basel music lover Lukas Sarasin (1730-1802). As a passionate music lover and dedicated collector, Sarasin spent countless hours in his music room, where he practiced the violin and double bass. At the same time, as a member of the Basel Collegium Musicum, he took part in public concerts and thus combined the intimacy of domestic music-making with the social event of public concerts in an ideal way. His music library, comprising over 1,300 compositions, will be reconstructed for the first time as part of Roberto Scoccimarro's SNSF project and will be accessible on the project website and RISM Online from summer 2025.

Lucerne

The Lucerne Central and University Library (Sempacherstrasse site) presents selected documents from its own collection. These include valuable musical records from the Theater and Music Lovers' Society, founded in 1806, a predecessor institution of today's Lucerne Symphony Orchestra. Its extensive catalog illustrates the diverse international repertoire of the time and also contains detailed lists of instruments. The exhibition also focuses on the composers Joseph Franz Xaver Dominik Stalder (1725-1765), Franz Xaver Leonti Meyer von Schauensee (1720-1789) and the Jesuit Constantin Reindl (1738-1799) from the Upper Palatinate, who were active in Lucerne. The focus is also on chamber music and a number of music-theatrical works composed and performed in Lucerne (musical comedies, pantomimes, operas).

Berne

There were many music lovers like Sarasin throughout Switzerland. The exhibition at the Klingendes Museum Bern focuses on two outstanding examples, Gabriel Emanuel von May (1741-1836) and Karl Friedrich von Steiger (1754-1841). Von Steiger was an enthusiastic music dilettante with a considerable music library and organized exclusive concerts for invited guests. Von Steiger's collection is also used to illustrate his relationship with music teachers and his preference for flute music. In addition, visitors can watch short video films, listen to music or call up in-depth information via tablets provided. The exhibition "From the Music Room to the Concert Hall" can be experienced at the Klingendes Museum until March 2026.

Information about the exhibitions

Lucerne Central and University Library (Sempacherstrasse location): March 28 - July 4, 2025 Opening hours: Monday - Sunday 08:00 - 20:00, free of charge.

Sounding Museum Bern: May 7, 2025 - March 2026

Opening hours: Wednesday - Saturday 14:00 - 17:00, Sunday 11:00 - 17:00, Admission: 12/5 CHF

Our secretary Tirza Vogel is able to continue her professional development and has therefore asked us to relieve her of secretarial duties. She has done an excellent job for the Board and will continue to support us with individual tasks. At the General Meeting, our members elected Céline Stocker-Aregger as a new member of the Board. We are delighted to have found in her a highly qualified and motivated successor for the secretariat. Céline is a qualified businesswoman. She has worked as a personnel assistant for several companies in Central Switzerland. Today she works as a coach for personal development and work integration - also for musicians.

Save the date: Symposium 2025 on November 22 in Biel/Bienne

The Swissmedmusica Symposium 2025 will take place on November 22 in the Farelsaal in Biel, the title is still open. However, we have already been able to secure exciting speakers in the form of Sara Ascenso, Pauline Gropp and Chiara Samatanga Enderle.

Sara is a pianist and psychologist at the Royal Northern College of Music (RNCM) in Manchester. Her research interests include positive pedagogy in conservatoires. Pauline studied piano, singing and medicine in Cologne and Münster and researches stage personality. In addition to cello, Chiara also studied psychology and researched "Mindwandering and Boredom in Classical Musicians". She teaches at the Bern University of the Arts.

The concert cancellation comes out of nowhere. The bus has already been hired and the deposit paid, the audio technician has been booked, preparations are in full swing and the promotion is in full swing. And then it comes all of a sudden, the cancellation - just a few days before the concert.

If a concert is canceled at short notice, the facts of the case must be legally assessed in the event of a dispute. If the parties have not concluded a written contract for a concert or if an existing contract does not contain a provision for a cancellation, the provisions of the contract for work and services (Art. 363 CO et seq.) are usually (but not always!) applicable. Withdrawal from a contract for work and services is regulated in Art. 377 CO, according to which this can take place against "full indemnification". In this respect, there is a certain degree of protection for music creators in the event of a dispute, subject to the applicability of Art. 377 CO, but the enforcement of claims can involve considerable effort and be costly if the other party defends itself against them.

So how can musicians better protect themselves against cancellations at short notice? The problem often lies in the lack of a written agreement, as a concert contract can be concluded without any formal requirements. To prevent misunderstandings, SONART therefore recommends that at least the most important points are recorded in writing, ideally in a concert contract, but at least in a summary of the essential points of the contract (a so-called "deal memo"), for example by e-mail. This deal memo should be confirmed in writing by the organizer.

A contractual penalty - for example in the amount of the agreed fee - can help to prevent unnecessary concert cancellations at short notice, as these are coupled with compensation. In a specific case, the organizer would have to pay the fee immediately based on the breach of contract.

In order to take account of the uncertainties surrounding the issue of concert cancellations at short notice, SONART has produced a leaflet with the most important questions and answers and practical recommendations for action. The leaflet and a sample contract with additional explanations are available to SONART active members on request.

David Burger is a member of the Member Advice & Projects team and is responsible for legal advice at SONART. He studied law, specializing in contract law and copyright law.

At the beginning of 2025, the Swiss Youth Music Competition is preparing to celebrate a significant anniversary: fifty years of history. Fifty years in which the competition has played a central role in promoting young musical talent and made a decisive contribution to the training of future players on the music scene.

A breath of fresh air for the next chapter

The anniversary is not only an occasion for celebration, but also for a symbolic handover: Andreas Wegelin takes over as Chairman of the Foundation Board, ushering in an era of renewal and continuity. At the same time, Stefan Escher takes over the management of the office from the long-serving Managing Director Valérie Probst.

With great and tireless dedication, Valérie Probst has shaped the competition over many years and inspired generations of young musicians. Before her departure, she carefully carried out the preparations for the anniversary edition of the competition with the same dedication that has always characterized her work. Her vision and enthusiasm are anchored not only in the history of the competition, but also in every step that has made this milestone possible. This final engagement, organized with the current team, is a worthy legacy of her many years of service. We thank her wholeheartedly for her outstanding work.

From the entrada to the finale

From March 14 to 16, 2025, the Entrada will take place in six Swiss cities, with around a thousand musicians from all over Switzerland competing. The anniversary edition will also include four disciplines: Classica, Jazz&Pop, Composition and FreeSpace. Each category offers space for different forms of musical expression, but all have a common goal: to offer young musical talent a platform on which they can compete and develop.

Classica embodies the oldest tradition of the competition. Participants have the opportunity to work on a repertoire ranging from baroque music to the great literature of the 19th century. Early music and contemporary music allow them to explore historical and new worlds of sound.

Jazz&Pop, FreeSpace and Composition, on the other hand, are the most modern disciplines. Jazz&Pop encompasses improvisation and modern music. FreeSpace gives young artists maximum creative freedom. Composition offers young composers the opportunity to develop their artistic voice and experiment with timbres.

The final will take place from May 1 to 4, 2025 in Zurich - the place where the competition was founded 50 years ago. The traditional highlight is the prizewinners' concert, at which the winners will perform.

A competition as a mirror of the Swiss music landscape

What makes the SJMW unique is its spirit of community and exchange. In each edition, music becomes a common idiom that bridges cultural, geographical and stylistic differences. Switzerland, with its diversity of languages, traditions and cultural influences, thus becomes the ambassador of a music that transcends borders. And yet the competition remains deeply rooted in its Swiss context, supported by a musical culture that draws on the country's soundscapes and traditions.

In its 50th year, the competition celebrates not only the continuity of a project, but also the steady growth of a national musical identity. Each edition is a step into the future, and builds on a solid foundation: a country that has always been a laboratory for new musical ideas with its open spirit. Switzerland is home to many - and home to a musical tradition that is constantly evolving, remaining true to itself and yet constantly reinventing itself. The Swiss Youth Music Competition is a living testimony to this.

Those who leave the conservatory with a Bachelor's or Master's degree in their pocket are in demand, even coveted. This is because most cantons are familiar with these special music lessons in elementary school, the number of pupils is rising, and expanded offerings as part of all-day schools are leading to additional demand for teachers. The majority of graduates in music and movement (also) work at elementary school. There they fulfill an essential part of the educational mandate in the subject of music. Without their commitment, music education would come to a standstill. In a society in which active music-making is not automatically part of family life, these music teachers lay the foundations for general, active access to music - and more than that: "Sensory, social, creative and visionary skills are trained, the basis of the 'future skills' that are so urgently needed," says Claudia Wagner from the HKB.

The practice of equal opportunities

Together with the elementary school staff, the music teachers work day in, day out to ensure equal opportunities in real life, beyond big words and concepts. The heterogeneity in the classes is great and continues to grow. This calls for pedagogical skills. All Swiss music academies take these requirements into account in their training programs. Dominique Regli-Lohri from the Lucerne School of Music says: "Pedagogy is being strengthened so that our students can hold their own in everyday working life and pass on the knowledge they have acquired. This includes not only subject-specific aspects, but also, for example, knowledge of classroom management, conflict resolution and communication."

A broad professional field

The fact that these specialists for early musical education in schools are so sought-after perhaps obscures the other career options. But they are also of great importance: "I think the pre-school sector should also be covered more, for 2, 3 and 4-year-olds," says Stefanie Dillier, President of Rhythmik Schweiz. " I have some concerns that this area will be lost when the long-serving rhythmists retire in the coming years. But if you don't make music with young children at elementary level, if you don't sing and move with them, then you're missing out on something." Ruth Frischknecht, Edith Stocker and Christian Berger from the ZHdK also note: " Outside of school, more and more new professional fields are emerging in the areas of community arts, music education, activation, etc."

Federalism

It is clear that without this fundamental music education work, cultural participation in music is unthinkable. Article 67a, paragraph 2 of the Swiss Federal Constitution therefore states that the Confederation and the cantons "shall, within the scope of their powers, promote high-quality music education in schools". The associations in the field of music education are not of the opinion that this has already been achieved today. They are working hard for improvements. This is because there is still no legal basis for a standardized, binding inclusion of highly qualified music teachers with a music and movement degree in colleges throughout Switzerland. This means that the approach differs from canton to canton and even from municipality to municipality. Basel-Stadt is considered exemplary, as music and movement is taught in half classes throughout all six years of elementary school. Katrin Rohlfs from the Basel School of Music is pleased about this. " However, the fact that cantonal regulations vary so much does not speak for equal opportunities in cultural education, as enshrined in the Federal Constitution, " she notes critically.

Outlook

So there is still important political work to be done. But the professional field is already more inspiring and diverse than almost any other. All those responsible for training in music and movement at Swiss music academies point out that the musical-artistic, stylistic spectrum is also very broad, that it is possible to work with people of all ages and that the solid music education and artistic training is constantly being expanded with a view to the developments in our society, including, of course, in the area of digital approaches.

But the focus is still on people as sensual beings, or in the words of Florence Jaccottet from the Haute Ecole de Musique de Genève: " L'approche de la musique par le mouvement fait écho à une demande actuelle forte dans un paysage musical en pleine transformation, ou l'innovation se traduira peut-être de plus en plus par le désir du musicien de faire appel non pas à l'intelligence artificielle but bien physique et sensible."

Prof. Dr. Valentin Gloor
... is Director of the Lucerne School of Music.

Guerras and violence have traversed the continent since the French Revolution and with it the new ideas of freedom and equality. In Switzerland there were turbulences that finally provoked the Swiss Revolution of 1798 with French support. The Swiss Republic, which existed until 1803, transformed the federal confederation into a unitary state. These turbulent events have given rise to a wealth of sonorities and musicals: chanzuns and compositions, personal descriptions and official protocols for numbering mo in pèr. In project finanzià dal Fond naziunal svizzer, realisà da l'autur da questa contribuziun, ha la finamira da persequitar questas funtaunas. At the center is the interaction between the dimension of sound and the political and social events of the time. The term "soundscape" is used to describe the sonic and musical activities and the interactions between the various actors.

Chanzuns e imnis

In 1792, the first war between the armada of the French Revolution and its adversaries, especially Austria, came to an end. Surtut al cunfin da Basilea èn las armadas stadas confruntadas plirs onns a las duas rivas dal Rain. The Swiss Confederation has taken on a contingent of debtors from the cantons to observe and defend the canton in the event of an emergency. In this context, a collection of reminiscences of chansons in the former Swiss Confederation was created, which covered the arrival of the troops, the arrival in Basel, the rise of the defenders of the patriotic cause, and the end of the war. In repertori divers da melodias, che ston esser stadas enconuschentas a blers, furmava la basa musicala da quellas chanzuns. The most impressive of these was the original Kaplied by Daniel Schubart (1787), which was composed for the payment of debts from Germany to Africa. Towards the end of 1797, the "reschim vegl" was crowned in Basel and progressive politicians such as Peter Ochs (1752-1821) brought about a new revolution which, among other things, gave the rural population as well as the city dwellers the same rights. The festivities of the revolutionary sezzas were once stadas eveniments sonors, nua che che tuns da chanun, chanzuns da libertad e suns dal zain èn stads ina soundscape imposanta. With the intention of maintaining neutrality, there have been songs by French revolutionaries such as the Marseillaise. They sang it in the square of the cathedral with a suitable text.

La Republica Helvetica

In the early days of 1798, the rain was carried out in other cantons, in some cases under military pressure from the French. Musical life was suspended in many places - the hall of the Collegium Musicum in Winterthur, for example, served as a concert hall for French officers for a time. The new Swiss Republic, controlled for the most part by the Swiss in the West, held a series of rituals and festivities in which music, song and dance played an important role. Among the rituals was the dedication of the new republic that the people had been forced to perform during the city of 1798; in part with vehement resistance, brutally suppressed. Il tun e la musica han giugà ina gronda rolla tar questas inscenaziuns. Musica d'orchester sa maschadada cun tuns da tamburs e cun il chor da las vuschs - l'udida è stada in med per crear il citadin helvetic. Chanzuns per this chaschun sco "Neues Freyheitslied, zu singen bey der Feyerlichkeit der Bürgereidleistung des Kantons Zürich", sin la melodia dal Ça ira, èn stadas manifestaziuns da las novas relaziuns da pussanza.