Closing Statement from the Conference of Music Councils of Germany, Austria, and Switzerland in Leipzig

On October 5 and 6, 2026, the heads of the national music councils of Germany, Austria, and Switzerland (D-A-CH) met for the 20th time for their annual closed-door conference to discuss cross-border issues in music policy. The European Music Council also participated in the exchange as a guest. As is customary, the meeting took place in Germany this time, at the invitation of the German National Library in Leipzig.

In their closing statement, the three music council members make it clear:

Investments in musical life are investments in the future. Politicians and society are therefore called upon to work together to safeguard and further develop the framework conditions for musical life—and thereby promote a strong musical education system, a robust music industry, and a vibrant diversity of musical practices.

Music Needs Freedom
In Germany, Austria, and Switzerland, artistic freedom is guaranteed by the constitution. It is not a matter of political approval: Artistic freedom is a fundamental right and, as such, the foundation of any funding policy. Independent art makes it possible to experience perspectives beyond words, especially in music. It literally trains us to listen—in our engagement with one another and also in the freedom to think differently, to embrace diversity, and to dare to try something new.

The music industry needs a clear regulatory framework for the digital market
The creative industries are a driver of growth and a source of innovation in Europe; their development depends on the protection and enforcement of intellectual property rights. There is a pressing need for action in this area at both the national and European levels.

Artificial intelligence requires a clear regulatory framework that enables both artistic freedom and entrepreneurial activity. Rights holders must receive an appropriate share of the value created, and there must be fair, transparent, and enforceable procedures. In the streaming sector, the introduction of common remuneration rules in Germany is an important step and a sign of greater fairness.

Music Needs Public Broadcasting
Public broadcasting plays a central role in making music visible and audible. Its mission is to represent the rich cultural diversity of our countries. That is why we support reform and transformation processes that strengthen public broadcasting’s role in democracy and ensure adequate funding.

Music needs appreciation and support
It strengthens society in many ways and has been shown to promote good health. Even in times of scarce resources, this must be reflected in adequate public funding for the music sector.

A representative study from Germany shows that AI-generated music is already part of everyday life for many people. At the same time, a clear majority calls for clear labeling and compensation for music creators. Even though the study was conducted in Germany, its key findings are likely to be largely applicable to Switzerland as well.

Four out of ten people in Germany have already consciously listened to music generated by artificial intelligence. Among 16- to 29-year-olds, the figure is 63 percent. This is shown by the second «Musikmonitor Deutschland» report from the German Music Information Center (miz).

Among those surveyed who have already listened to AI-generated music, opinions are divided: 48 percent liked it a lot or very much, while about one-third rated it as not very good or not good at all. At the same time, only 28 percent of the general population believes that artificial intelligence can produce music that is just as good or better than that created by a human.

For this representative study, the Allensbach Institute for Public Opinion Research conducted a total of 1,040 in-person interviews with people aged 16 and older in July 2026.

Human authorship remains important
For 56 percent of those surveyed, it is important that the music they listen to was created by a person. Additionally, 41 percent say that music can only move them if they know a person is behind it.

At the same time, the majority doubts that the origin of a piece of music can be reliably identified. Fifty-one percent believe it is difficult to distinguish between music created by humans and music generated by machines, while another 15 percent believe it is even impossible.

How AI is viewed in the music industry depends heavily on how it is used. It is widely accepted when used as a tool: 74 percent approve of its use in restoring old or damaged recordings. 47 percent support the use of AI in music production, and 42 percent support its use as an aid in developing melodies.

Support drops significantly when AI replaces human creativity. Only 15 percent think it’s okay for musical pieces to be composed without human involvement. Sixteen percent accept fully artificial singing voices, while only 10 percent accept the imitation of a specific musician’s voice.

There are also clear limitations when it comes to playing AI-generated music: It is widely accepted in video games, advertisements, and music videos. However, acceptance rates are 22 percent for streaming services, 15 percent for radio, and 4 percent for live concerts.

A Clear Call for Rules
Two-thirds of those surveyed support clearly labeling AI-generated music. Additionally, 58 percent insist that musicians and composers be compensated when their works are used to train AI models. An equal number view artificial intelligence as a threat to the livelihoods of music creators.

The study thus does not indicate a blanket rejection of artificial intelligence. It is accepted primarily as a supportive tool. Approval drops significantly when it replaces human creativity, imitates human voices, or its use is not recognizable. Labeling, compensation, and the protection of human authorship are therefore likely to be among the central music policy issues in Switzerland in the coming years.

The full study is available here: Music and Artificial Intelligence – Musikmonitor Deutschland

The three music stations Radio Swiss Pop, Radio Swiss Classic, and Radio Swiss Jazz are getting new owners. As the SRG announced on September 17, CH Media will take over Radio Swiss Pop starting in January 2027. Radio Swiss Classic and Radio Swiss Jazz will be operated by Digris AG starting in July 2027. The SRG Board of Directors approved the sale on September 16. The parties have agreed not to disclose the sale price.

The sale is taking place as part of the «Enavant» transformation project, through which the SRG is repositioning itself in light of changing financial conditions. This also includes a review of its programming strategy. According to the SRG’s assessment, the three dedicated music channels can just as easily be operated by private media companies; they are not part of the SRG’s mandate as defined by its license.

The share of Swiss music will remain unchanged for the time being exist

The new owners have committed to maintaining the stations’ current musical and content focus for at least two years. The programs will continue to be broadcast without hosts and with limited advertising. The requirement that at least 50 percent of the music be Swiss will also remain in effect during this period.

Further distribution via DAB+, streaming, and third-party platforms, as well as via cable networks, is also guaranteed. However, once the two-year period has expired, CH Media and Digris will be able to make their own decisions regarding the programming, distribution, and marketing of the stations.

CH Media is one of Switzerland's largest private media companies and already operates several radio stations. Digris AG is primarily active as an operator of DAB+ networks and has also been running the non-commercial radio station «open broadcast» since 2011.

Unresolved Issues After the Transition Period Ends

The SRG emphasizes that, even after the sale, it will continue to support Swiss music and Swiss artists within the framework of the «Charter for Swiss Music.» For the three stations that have been sold, however, the binding commitment to air at least 50 percent Swiss music will expire after two years.

This makes it an important task for the Swiss Music Council, SONART, SMV, orchester.ch, and other associations to closely monitor the implementation of the agreed-upon guidelines. Efforts must also be made to ensure that the high proportion of Swiss music is not reduced once the two-year commitment expires, but rather is secured on as permanent a basis as possible. For Swiss musicians in particular, radio programs with a wide reach that consistently feature domestic works serve as a significant showcase.

Approximately 250 voice teachers, researchers, artists, and students from numerous countries gathered at the 2026 EUROVOX Congress in Lucerne. Under the theme «enCHanting Lucerne,» the event focused on professional exchange regarding singing, teaching, and the future of vocal pedagogy.

One of the conference’s focal points was «shared teachership»: collaborative teaching and learning, as well as the exchange of knowledge, experiences, and diverse pedagogical perspectives. Five keynote speeches, more than fifty workshops and master classes, as well as concerts, provided an opportunity to explore current issues in depth and learn about different approaches from the fields of practice, research, and education.

During the conference, the campus of Lucerne University of Applied Sciences and Arts—Music became an international hub for the world of vocal music. In addition to the official program, personal encounters also played an important role. Participants from different generations and disciplines forged new connections, discussed shared issues, and initiated international collaborations.

EUROVOX 2026 thus also demonstrated how much vocal pedagogy thrives on exchange across institutional and national boundaries. Many participants took away new ideas for their own teaching and professional practice—as well as new connections within a European network that brings together singing, research, and pedagogy.

With its diverse program and numerous opportunities for interaction, the conference in Lucerne provided impetus that extends beyond the event itself and is likely to foster continued international exchange in the field of vocal pedagogy.

How fair are working conditions in the Swiss music industry? The latest lunchtime event of the Parliamentary Group for Music (PGM) at the Federal Parliament was dedicated to this question. Under the leadership of Ueli Schmezer, National Councillor, musician and Co-President of the PGM, representatives from politics, associations, cultural promotion and music practice came together to discuss social security, minimum wages and professional risks for musicians.

The contributions made it clear that the discussion about fair fees is no longer just a cultural policy debate. It touches on central issues of labor market, social and economic policy. Professional music creation is work - and work needs reliable framework conditions.

Michael Kaufmann, President of SONART, showed how the association's fee recommendations have developed into an important instrument for fair negotiations. At the same time, the gap between aspiration and reality remains wide: many professional musicians continue to work under precarious conditions, while social security and pension provision remain patchy.

Diego Dahinden from PETZI made it clear that fair fees are not possible without fair funding. Clubs and festivals are under increasing economic pressure. Higher standards without additional funding would not eliminate the precariousness, but merely shift it within the system. The problem is less a lack of demand for live music than a structural funding gap.

Franziska Burkhardt, Cultural Affairs Officer of the City of Bern, presented the experiences of two years of funding practice with fee guidelines. The Bern model shows that linking funding with fair fees can work - provided that politicians and the public sector provide the necessary resources and actively support the change.

The presentation by Muriel Noble, Central Co-President of the Swiss Musicians' Association SMV, was particularly impressive. She shed light on the often overlooked consequences of illness, pregnancy or loss of earnings for freelance musicians. For intermittently working women in particular, the desire to have a family can be associated with considerable financial and professional risks. Noble argued that social security should not be seen as a side issue, but as a central prerequisite for a sustainable musical life.

An interactive survey among the participants confirmed this assessment. The greatest leverage for better framework conditions was seen in stronger cultural funding and improved social security for musicians. The linking of public funding with fair fees and the orientation towards binding minimum fees also met with broad approval.

The event made it clear that fair working conditions in the music industry are not the special concern of a single sector. They concern the future of a cultural ecosystem that is of social, economic and identity-forming importance for Switzerland. Anyone who wants to maintain quality and diversity in Switzerland as a music country must also address the conditions under which this music is created.

The Parliamentary Group for Music wants to continue this dialog between politics and musical life. The next lunchtime event will take place on September 16, 2026. The presentations and further documents on the event are available on the Swiss Music Council website.