Many Swiss musicians are unemployed—but why is that, exactly?

Making music is fulfilling, but not necessarily lucrative. This is evident from figures published by the Federal Statistical Office (FSO) in late August. The BfS survey examines the employment situation of college graduates from the class of 2024 one year after completing their studies. Across all fields of study, the «Music, Theater, and Other Arts» category has the highest unemployment rate at 10.8 percent—at least at the university of applied sciences (FH) bachelor’s level. At the university of applied sciences (FH) master’s level, the situation is not much better, although here the rate is «only» 8.2 percent—the second-highest (behind the “Design” field).

Does the picture change if we consider only music professions—that is, separately from theater and other arts? The BfS publication does not contain separate figures on this; however, the agency provided them upon request from the Swiss Music Newspaper calculated. According to these figures, the unemployment rate for music-related professions is 5.4 percent for those with a bachelor’s degree and 9.0 percent for those with a master’s degree. The Federal Statistical Office (BfS) notes that these figures should be interpreted with caution due to wide confidence intervals.

Overall, at any rate, the situation appears to be more difficult for musicians than for the average graduate of a specialized university. There, the rates are 4.9 percent (bachelor’s) and 6.2 percent (master’s), respectively.

Frequently Searched: Piano Teachers in Rural Areas

The BfS findings require some explanation, given that there is actually no shortage of open positions for music teachers. Media reports in recent years have even mentioned waiting lists for children who love music, as there was a shortage of teachers in some places. «It’s particularly difficult for rural music schools, especially in popular subjects like piano and guitar,» says Philippe Krüttli, president of the Association of Swiss Music Schools (VMS).

The reasons for this are complex. Often, the problem isn’t a lack of applications, but a lack of the necessary qualifications: «Many candidates are originally from abroad and don’t have a sufficient command of the local languages,» says Krüttli. Added to this is the fact that young musicians often initially aim for the challenging path of a concert career and choose the corresponding programs at universities. However, Krüttli also believes the industry itself has a responsibility: teaching music must become a more attractive profession overall—whether in terms of work-life balance, job security, or workload.

In fact, some music schools have already taken the initiative on their own. «In Graubünden, we collaborate well among the music schools,» says Urban Derungs, director of the Chur Music School. For example, they have successfully coordinated efforts to offer teachers of less-popular instruments a teaching load that is attractive overall.

«Lifelong learning» is set to become easier

Valentin Gloor, who chairs the Conference of Swiss Conservatories of Music (KMHS), sees «effective approaches» in an ongoing joint project between VMS and KMHS. «Lifelong learning,» says Gloor, «must be made easier for acquiring additional qualifications later on.» But even trained musicians who decide to pursue a career in education at a later stage «need opportunities through additional training.» Both of these issues, as well as improvements to internship programs, are currently being addressed through a collaboration between the two associations. Regarding the language skills of international students, Gloor points out that minimum standards for proficiency in the national languages were recently defined in collaboration with the VMS.

One thing is certain: the upcoming waves of retirements are likely to exacerbate the skilled labor shortage in the coming years. Or, to put it in a positive light: the job market will tend to become more attractive for musicians looking for work.