"Klamu" - the low-threshold magic formula

On September 8, experts from various countries met at the Florhof in Zurich to discuss the topic on a theoretical and practical level. A week later, a similar event was held in Geneva under the title "Orchestre en classe". It was aimed at teachers and directors of music and elementary school.

On behalf of the Fondation Suisa, Urs Schnell thanked Cristina Hospenthal, former director of Zurich Conservatory of Music (MKZ)and Martin Sonderegger (Clarinet Didactics, ZHdK) for organizing the conference. Since 2016, the Fondation Suisa already over 40 "Klamu" projects supported. However, it quickly became clear that class music-making should be financed on a broader basis in the future and expressed the wish that other people and institutions would also like to support this successful low-threshold offer.

Erich Zumstein, Director of the MKZ, presented impressive figures in his welcoming speech. What began nine years ago with two brass classes in Glatttal has grown into an organization with 2,000 participants every year. Every two years, a large concert has been organized in the Volkshaus with well-known show stars. The school works together with the Tonhalle Orchestra on educational projects, and across the big pond via Skype with a "education through music"- project in the Bronx.

Moderator Esther Girsberger had the pleasure of welcoming Helena Maffli, one of Switzerland's outstanding experts in music education. The speaker and former president of the European Music School Union outlined the importance of classroom music-making in a European context. There are many international role models for this and the program is ideal as a bridge between elementary schools and music schools. Helena Maffli suggested the creation of a national information point as a necessary step to move forward, an idea that met with interest from all sides.
 

If one of the largest music schools in Europe, with its 24,000 pupils and 600 teachers, in conjunction with a major Swiss foundation, is so committed to a sub-sector of music education, then there must be something to it. Classroom music-making is not only seen as a valuable educational tool in terms of "participation in cultural life", as formulated in the current cultural message. It has been proven that educational goals such as social skills, concentration and attentiveness are greatly enhanced by making music together. Zumstein found that music classes are more popular in neighborhoods with a high proportion of immigrants than in more educated districts. Reaching educationally disadvantaged groups is also likely to have a high integrative value.

In eight parallel workshops, visitors were given an insight into the various aspects and forms of "Klamu" by a number of experts. In discussion rounds and one-to-one demonstrations, visitors were able to get an idea of the practical work. Elisabeth Karrer placed the subject of music and class music-making in the context of Curriculum 21 and the German Jeki specialist Achim Tang presented a unit on "Experimental Class Music-making". Michaela Hahn, lecturer for music school development in Austria, broadened the view of the goals and challenges throughout the German-speaking world.

The experienced primary school teacher and head teacher Idil Calis spoke openly about the malaise in the subject of music at elementary school. She has taught music for 25 years in her 38-year career, "but I'm actually unmusical ... For me, playing music in class is the best thing that has happened in my entire career".

With "Klamu", elementary school now have the chance to solve their latent music teaching problem, and music schools gain access to a broader customer segment, which they can later consider as new talent - a classic win-win situation.
 

Final round with Elisabeth Karrer, Achim Tang, Helena Maffli, Thomas Ineichen, Michaela Hahn and moderator Esther Girsberger (from left)