Possible examples include personal rights for the use of an artist's likeness, trademark rights for the use of a band logo to produce merchandise, copyrights for the exploitation of a song or ancillary copyrights for the exploitation of a recording. The license agreement therefore regulates who may use which right within which framework (in terms of content, time and territory) and under which conditions.

Virtually all music creators are primarily confronted in their professional lives with contracts relating to the rights to their compositions (copyrights) or to their rights as performers (ancillary copyrights). Dolly Parton has the song I Will Always Love You composed and wrote the lyrics and is therefore the author of the song. The song became a worldwide commercial hit when Whitney Houston recorded it. Whitney and her fellow musicians held the ancillary copyrights as performers. 

A musician or a label that wants to release recordings regularly hires "session musicians" to work in the studio as a supplement. In order for the musician or label to subsequently exploit the recording, they need a license to the rights of the session musicians. To this end, the parties involved regularly sign an artist's receipt, which is a very simple form of license agreement. With the artist's receipt, the session musicians sell all rights to the recording for a one-off lump sum. They only retain those rights which they cannot give away by law (e.g. the remuneration claims for broadcasting or performing the recordings, which are managed by Swissperform in Switzerland). The sale of rights is generally valid forever, for the entire world and for all types of use. 

In order to bring a recording to the people, artists usually conclude so-called "artist contracts", "tape transfer contracts" or "distribution contracts" with a label or a distributor or aggregator. Which type of contract is most suitable depends in particular on who bears the economic risk for the production and marketing of the recording. With an artist contract, the label bears the lion's share of the costs from production to marketing and distribution. In return, the artist must personally commit to the label for several years and transfers the rights to the recordings for decades. In addition, the label receives the majority of the income from the exploitation. In the case of a tape transfer contract, the artist pays for the production and delivers the finished mixed recordings, sometimes with artwork etc. With a distribution contract, the distributor or aggregator only takes care of the logistics (digital/physical), all other organizational and financial tasks are borne by the artist.

The tape transfer agreement is often confused with the publishing agreement. While the publisher should take care of the exploitation of the copyrights to the composition (regardless of a specific recording), a tape transfer agreement regulates the rights to a specific recording. With the song I Will Always Love You a publisher would be responsible for Dolly Parton's rights as a composer and lyricist and a record company for Whitney Houston's rights to the recording.

For all of these contracts, musicians should first think about who is putting how much money and effort into the release of the recording. This risk sharing should then be reflected in the revenue sharing in the contract: the higher the economic risk of one party, the higher their share of the revenue should be. You should also carefully consider the duration of the contract and the duration of the transfer of rights. Here too, the higher the economic risk, the shorter the duration. Formulations such as "for the duration of the protection period" translate as "for 70 years". Last but not least, you should take a very close look at the revenue share. I should use
of the contract as easily as possible to calculate how much money I will receive from the evaluation of the recording. The decisive factor is not only the amount of the percentage, but also its basis: phrases such as "... after deduction of costs ..." without these costs being defined in the contract, are regularly not acceptable.
a source of unpleasant discussions.

Therefore, my recommendation at the end: Take enough time for the negotiations and get advice from a specialist.

Chantal Bolzern
... is a lawyer, mediator and co-president of Helvetiarockt.

Switzerland's music history is a treasure chest filled to the brim with all kinds of gems to be discovered. But all too often these jewels can only be found by trawling through archives and libraries or have not yet been unearthed at all. For example, who knows the composer and music publisher Emil Ruh, or the composer and psychoanalyst Elisabeth Spöndlin? While Emil Ruh's descendants would have to be consulted, the search for information on the latter is not difficult: the fascinating composer Elisabeth Spöndlin is already listed in the MLS. The modern e-encyclopedia makes the treasure hunt much easier and opens up access to Swiss music history at the click of a mouse. 

Scientificity, multilingualism, accessibility

The MLS is a project of the Swiss Music Research Society (SMG). It is supported by a Board of Trustees of the Swiss Academy of Humanities and Social Sciences (SAHS) consisting of Irène Minder-Jeanneret (President), Caiti Hauck (Vice-President, University of Bern), Cristina Urchueguía (University of Bern), Sandra Tinner (Swiss Music Council), Marco Jorio (former Editor-in-Chief of the Historical Dictionary of Switzerland), Pio Pellizzari (former Director of the Swiss National Sound Archives), Christiane Sibille (ETH Zurich), Stefanie Stadler Elmer (University of Zurich), Moritz Kelber (University of Augsburg). From the outset, the Board of Trustees conceived the MLS as a modern reference work and formulated four objectives. The first is to catalog and document music culture and history, and the second is to provide scholarly articles containing text, sound and images that are available in various languages. The third goal is unlimited public accessibility and sustainable preservation of the cultural heritage, and the fourth is cooperation with various institutions. In order to introduce the MLS and awaken the desire to write, the Board of Trustees is organizing a conference and a workshop in November.

Conference: The MLS as an e-Lexicon 

The conference "Music in Switzerland in the past and present: The Swiss music lexicon for the 21st century" will take place from 23-24 November and offers a varied program. Representatives from over 15 different encyclopaedias, databases and digital information projects such as RISM, Memoriav, Wikipedia, Oesterreichisches Musiklexikon online and many more will present their work and discuss the challenges and opportunities of music reference works in the 21st century. In addition to the conference, to which all interested parties are welcome, the MLS is also offering a workshop on writing lexicographical articles. In the workshop on November 25 in Bern, the MLS team will teach how information from club and family archives, for example, can be processed in order to turn it into an MLS article. In the spirit of cultural participation, the MLS is calling for participation in writing articles: Did her grandfather compose? Was her aunt a music publisher? All these testimonies and many more are part of Switzerland's music history and can find their way into the MLS through their participation (see p. 53). 

Le Dictionnaire de la musique en Suisse gives access to the history of music in Switzerland to all those who are interested. In order to present the DMS and to encourage people to contribute articles, its editorial team is organizing a conference and a workshop in November. The conference " La musique en Suisse, hier et aujourd'hui : Le Dictionnaire de la musique en Suisse pour le XXIe siècle" will take place on November 23 and 24, with speakers representing a quintet of lexiques, data bases and digital information projects. On November 25, the MLS team will organize a workshop to learn how to write dictionary articles; all interested parties are invited.

l Dizionario della musica in Svizzera apre l 'accesso alla storia della musica svizzera a tutte le persone interested. In order to present the MLS and to satisfy the desire to write, the Consiglio di fondazione is organizing a conference and a workshop from 23 to 25 November. La conferenza avrà un programma vario, con la partecipazione di rappresentanti di oltre 15 enciclopedie, banche dati e progetti di informazione digitale. In the workshop, the MLS team will teach how to write articles in the online library.

The 2019 Swiss Youth Music Festival in Burgdorf and this year's in St. Gallen were two very different experiences. In 2019, we got to experience more of the festival. We were allowed to play a concert in the square before our jury performance and after our performance we heard another performance by a youth symphony orchestra from Ticino. We also attended the prize-giving ceremony afterwards, as this took place on the same day. Everyone gathered in a marquee for this and Federal Councillor Simonetta Sommaruga even gave a speech. This year we "only" played our jury performance and then went out to eat together. We saw a few other groups from the festival walking through the city or playing in at the recording venue, but nothing else. The ranking ceremony in St. Gallen was only on Sunday, which is why we didn't go there. 

Our skills have definitely improved over the four years. Playing a piece like Kabalevsky's piano concerto would have been unthinkable in 2019. We couldn't even tune properly back then (the wind players tuned in several small groups one after the other instead of all together) and were generally even less confident. This improvement is also visible in the jury evaluations. The reviews go into much more detail. In 2019, it was more basic things such as bowing and voice leading that were found to be in need of improvement; this year it was more phrasing or timbre.

Performance without recording

Even our clothing and therefore our presentation have changed. In Burgdorf, we still wore black and white. Almost everyone simply wore black trousers and a white top that they could also wear on the train, so it was rather plain. This year the dress code was all black. Most people took their concert clothes with them as they were not suitable for train travel. Many wore a shirt, a suit or a dress.

We think that our improvement was also the reason why the acoustics in the Tonhalle St. Gallen caused us so many problems. As we weren't allowed to record there beforehand, we had no idea what the acoustics would be like and how loud or quiet we would have to or could play to make it sound balanced for the audience. We also barely heard each other. The strings were barely audible to the winds (while we were playing ourselves) and the strings couldn't all hear each other either (especially the cellos and violins). In addition, hardly anyone who was further back than the second or third
The result was that we were not always together with the soloist (according to the jury's assessment). That really stressed us all out, but it also shows how much we have become accustomed to listening to each other and forming a harmony instead of just playing our own voices.

You have to be flexible at the SJMF

In terms of organization and communication, St. Gallen was not ideal. Starting with the fact that there was no piano in the gymnasium where we could play. This meant that we had to play without the soloist and he could only sit at the grand piano in the Tonhalle a short time beforehand. We weren't told beforehand that we could only take the sheet music and unpacked instruments into the Tonhalle. Theoretically, we should even have unpacked at the Olma, but none of us knew that. Nor that we were only allowed to sing after they had announced us on stage. We had the impression that the organizers didn't have that much experience with symphony orchestras, which is probably due to the fact that this is only the second time that they have been allowed to participate in the SJMF. However, one of our fellow players, who still plays in a brass band and has already taken part in the festival several times, said that these "problems" are normal and that you just have to know how to help yourself. We simply don't have the experience with such festivals.

We didn't experience any such complications in Burgdorf, but perhaps special care was taken there to ensure that we were well received and informed, as it was the first SJMF for symphony and string orchestras. 

All in all, most of those who were there in 2019 have better memories of Burgdorf in terms of the festival itself. But our skills and our team spirit are definitely better now than they were then and we think that's ultimately the most important thing. 

More than 4,200 young people and a total of 115 formations took part in the 18th Swiss Youth Music Festival in St. Gallen on September 16 and 17. The huge festival with jury performances, parade music, show concerts and other festival program was a blast, a happy event for everyone! Right in the middle of it all: The Regional Youth Symphony Orchestra Solothurn (RJSO) representing the EOV. The RJSO under the direction of Ruwen Kronenberg and soloist Rafael Giger mastered their performance of Dmitri Kabalewski's 3rd Piano Concerto in the Tonhalle St. Gallen with flying colors! The entire EOV Board attended the concert and was very proud of the RJSO's passionate performance. The 40-piece orchestra really gave their all! But let two young violinists from the RJSO tell us how they experienced their performance in front of the jury and audience on Saturday afternoon in the Tonhalle St. Gallen.

Agathe Krähenbühl (9) wrote after the concert:

"Excited - more excited - most excited!

We, the RJSO, were allowed to perform the piano concerto in the Tonhalle in St. Gallen. There were beautiful lamps shining from the ceiling above the stage. The audience's chairs were upholstered in green fabric. They looked really comfortable! Our chairs were also very comfortable, even though they were black. Opposite the stage was the jury. It consisted of three people. But I had to ignore them because the piece was about to start. The conductor raised his arms and the music started! The stage was quite big, so I wasn't squeezed in. But the sound was completely different for us musicians than in Solothurn. But we did our best to adapt as well as possible. The pianist's grand piano was so big that it obscured a large part of the orchestra from the audience's view. Fortunately, we, the musicians, could still see the conductor very well! After the first, second and third movements, our performance ended and our piece was played. Now we were finished, the last note sounded and after a short pause of a few seconds the applause rang out. The pianist stood up, took a bow and although the hall was rather empty, there was a lot of clapping. Many thanks to everyone! It was so impressive and wonderful to play with the orchestra! I'm already looking forward to the next concerts with the RJSO."

Agathe's colleague Julia Kaddah (11) summarized her impressions as follows:

"The RJSO finally takes to the stage. Excited faces look down at the stage, people pull out their cell phones, can hardly wait for the concert to start. Big and small, old and young, all here to listen to the RJSO. And then it began. Several astonished and delighted faces could be seen. And even more people recording everything on their cell phones. The music filled the whole hall. Even small children were watching with interest. At the end of the concert, everyone clapped loudly and enthusiastically. You could see happy people everywhere. The clapping wouldn't stop. But when it finally stopped, the RJSO left the stage."

Elections are/were not only on the federal level this fall. Two new seats had to be filled on the board of the Swiss Music Council: Karin Niederberger, President of the Swiss Yodelling Association, and Patrizia Lais, Swiss School Music Association, stepped down from their positions on the SMR. Before the new elections were held, President Rosmarie Quandranti thanked the retiring Board members for their work on the SMR Board. Several people stood for both places on the Board, making it an exciting election.

Yvonne Glur, President of accordeon.ch, was elected as Karin Niederberger's successor. She will therefore represent the amateur music sector on the Music Council. Yvonne Glur is an accordionist and teaches both at the regional music school in Zofingen and at the Lucerne University of Teacher Education. She is also active as a youth & music leader and trainer. She leads two formations of young accordionists on a voluntary basis. 

Rico Gubler, Head of the Music Department at the Bern University of the Arts, was elected to the second position on the SMR Board (Education/Research/Science). Rico Gubler is both a professional musician (saxophone) and a qualified lawyer and has been a member of the Swiss Conference of Music Universities (KMHS) since this year. 

To stay on the subject of elections: We still don't know who will be the new Minister of Culture in Switzerland... - although Federal Councillor Alain Berset used to say: "Switzerland doesn't have a Minister of Culture, only a Minister of the Interior.". It is generally known that he is very close to music and enjoys playing the piano in his private life. At the Swiss Music Awards ceremony in September, he did not miss the opportunity,
to play a jazz duet with the main winner, trumpet player Erik Truffaz! Which instrument will the future Swiss Minister of Culture play? 

As every year in September, the Swiss Music Council met with colleagues from the music councils in Germany and Austria to exchange ideas. This year's meeting took place in Regensburg, Germany. In the joint "Regensburg Declaration", they call on the parliaments and governments of all federal levels of the DACH regions to set out the measures they intend to take to implement the UNESCO Mondiacult Declaration of 2022.

As a member of the board of trustees of the Swiss Music Encyclopedia (MLS), the SMR is involved in the conference "Music in Switzerland in the Past and Present: The Swiss Music Encyclopedia for the 21st Century" on November 23-24 at the University of Bern and is encouraging as many people interested in music as possible to take part in the workshop on November 25, which will help groups and individuals to document the local music culture with words, images and sounds. 

Today, almost everything is digital - back in 1923, most things were still mechanical. Technological change resulted in repeated amendments to copyright law. And so the eventful history of SUISA begins shortly after the first improvement to the original Swiss Copyright Act of 1883 came into force in 1922.

Both composers and musicians at the time were concerned that music machines would compete with their live performances. The most important task of MECHANLIZENZ AG, founded in June 1923, was to license the production of sound carriers. Records were still in their infancy and so it was mainly music boxes that found their way around the world, especially from the Yverdon and Sainte-Croix area. 

Everything for the music

One year later, GEFA, the Swiss Society for Performing Rights, was founded. Following the introduction of the new exploitation law, GEFA is transformed from an association into a cooperative and begins operations on January 1, 1942 under a new name: SUISse Auteurs - or SUISA for short.

In 1946, the Board of Directors decides to open an office in Lausanne in order to better serve members and customers in French-speaking Switzerland. The Lausanne branch also becomes the point of contact for all cinemas, film producers and television advertisers throughout Switzerland. In the same year, a small team moves into the Bel-Air Tower, the largest high-rise building in Switzerland at the time. In 1954, the company moved to the future "House of Music" in Lausanne. From 2002, there will also be a branch office in Lugano for customers and musicians in Ticino.

Increasing music consumption

In the post-war years, more and more music is consumed and more and more is composed. Between 1942 and 1960, the number of SUISA members triples. In 1958, MECHANLIZENZ AG is affiliated to SUISA, but remains legally independent for the time being. 22 years later, the complete merger of the two companies is decided.

In 1961, Ulrich Uchtenhagen took over the reins of SUISA and guided it through the changes of the boom period for 28 years. During his time, the World Register of Authors and Publishers was established. SUISA is commissioned by the World Confederation of Societies of Authors and Publishers (CISAC) to compile a "list" of all composers, lyricists and music publishers registered with a copyright society. The result is the CAE Directory of Composers, Authors and Editors covering all genres such as music, literature, film and visual arts. It quickly lists more than one million authors and publishers.

SUISA offers this directory as a service to all collecting societies worldwide against payment of a usage license. Since the end of the 1990s, the CAE has been the IPI (Interested Parties Information), which can be accessed online by all rights holders around the world. 

In the 1960s and 1970s, the partnership with important users such as the SRG and the hospitality industry is deepened. Increased music consumption and a growing number of registered works require a dedicated IT system to process the enormous amount of data at that time. Partly due to the huge amount of space required for IT at the time, SUISA builds its current headquarters on Bellariastrasse in Zurich Wollishofen, which it moves into in the fall of 1968.

Promote and demand 

At the end of the 1980s, the "SUISA Foundation for Music", today's FONDATION SUISA, was founded. The initiator was the composer and writer Michel Bühler from French-speaking Switzerland and his idea of a central structure to support the chanson. FONDATION SUISA's mission is to promote contemporary music creation in Switzerland and abroad, for which it now allocates around CHF 2.5 million annually.

The beginning of online music distribution at the end of the 1990s is the starting signal for far-reaching and lasting changes. In 2006, the EU Commission issued a recommendation aimed at achieving the greatest possible competition between companies for the administration of online rights. Rights holders in the internal market should be able to decide, free of territorial borders, which company they entrust with the management of their rights. As a result, large Anglo-American major publishers are withdrawing the reproduction rights from the European collecting societies in the hope of being able to license them themselves and directly from the online music providers at better conditions. In response, SUISA is the first collecting society ever to develop a suitable system that separates the work shares of the major publishers (so-called "carve out") and can thus correctly settle the licenses for online use.

After the revision is before the revision

"Does Switzerland need a law against the illegal downloading of music?" This postulate by Géraldine Savary, then a member of the Council of States, was the impetus for the last copyright revision in 2010. The revised CopA, which came into force on April 1, 2020, attempts to anchor the reality of online business in the law. However, the interests of users and creators are far apart in many respects. Consumers are also in a strong position and are defending the permission to copy music privately with compensation via the blank media levy. And so it becomes a compromise in which both sides come to terms. Since then, technology has changed rapidly again: Music is being streamed more and more frequently. A regulation for downloading music comes too late for films. 

There is no question that this revision of Swiss copyright law is not the last, but rather the prelude to the next one. Rapidly advancing digitalization and emerging technological developments such as artificial intelligence and machine learning will mean that the legal standards will have to be reviewed again.

Big steps into the future

SUISA's current Executive Board has been in office since 2010. CEO Andreas Wegelin, his deputy Vincent Salvadé and COO and first woman on the SUISA Management Board Irène Philipp Ziebold not only steer the fortunes of SUISA, they also drive the technological renewal of the IT systems and the streamlining and automation of processes.

SUISA is well positioned to compete internationally, not least due to its well-developed and constantly evolving IT infrastructure. In 2017, it founded the joint venture Mint Digital Services together with the US music rights organization SESAC, which has since been used for the settlement and administration of the cross-border music licensing business with online providers. In the same year, the Liechtenstein-based company SUISA Digital Licensing was founded, which is responsible for the licensing of international online music platforms. Both companies also offer their services to other collecting societies and music publishers and last year managed the online business of over 22 collecting societies and 4000 publishers worldwide.

Who could have foreseen this change 100 years ago? And who dares to predict what will happen next? The use of music will continue to change: It will shift even further to the internet and the licensing of music use on TV or for concerts will no longer necessarily be based on the territorial principle but on whoever offers the best service and the most favorable conditions. SUISA is ready for the challenges and would like to thank all former and current employees, all composers, lyricists and publishers for their commitment and trust. Together we have been making music possible for a hundred years.

www.suisa100.ch
www.suisablog.ch/tag/100-jahre

As a trained musician and long-standing music school director, he brings valuable experience in artistic, pedagogical and strategic-organizational areas. 

Dear Christian, congratulations on your election! Could you briefly explain to our readers what the tasks of the UAS Council are?
Thank you very much, I am looking forward to this varied position. The University of Applied Sciences Council is responsible for overseeing the state-accredited university of applied sciences in matters of higher education law and also for strategic management. It is the highest internal body within our university of applied sciences and is responsible, among other things, for ensuring institutionalized accreditation. 

In our day-to-day work at the Kalaidos University of Music, the name of the University of Applied Sciences Council is usually mentioned when regulations are amended or when new degree programs are launched.
Exactly. One of the most frequent tasks of the UAS Council is to review adjustments to curricula, for example in relation to institutionalized accreditation. It also discusses new courses submitted by the departments and assesses parameters such as strategy, feasibility, market environment and professional field. 

This also applies to the Department of Music, which has added modules such as self-marketing, fundraising and argumentation/negotiation to its Bachelor's and Master's degree programs. Neither your music degree nor mine included such subjects. Nevertheless, we are still getting by today. How do you feel about these adjustments?
Like all professions, that of the musician today is no longer the same as it was 20 years ago. The argument "it used to be possible without it" doesn't hold much water. We must aspire not only to train prospective musicians to become professionals on their instrument, but also to prepare them in depth for a life as a musician. In most cases, their day-to-day work does not consist of full-time jobs. They are actually entrepreneurs with a diverse range of services. They have to keep telling society why they and their work are needed. They can't wait for the work to just come to them.

You show this reality about everyday working life to our Bachelor's students in the "Professional Field Studies" module and discuss it with them. After you took over this module as a lecturer, you reorganized its content. What was your motivation behind the changes?
I lacked credibility, as the lecturer had previously only spoken about music school and orchestra jobs. Our aim was to give students as real an insight as possible into the breadth of professional fields. The new model makes this possible: We meet musicians:inside their workplace, have discussions with them and the students about everyday life, motivation, "offer recipients:inside", fascination and their future. 

The topic of digitalization often came up in these discussions. Especially in classical music, I often experience reluctance towards this topic. The Kalaidos University of Music is decentralized
and is therefore partly based on digital communication. How do you experience this topic?
The vocational studies module in particular shows how remote and on-site learning can be combined in a meaningful way: What is presented in the classroom with a lecture, discussion and projector can be done just as well online. Our students don't have to travel to Zurich from all over Europe for a lecture. When we visit the orchestra musician in the rehearsal room or the freelance musician at band practice, we do it on site. 

We also apply this approach in the remaining modules and in all our degree programs. Main subject, subject didactics and minor subject teaching take place on site. This also applies to some modules where physical attendance makes sense. Theory classes, on the other hand, take place entirely remotely. Nevertheless, criticism quickly flares up that "remote teaching cannot replace on-site module teaching".  Where is the boundary between remote and on-site?
You have to be aware that remote teaching is not on-site teaching on a screen. Our lecturers have the challenging task of building their remote teaching from the ground up on the digital structure and using the tools provided for this purpose.  teaching methods (which are becoming more diverse every day). In my opinion, it is not expedient to play the two types of teaching off against each other. Rather, it is important to sound out the possibilities and limits in discussion with all those involved and to determine a provisional application based on experience. Today, (working) life takes place almost everywhere in a mixture of remote and on-site, with the boundaries being discussed and adapted again and again as required. Why should it be any different in music? 

The SMM is turning its 19th symposium into a "Music Health Day" and will provide a unique, broad overview of forward-looking concepts and the diverse practice of preventive health care in music-making. The day will be introduced by the children's and  Adolescent psychiatrist Anke Grell, who also represents musicians' medicine at the Zurich Center for Anxiety and Depression Treatment.  

According to Anke Grell, the psychological strain on professional musicians has changed in many ways as a result of the pandemic. Depending on their personal situation, many have suffered and continue to suffer from very specific existential fears in the near and distant future. Surveys have revealed an increase in anxiety and depression symptoms. Professional identity was suddenly perceived differently in political and social terms. Many have asked themselves the question of meaning and in some cases discovered other fields of activity for themselves, which they have also retained for various reasons after the pandemic.

Continuous overload situations can lead to exhaustion and loss of interest in otherwise everyday and enjoyable activities, including professional music-making. The ability to react emotionally to events decreases, sleep disorders and loss of appetite can also occur. Anxieties and fears also occur more frequently, particularly fear of performing and failure in a musical context. 

Enlightenment and removal of taboos

Orchestras, music academies and music schools can prevent burnout among their employees by providing information, education and removing taboos, the psychiatrist explains further. They can create a learning and working environment in which it is possible to address difficulties as a matter of course without having to fear negative consequences. They can impart knowledge about how a healthy body and a healthy mind function when making music and learning and what the warning signs of physical and mental overload and illness are. All of this can  for example in lectures, workshops, discussion groups, supervision and individual counseling sessions.

Contact points for people with pre-existing complaints are also important. A diverse network of specialists has been established here, which is organized in the relevant professional associations in Switzerland (Swissmedmusica), Germany (German Society for Music Physiology and Musicians' Medicine) and Austria (Austrian Society for Music and Medicine). One positive example is the cooperation between the Zurich University of the Arts (ZHdK) and the Zurich Center for Anxiety and Depression Treatment (ZADZ), where she works. It provides students and employees of the ZHdK with psychosocial counseling and treatment.

Being kind to yourself

According to Grell, there is unfortunately no magic formula for keeping the joy and inner drive of making music alive. The most important thing, explains the psychiatrist, is to focus on what it is actually about: the music and the joy of making music. This is admittedly easier said than done under certain external and internal circumstances. Being kind to yourself, your own abilities and your current form on the day, freeing yourself from perfectionism to a certain extent and meeting external expectations with a healthy distance can be very helpful here. When signs of exhaustion become noticeable: Don't hesitate to get support! Being aware of your own limits and acting accordingly is a strength!

The Music Health Day is open to everyone as an information platform and networking event.

More information and registration: 

swissmedmusica.ch/news-symposium

Center for Anxiety and Depression Treatment Zurich: 

www.zadz.ch

From the end of the 17th century at the latest, the canons of St. Michael's Abbey in Beromünster (LU) celebrated the feast of St. Michael (September 29) and the subsequent consecration of the church (September 30) with the greatest amount of church music in the church year. The ceremonial required a double or triple choir mass on both feast days. Unsurprisingly, the festivities not only attracted worshippers from near and far, but also musicians who had gathered in Beromünster days before to rehearse the music. 

In 1749, a three-voiced festive mass composed especially for the festivities by Franz Joseph Leonti Meyer von Schauensee (1720-1789) was performed. While Markus Lutz (1772-1835) described the Lucerne patrician as the "most famous Swiss composer of his time", Meyer von Schauensee has largely been forgotten today. This is not least due to the fact that modern editions of his works are almost completely lacking. In order to gain an impression of the late baroque musical splendor of the Beromünster monastery and to be able to study Meyer von Schauensee's music in more detail, Raphael Eccel, Grégory Rauber, Luc Vallat and Christoph Riedo have set themselves the goal of compiling the music composed for the Beromünster monastery. Messa Solenne a 3 Cori in a historical-critical edition and to publish it in the edition series of the Swiss Music Research Society.

The Geneva musicologist's project received a boost when the concert series at the monastery church in Muri/AG and the Early Music Festival Zurich showed interest in performing the three-choir festive mass. Meyer von Schauensee's work will now be performed both on September 22 in Zurich and on September 24 in Muri/AG under the direction of Jakob Pilgram. The performers are the vocal ensemble larynx (3 soloist quartets) and the Capricornus Consort Basel (3 string quintets, 3 organs, 6 trumpets, 2 horns, 1 timpani). The second concert will be filmed, recorded and made available on the Festival Alte Musik Zürich website. In this way, an impression of the musical splendor in Beromünster, which was on a par with numerous other Swiss religious churches, can be gained in the future.

In fact, those attending the service were treated to a unique listening experience. The singers and instrumentalists, divided into three sound groups, offered an unparalleled polyphonic spectacle in the collegiate church. In the mass, which consists of 24 movements, Meyer von Schauensee exploited everything that polychoralism has to offer: from the full, three-choir sound to all conceivable combinations of the interplay of the three sound groups and various echo effects. Just as impressively, the transcribed score illustrates for the first time how well Meyer von Schauensee, who studied with Ferdinando Galimberti (?-1751) in Milan from 1740-42, was able to capture the musical style of the early Milan symphonists around Giovanni
Battista Sammartini (1700/1-1775) has internalized. 

Information about the concerts

Friday, September 22, 2023 at 7.30 pm in the Fraumünster in Zurich as part of the Festival Alte Musik Zürich. Concert introduction at 6.15 pm at the Center Karl der Grosse (Kirchgasse 14).

Sunday, September 24, 2023 at 5 p.m. in the monastery church of Muri/AG as part of the concert series Music in the monastery church.

Information about the edition 

Franz Joseph Leonti Meyer von Schauensee (1720-1789): Messa Solenne a 3 Coried. by Raphael Eccel, Grégory Rauber, Luc Vallat
and Christoph Riedo, 7th volume of the edition series Music from Swiss Monasteries, Bern: Peter Lang (in preparation). 

The publishers are still looking for funds to realize the edition. 

Contact: christoph.riedo@unige.ch

Silke Kruse-Weber is a lecturer at the Kalaidos University of Music and was Professor of Instrumental and Vocal Pedagogy at the University of Music and Performing Arts Graz until September 2022. From fall 2023, she will hold a deputy professorship in Augsburg. Her research interests include the development of instrumental and vocal pedagogy as a scientific discipline and the transfer of knowledge between theory and practice through reflective practice. Her new reflection tool Reflect! has just been published.

Silke, you have just published new music education research findings, can you briefly summarize them?
Thank you for asking! I am very happy about my publications right now. While theory and practice are often seen as opposites in music education, Reflect!, an observation and reflection tool for instrumental and vocal teaching, brings them together. A playful and artistic set of cards inspires a research-based attitude and a self-determined exchange about the quality of instrumental and vocal teaching and learning.

My study Reflective Practice in Innovative Music Schools is a knowledge transfer project in which music school teachers, the research team and university teachers are in close contact. Here, too, the focus is on the relationship between theory and practice, insofar as the latest developments from research are transferred into practice - e.g. the focus on student-centeredness or a
Opening up to different social forms of teaching.

So it's about reflecting on your own music education knowledge, how do you convey this to your students?
Reflection can be learned and does not have to be solitary, it works best as a collaborative practice where peers learn from each other. It is important to create time and space for reflection. In seminars and training courses, I often show excerpts from teaching videos and ask for a description of the situation. They are almost always evaluated instead. Descriptions without evaluation are difficult. Teachers like to focus on students' deficits. We consider what negative assessments do and find that learners often become defensive and lose their open willingness to learn.  

Which skills are crucial for reflecting on and expanding your own knowledge?
I think they are skills that build on each other: research, reflection and science. An inquiring attitude provides the basis for reflection. Reflective skills require curiosity, openness and empathy in order to be able to adopt new perspectives and penetrate an issue. They are expressed in differentiated questions. A scientific orientation is another basic competence. It allows you to make a plausible and coherent selection from findings and theories for a specific purpose. Scientific research, e.g. in Master's theses, is ultimately based on more rule-based work.

Are these skills also important for performance students?
Performance students in particular benefit from reflective practices! When practicing and making music, it is important to constantly develop new alternative actions. Stereotypical practicing is not efficient. Studies have shown that the more you deal with your own goals and evaluate practice processes, the more efficiently you practice. It is also important to be open in your own career. Professional fields are changing rapidly and musicians should be able to deal with complexity and unpredictability. Reflective practice can encourage change and adaptation to situations. This is exciting for every person, artist and educator.

How do the ability to reflect, curiosity and scientific thinking help us to be good artists or teachers?
Reflective practice is a key competence for good teaching, pedagogical action and successful creative practice. Today, we especially need musicians and
Educators who think critically, are responsible and flexible.

Scientific findings, on the other hand, are not directly transferable to the practice of teaching or playing. Every teaching situation and every music-making situation is social and therefore unpredictable. Scientific findings only provide one perspective on how practice can be illuminated.

Since you became a research lecturer, our students have been happy to take the otherwise often unpopular research course, and the quality of the Master's theses has increased - what is your secret?
This course is about getting students excited about research. For example, they learn to pose their own research questions and to conduct scientific research for them. They learn a certain type of reflection and appreciation with regard to the presentation of
scientific results, but also how to deal with the ideas and findings of a scientific community and how to learn from them. It is not uncommon for a scientific paper to open up new perspectives for students on where their education can take them. At the beginning of the course, students always ask themselves why they should learn how to write scientific papers. But I don't see that as a problem, but rather as an invitation to develop new perspectives.

Detailed information on the new releases can be found on this website: www.kruse-weber.com

On a summery Saturday morning in June in a modern auditorium in Solothurn: while the sun shines outside, almost 40 children and young people sit at their music stands and rehearse. The Solothurn Regional Youth Symphony Orchestra (RJSO) and soloist Rafael Giger are fine-tuning their interpretation of Dmitri Kabalevsky's (1904-1987) 3rd Piano Concerto under the direction of conductor Ruwen Kronenberg. They want to make decisive progress before the summer break, as important performances are scheduled after the vacations.

In addition to the traditional September concerts in the Parktheater Grenchen and the Solothurn concert hall, the RJSO will be traveling to St. Gallen for the 18th Swiss Youth Music Festival (SJMF). On September 16, the RJSO Solothurn will perform in the Tonhalle St. Gallen and represent the classical music section at the largest event for young Swiss musicians. This will be the second time the seven-year-old youth orchestra has taken part in the SJMF. Back in 2019, the RJSO was one of the three pioneering orchestras that represented the EOV for the first time at the now legendary SJMF in Burgdorf.

Since it was founded in 2016 with the aim of offering advanced music students from music schools in the region "a platform for making music together at a demanding level", the RJSO has developed considerably. Further progress by the ensemble can be heard in every concert, says RJSO project leader and guitar teacher Christoph Studer with obvious pride. "The seriousness with which the young musicians take part is impressive.cking," says Studer. In addition to the annual orIn addition to the orchestra program, the highly committed young people also organize a chamber music project with soloists from their own ranks every spring. That is simply great.

Experience the RJSO live on September 16 at the SJMF in St. Gallen

The young musicians from Solothurn are also preparing extremely diligently for their participation in the SJMF. The RJSO already completed a "training camp" in Adelboden over Ascension Day. It was touching to see how the orchestra members interact with each other on and off stage. "The older members looked after the younger ones, everyone showed consideration for each other," says Studer. This cannot be taken for granted, as the RJSO covers a very wide age range. The youngest members of the second violin section are just nine years old, while the oldest orchestra members are in their late 20s and have been with the orchestra since it was founded.

In the next issue of SMZ, RJSO members from all age groups will report on their experiences at the Swiss Youth Music Festival in St. Gallen. You can look forward to these first-hand reports. Or even better: come to St. Gallen yourself and experience the RJSO and the other performances of the more than 100 ensembles live on site. The concerts by more than 4,200 passionate young musicians and the associated festival promise to be a unique and joyful event. The EOV Board will be on site in St. Gallen throughout the SJMF and will support the RJSO in its performance. We look forward to seeing you there too.

The 18th Swiss Youth Music Festival (SJMF) will take place in St. Gallen from September 15 to 17, 2023. Under the motto "Real Passion", 115 formations and a total of more than 4,200 children and young people will perform in concert and compete in a fair competition. In addition, there will be a varied entertainment program throughout the weekend and numerous food stands with delicious offerings, making the SJMF the biggest festival for young musicians in Switzerland. The SJMF is organized by the Swiss Youth Music Association in cooperation with the EOV, Accordion Switzerland and the Swiss Drum and Pipe Association.

Further information on the SJMF and the match schedule

www.sjmf2023.ch

The RJSO Solothurn will perform at the SJMF on Saturday, September 16 at 4:30 p.m. in the Tonhalle St. Gallen. Under the direction of conductor Ruwen Krowenberg, around 40 young people and soloist Rafael Giger at the piano will perform Dmitri Kabalewski's 3rd Piano Concerto in D major op. 50.

Further information about the RJSO

www.rjso-so.ch

A new concept for a master class has been developed for 2022 in collaboration with the OSI (Orchestra della svizzera italiana) and the CSI (Conservatorio della svizzera italiana). Up to 10 students from the Pre-College of the CSI will be supervised and taught by Robert Kowalski, the 1st concertmaster of the OSI, for a week in Arosa.

This year's master class took place from June 26 to 29, followed by three concerts in Arosa, Cham and Lugano. The four young musicians, Adelaide Chiaradonna, Leon Bekaj, Gianluigi Sartori and Ares Midiri, all aged between 14 and 17, had an instructive time in Arosa. The four rehearsal days and three concerts were intensive and instructive, and thanks to Robert Kowalski's experienced, professionally and personally proven direction and Redjan Teqia's accompaniment, they were able to gain valuable experience.

The next masterclass will take place in June 2024, and the short concert tour will take the young musicians to Zurich and Bern as well as Arosa, Cham and Lugano.

"Hans Schaeuble Award" and the Arosa Classical Music Festival

Since 2015, the "Hans Schaeuble Award" has been presented to several participants of the Arosa Music Academy every year. The Arosa Music Academy is an international master class of the Arosa Music Course Weeks for the instruments violin, viola, cello, saxophone and accordion. As in previous years, at least eight academy participants will receive a "Hans Schaeuble Award" this fall. The award includes an invitation to actively participate in the Arosa Classical Music Festival the following winter. Under the direction of Markus Fleck (violin) and Lars Mlekusch (saxophone), one  chamber music program and subsequently performed in Arosa, Chur and Zurich. 

In Chur, the concerts are organized in collaboration with klibühni, Das Theater, while in Zurich a concert is held as part of the "Mittagsmusik im Predigerchor" concert series at Zurich Central Library.

The Arosa Classical Music Festival 2024 will take place from 14 to  March 30 in various concert venues in Arosa. In addition to the chamber music concerts by the Hans Schaeuble Prize winners, an ensemble from the Conservatorio della Svizzera will be performing. Visitors can expect a musically broad program with classical, jazz and folk music. 

Information about the festival will be  End of November on www.arosaklassik.ch is now available. 

After 2 years of the pandemic and events held in writing or online or on a small scale, the Central Board of the Church Choral Federation was able to invite delegates to the Assembly of Delegates in Brugg on April 22, 2023. The items on the agenda were certainly important, as the focus was on a not insignificant revision of the statutes, which is intended to make the SKGB fit for the coming years, in which there will also be changes for the SKGB due to current developments. Even if much remains as it is - and as is good, singing remains at the heart of the association - there are still some adjustments that should make the association more open to future steps. 60 participants from all over German-speaking Switzerland accepted the invitation and were able to experience a wonderful afternoon in the parish hall and town church in Brugg. The program included the business part of the meeting, encounters, discussions and singing together.

Minutes (summarized) of the ordinary general meeting or new general meeting:

Under the leadership of acting Vice President Iris Klöti-Wülser, 11 agenda items were discussed. Actuary Dietrich Jäger-Metzger took the minutes. The detailed minutes can be found on the SKGB website
(www.kirchengesangsbund.ch). 

Only the resolutions are reproduced here.

• The minutes of the written AV 2021 are approved. 
• The Chairman's biennial report is approved and thanked. 
• The 2021 and 2022 annual accounts are approved and discharge is granted to the Treasurer and the Board of Directors. 

The largest item on the agenda is the discussion and entry into force of the SKGB Articles of Association, which have been amended in key points. The Articles of Association will be streamlined overall and adapted to current developments. The most important changes at a glance: 

• The Appeals Commission is abolished. 
• The audit is replaced by the financial audit. 
• Individual members and honorary members have voting rights. 
• Delegates' meetings are replaced by annual members' meetings. 
• The Board of Directors is now called the "Executive Board". 
• The office is no longer mentioned in the Articles of Association. 
• Iris Klöti-Wülser is elected as the new President and Bettina Fierz Salzmann is elected as a new member of the Board of Directors. Martina Bissegger, Peter Hartmann and Edy Weber are elected to the Audit Committee. 
• The 2023-2024 activity program is presented and approved. 
• Annedore Neufeld and Albert Hartkamp, who have both retired from the ZV since the last AV, are awarded honorary membership.

In November 2022, we were able to celebrate the 125 + 1  anniversary in the Grossmünster and in the Kulturhaus Helferei Zurich. Board member Rev. Dietrich Jäger-Metzger also commemorated Kurt Marti's 100th birthday in his address and with the texts during the festive service. These were Kurt Marti's words at the beginning: 

the end of the story
the friends said:
sing us a song - a new song - a spiritual song
and i sang - a new song
but see: the song - that i sang
was the end - of the spiritual song

The poet himself once wrote: "Behind the formulation of this poem lies the - albeit audacious, somehow messianic - hope that one day the border posts and fences between sacred and profane can be broken through, or will fall by themselves.
But the border is still there for the time being. I can't abolish it either. I can only express the hope that it will be abolished..." Marti's sometimes disturbing, but also awakening words beautifully reflect the spirit of optimism that can be felt in the association. 

Singing days, singing weeks and voice training days are once again on the agenda for 2023 and 2024 Program. Together with committed staff and participants, we will continue to develop the SKGB ship through singing and steer it through the sometimes calm and sometimes frighteningly choppy seas. Everything will be centered around singing together in church  -  whether as an individual, congregation, vocal ensemble, choir or cantor. 

Digital games can look back on a good 50 years of history. They not only make up the majority of entertainment
industry worldwide, but are also a cultural asset and are increasingly becoming the focus of politics and science. The research discipline of game studies, which has been established since the turn of the millennium, was for a long time limited to a perspective restricted to the USA and Japan. Only recently has there been an awareness of an independent, dynamic and influential history of digital games in Europe and other regions, with Switzerland also having a lively scene of gamers and game development. In a "Contre Histoire", the CH-Ludens research project is now working on this
cultural heritage.

Sound and music in digital games
The 1980s and 1990s represent a turning point in the audio design of digital games from mere functional beeps to differentiated platform and region-specific aesthetics. Creating recognizable sounds and melodies was a technical challenge. Either there were no dedicated sound chips or they had to be coded specifically for each computer platform, and even then, melodies sounded different on different devices. While the first computers only had a single-channel beeper, later sound chips enabled different frequencies, but the possible tonalities often sounded strange to the European ear. This is how the individual sounds of digital games, such as the Atari VCS tonality, developed. In terms of media history, these were decisive moments for the formation of game-specific music and earcons that are still used today. From the perspective of the cultural anthropology of music, Addrich Mauch from the University of Bern is investigating specifically Swiss game audio designs of this period, their unique aesthetic and functional characteristics as well as their cultural and technical influence in the context of global game development.

Interdisciplinary cooperation
While game studies are only just becoming established at the Bern University of the Arts and the University of Bern, the Zurich University of the Arts ZHdK was the first to set up its own GameLab and has since organized a series of conferences and published various books. This example was recently followed by the University of Lausanne UNIL (and the École Polytechnique Fédérale de Lausanne EPFL) with their own GameLabs. Under the direction of Eugen Pfister, the SNSF-Sinergia project brings together 20 researchers from the four Swiss universities with a common interest in the history of digital games in Switzerland, bringing together a wide variety of methods and academic questions. The academic backgrounds range from cultural anthropology of music, literary studies, history, game design and game design studies, digital humanities, graphic design, linguistics to media studies and many others.

On the one hand, the aim is to learn as much as possible from each other using interdisciplinary approaches and, on the other hand, to gain a better understanding of the
The project aims to create a link to the digitalization of Swiss society in the 20th century by understanding digital games as a cultural technology. The project is also an important step towards preserving a Swiss cultural heritage that is in danger of being forgotten.

chludens.ch

We ask three Suzuki teachers, Rachel Wieser, Nina Ulli and Deborah Furrer, why further training is worthwhile.

Why did you choose the Suzuki training program?

Rachel Wieser I wanted to learn a method to teach young children how to play against.

Nina Ulli I heard a Suzuki concert and was thrilled by the children's confident performance, their joy of playing and their high standard.

Deborah Furrer When I was a child, I knew a child who was taught Suzuki. I noticed that he had good posture and a clean tone. So the method made me curious even then. 

What are the advantages and disadvantages of the method?

NU The great thing is that every child has the opportunity to develop skills to express themselves musically.

RW One disadvantage that is often mentioned is that Suzuki students are bad at reading music...

DF Not having to read music can be an advantage! This allows the focus to be on ear training, rhythm, intonation, posture, sound and expression. An early start is key. At no other age do children learn as quickly and intensively as at pre-school age.

What experiences have you had during your training?

RW On the one hand, we went into technical detail, and on the other, we looked at how to teach violin playing in the most child-friendly way possible. 

NU The training is very well-founded and can be implemented in lessons right from the start.

DF You get lots of ideas for fun, visual and playful lessons.

How has the training changed your teaching practice?

RW I have learned to approach technical difficulties more efficiently and to communicate them in a fun way.

NU I feel more competent in technical and developmental issues, and teaching is more enjoyable because I can invest much more in the musical work thanks to the students' good intonation and rhythmic confidence.

DF The methodology has opened my eyes to the importance of simplicity and clarity. The early beginning needs recognition of the smallest steps. The child experiences a connection to the instrument and the music right from the start!

Has the training had an impact on your artistic work?

DF Yes, there were important new insights for my own game...

NU That surprised me! I would never have thought that the training would make me a better violinist. 

RW Dealing with the basics of technology has also helped me to improve.

Has the training had an impact on your social life?

RW What I appreciate is the worldwide network of teachers. I've lived in various countries, currently in Sweden. You can find connections everywhere. 

NU Yes, the Suzuki teachers are in active contact with each other. I have already made many friends this way.

DF Suzuki's approach that the community is important and everyone is valued and supported has a great influence on the teachers. 

Why do you need several training courses?

DF The subject matter is too complex to learn in a short time. The Suzuki method is an educational task that needs to be reflected on time and again.

RW The method is based on a step-by-step approach. How the building blocks are treated in the pieces is not shown in the notes, this is taught during the training.

NU Traditional Suzuki training has five levels. The more of them you complete, the more everything fits into a larger whole.

AJ The five levels build on each other and are taught in four CAS further education courses, two of which can currently be offered.

What do you wish the Suzuki method for the future? 

DF That aspiring musicians are given an insight into this method during their studies. It's great that Kalaidos as a university is now offering this training. I hope that more people understand what this way of learning and education is all about. It would be great if more teachers in Switzerland could be inspired to use other instruments. Other countries are already further ahead. Last April, over 1000 children came together in London to make music with a wide variety of instruments! 

Further information can be found on the following page:

www.kalaidos-fh.ch/de-CH/Studiengaenge/CAS-Certificate-of-Advanced-Studies-Music-Pedagogy-Suzuki-Method-II#startstudiengaenge