Offers for institutions and larger groups

The following selection of courses, divided into areas of application, is aimed at groups of professional musicians as well as amateur musicians, music teachers, orchestras, conservatories, and music schools. They are carried out at ZHdK or at an external institution. Further topic- and instrument-specific courses are possible.

Course duration:
Group courses are usually planned and carried out as three-hour workshops. The duration of the course may be adjusted upon request.

Cost:
A three-hour workshop usually costs CHF 1,000.
A fixed travel allowance for speakers may be agreed and incorporated into the cost for external courses.

Upon request, topics listed under the course overview for groups/institutions may be assessed for suitability in the individual consultation format.

  • [Translate to English:] Zentrum Musikphysiologie[Translate to English:] Zentrum Musikphysiologie
  • [Translate to English:] Zentrum Musikphysiologie[Translate to English:] Zentrum Musikphysiologie

Course programme

  • Music education/Applied music physiology

    The body as an instrument – using physical resources
    This practical course teaches a selection of “tools” that can be tailored to the participants and their instruments during their daily playing and teaching work. As a result, it is possible to access the highly specialized functions involved in instrumental performance more easily. A specific focus is placed on stage-appropriate breathing and its importance for related movement sequences. Moreover, improved knowledge and physical skills increase the motivation in using your own body and in turn lead to more enjoyment of everyday working life.

    Course lecturer: Prof. Mischa Greull, Horn, MAS Music Physiology ZHdK
     

    Music physiology through play/Music physiology for children
    In elementary instruction, the groundwork for instrumental performance is laid from the very first lesson. Therefore, the teacher has a huge responsibility to pave the way for healthy, motivating, and successful instrumental performance for students of different age groups. Ideas from music physiology may be extremely useful in this regard.

    Course lecturer: Christine Huyssen, Violin, DAS Music Physiology ZHdK


    Learn piano technique with ease
    This workshop teaches practical exercises for a physiologically beneficial seated posture to improve sound development, ease, and confidence during the playing processes. Important ergonomic aspects and individually adjustable movement patterns for the upper extremities are discussed based on the student hand. Special emphasis is placed on suitable exercises for training the piano hand, as well as sweep and landing exercises relevant to piano technique.

    Course lecturer: Lina Schwob, Pianist, MAS Music Physiology and Elisabeth Hofer, Pianist, DAS Music Physiology ZHdK
     

    Need help with practising!? — Fun, sustainable practice for the educational and practical side of daily life as a musician
    This course focuses on the topics of motivation and learning strategies related to instrumental and voice lessons from a music physiology perspective. What constitutes efficient, enjoyable practice for students, and how can they be helped to achieve this? Typical topics are explored in a practice-oriented, playful, interdisciplinary manner to determine how to promote physical and mental readiness for practice and to support practice flow.

    Course lecturers: Judith Buchmann, Oboist, DAS Music Physiology, Mental Trainer and Lina Schwob, Pianist, MAS Music Physiology


    Dispokinesis
    Dispokinesis is a form of physical training and therapy specially developed for musicians. It helps them to improve their self-awareness and learn how to dynamically adjust tension in their body according to the stage situation. This, in turn, supports physiologically favourable movement, posture, breathing, and coordination for making music. During this workshop, participants develop basic exercises from dispokinesis, initial solutions for transfer to their own music-making and teaching practice, and supplementary basic knowledge of the exercises taught.

    Course lecturer: Dr. Oliver Margulies, Violin, Viola, MAS Music Physiology ZHdK


    Muscle and fascia care
    Muscle and fascia care is an essential part of preventing work-related complaints of the musculoskeletal system for solo music-making, orchestra work, chamber music formations and bands, as well as in the music education field. In this continuing education course, participants learn the basics of daily muscle and fascia care related to their instrumental or vocal technique activities. The exercises are undertaken jointly, and the majority can then be passed on to their own students.

    Course lecturers: Different team members from the music physiology/music and preventive medicine area

  • Orchestra

    Fit for the orchestra
    This workshop for amateur orchestras explores a range of exercises and ways to organise rehearsal work in a resource-friendly, healthy manner. The workshop teaches practical exercises on the topics of sitting and offsetting muscular imbalances. Different rehearsal and practice techniques are also acquired and tried out on-site. The content of this workshop can be taught as part of a rehearsal weekend as well.

    Course lecturer: Judith Buchmann, Oboist, DAS Music Physiology, Mental Trainer

    All about Air
    This workshop specifically for wind orchestra formations focuses on developing proper breathing for instrumental performance. Relevant functional-anatomical connections between breathing and instrumental performance are demonstrated. The focus is on practising different breathing techniques in conjunction with practical performance exercises. Participants also try out tools for resource-friendly practice.

    Course lecturer: Judith Buchmann, Oboist, DAS Music Physiology, Mental Trainer

    Muscle and fascia care
    Muscle and fascia care is an essential part of preventing work-related complaints of the musculoskeletal system for solo music-making, orchestra work, chamber music formations and bands, as well as in the music education field. In this continuing education course, participants learn the basics of daily muscle and fascia care related to their instrumental or vocal technique activities. The exercises are undertaken jointly, and the majority can then be passed on to their own students.

    Course lecturers: Different team members from the music physiology/music and preventive medicine area

  • Voice/choral singing

    The vocal tract in the network of breath, posture, and movement
    In vocal training, the vocal tract is the central “production organ” whose optimal performance is dialogically connected to many bodily functions. Breath, posture, and movement in particular must coordinate with the vocal tract and its functions. In this way, the body can become an instrument that efficiently strengthens sound with its inner spaces and structures. This workshop clarifies the functional basics of the interaction between different sub-areas. Vocal exercises are learnt in conjunction with targeted body work, and can be applied in a targeted manner to the participants’ own singing and teaching.

    Course lecturer: Johannes-Michael Blume, lecturer in singing, voice and bodywork at ZHdK, teaches in the Interpretation and Performance profile, in the music physiology/music and preventive medicine area at ZHdK, and for the ZHdK Continuing Education Centre
     

    Mouth open – chest out – stomach in? Voice exercises to boost vocal function
    There are many general guidelines in vocal pedagogy. However, it is crucial not just “to do something”. To promote optimal development, it is important to clarify “what, why, how and to what level” something is done.

    We develop postural, movement and breathing patterns to boost vocal function and examine their effect on the vocal tone. We use playful elements to understand functions, promote them, and clarify which approaches inhibit optimal voice production. The multifaceted exercises are suitable for a wide range of singing: for individual tuition, choral work, but also for work with children and young people.

    Course lecturer: Johannes-Michael Blume, lecturer in singing, voice and bodywork at ZHdK, teaches in the Interpretation and Performance profile, in the music physiology/music and preventive medicine area at ZHdK, and for the ZHdK Continuing Education Centre


    Tone pitch – volume/vibrato – brilliance/articulation
    The vocal tract is the source of sound, which has an effect on the whole organism. In particular, brilliance and vibrato can have a regulatory effect on functions. Articulation can also be used to enhance sound. During this workshop, we learn on which functional level it makes “most” sense to use an exercise, and why. We practise “functional listening” and develop appropriate working sequences to optimally promote vocal functions.

    Course lecturer: Johannes-Michael Blume, lecturer in singing, voice and bodywork at ZHdK, teaches in the Interpretation and Performance profile, in the music physiology/music and preventive medicine area at ZHdK, and for the ZHdK Continuing Education Centre

  • Stage performance/stage fright

    Get ready – be ready!
    How can music students be optimally supported on their way to a successful stage performance? What teaching and learning methods are available to music teachers? This course teaches instrumental and voice teachers tried-and-tested skills from music physiology to help them prepare children, young people and adults for performances. In the process, the participants extend their repertoire of physical and mental exercises and tools through practical work, enabling them to offer decisive support in a teaching and audition context.

    Course lecturer: Lina Schwob, Pianist, MAS Music Physiology


    Do the same behind closed doors as on the big stage
    It is crucial to learn how to deal with stage fright in a positive, constructive and creative manner, and to practice this at home. Just as stage fright has many facets, there are also a range of solution-oriented, easy-to-implement approaches. This lecture explains the reasons and background on the topic of performance readiness, and offers specific strategies for daily exercises that can be done at home and in weekly instrumental lessons. In this way, independent practice is given new momentum and self-confidence is strengthened, not only on the stage but also in daily life.

    Course lecturer: Isabel Bösch, Pianist, MAS Music Physiology

Further topics and instrument-specific courses are possible by individual arrangement.
All the listed topics may also be explored within the scope of individual tuition or mentoring.

Advice and application

Dr. Oliver Margulies
Coordination Centre for Music Physiology
email
+41 43 446 51