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Der Minor ยซHistorical Performance Practiceยป vertieft die aus dem Major stammenden Grundlagen der Interpretation historischer Musik auf historischen Instrumenten bzw. im Gesang. Dabei spielen Aspekte wie Artikulation, Phrasierung und Verzierung genauso eine Rolle wie die stilistische Differenzierung nach Periode und Region. Studierende erhalten Einzelunterricht auf Variantinstrumenten oder in Gesang, Grundlagenkurse zu den Aspekten der historisch fundierten Interpretation und Auffรผhrung von Musik (ab Barock bis Romantik) sowie Ensemblepraxis. Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Absolvent:innen verfรผgen รผber die wichtigsten Kenntnisse zu spezifischen historischen Quellen, unterschiedlichen Stilen und Spielpraktiken und kรถnnen diese in der Praxis anwenden. Durch die Beschรคftigung mit den Grundlagen der historischen Auffรผhrungspraxis kรถnnen sie selbststรคndig interpretatorische Entscheidungen treffen. Sie sind in der Lage, sich im Solo- und Ensemblerepertoire des 17. bis 19. Jahrhunderts historisch informiert und differenziert auszudrรผcken. Diese Voraussetzungen bringst du mit. ยซHistorical Performance Practiceยป empfiehlt sich fรผr Studierende mit einem praktischen Bezug zur Musik vor 1900 und einem spezifisch theoretisch-historischen Interesse. Die vorgรคngige Beherrschung eines historischen Instrumentes ist nicht zwangslรคufig notwendig, das Interesse daran wird aber erwartet. Der Minor empfiehlt sich fรผr Studierende mit einem Major aus den Fachgruppen Blechblasinstrumente, Gesang, Holzblasinstrumente, Saiteninstrumente sowie Tasteninstrumente und aus den Studiengรคngen Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Von diesen Besonderheiten profitierst du. Die ZHdK deckt im Bereich der Historischen Auffรผhrungspraxis mit zahlreichen Instrumental- und Gesangspezialist:innen, Musiktheoretiker:innen und Forscher:innen ein grosses inhaltliches Spektrum ab. Die Beschรคftigung mit alter Musik spielt sich in einem modernen kรผnstlerischen Umfeld ab und fรผhrt zu einem erweiterten interdisziplinรคren Verstรคndnis. Zeitstruktur. Der Minor beansprucht verschiedene Zeitstrukturen: โ Einzelunterricht (historisches Instrument): ist nicht an allgemeine Zeitstrukturen gebunden. โ Praktikum Ensemble / Praktikum Kammermusik / Workshop / Meisterkurse: Die Praktika finden kontinuierlich wรคhrend des Semesters und/oder wรคhrend der Minorwochen je nach Repertoireaufbau, Projekt und Zielsetzung statt. In den Minorwochen finden zusรคtzlich Meisterkurse, Workshops, Praktika mit Dozierenden statt. Vortragsabende finden im Semester und in den Minorwochen statt. โ Historische Auffรผhrungspraxis: Die im Major angesiedelten Lektionen finden voraussichtlich am Montagvormittag statt. โ Verzierungslehre, Historische Improvisation, Harmonielehre/Generalbass, instrumentenspezifische Quellenkunde, Werkstรคtten: finden kursorisch und zu den Minorzeiten, an Abenden und Freitagnachmittagen statt. โ Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","","Major-Minor Programme Model"],"text_en":["","Course content. The Minor โHistorical Performance Practiceโ deepens the fundamentals of the interpretation of historical music on historical instruments or in singing that originate from the Major. Aspects such as articulation, phrasing and ornamentation play just as important a role as stylistic differentiation by period and region. Students receive individual lessons on variant instruments or in singing, basic courses on the aspects of historically informed interpretation and performance of music (from Baroque to Romantic) as well as ensemble practice. The minor in German and English is offered by the profile Interpretation & Performance. It is aimed at the Bachelorโs and Masterโs degree levels. Skills acquired in the course. Graduates are well versed in specific historical sources, different styles and playing practices and can apply these in practice. By dealing with the basics of historical performance practice, they are able to make independent interpretative decisions. They are able to express themselves in a historically informed and differentiated manner on the solo and ensemble repertoire of the 17th to 19th centuries. Admissions requirements. โHistorical Performance Practiceโ is recommended for students with a practical connection to music before 1900 and a specific theoretical-historical interest. Prior mastery of a historical instrument is not necessarily required, but interest in it is expected. The minor is recommended for students with a major in brass instruments, voice, woodwind instruments, string instruments and keyboard instruments and from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master Specialized Music Performance degree programmes. Benefits of studying at ZHdK. With its numerous instrumental and vocal specialists, music theorists and researchers, the ZHdK covers a broad spectrum in the field of historical performance practice. The study of early music takes place in a modern artistic environment and leads to a broader interdisciplinary understanding. Time structure. The Minor requires different time structures: โ Individual lessons (historical instrument): are not bound to general time structures. โ Ensemble internship / chamber music internship / workshop / masterclasses: The ensemble/chamber music internship takes place continuously during the semester and/or during the minor weeks, depending on the repertoire structure, project and objectives. During the minor weeks, master classes, workshops and practical ensemble/chamber music courses are also held with lecturers. Recital evenings take place during the semester and in the minor weeks. โ Historical performance practice: The lesson is a part of the major and is expected to take place on Monday mornings. โ Ornamentation theory, historical improvisation, harmony theory/general bass, instrument-specific source studies, workshops: take place cursorily and during the minor periods, evenings and Friday afternoons. โ More information about this minor (PDF 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The Minor โHistorical Performance Practiceโ deepens the fundamentals of the interpretation of historical music on historical instruments or in singing that originate from the Major. Aspects such as articulation, phrasing and ornamentation play just as important a role as stylistic differentiation by period and region. Students receive individual lessons on variant instruments or in singing, basic courses on the aspects of historically informed interpretation and performance of music (from Baroque to Romantic) as well as ensemble practice.
The minor in German and English is offered by the profile Interpretation & Performance. It is aimed at the Bachelorโs and Masterโs degree levels.
Skills acquired in the course.
Graduates are well versed in specific historical sources, different styles and playing practices and can apply these in practice.
By dealing with the basics of historical performance practice, they are able to make independent interpretative decisions. They are able to express themselves in a historically informed and differentiated manner on the solo and ensemble repertoire of the 17th to 19th centuries.
Admissions requirements.
โHistorical Performance Practiceโ is recommended for students with a practical connection to music before 1900 and a specific theoretical-historical interest. Prior mastery of a historical instrument is not necessarily required, but interest in it is expected. The minor is recommended for students with a major in brass instruments, voice, woodwind instruments, string instruments and keyboard instruments and from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master Specialized Music Performance degree programmes.
Benefits of studying at ZHdK.
With its numerous instrumental and vocal specialists, music theorists and researchers, the ZHdK covers a broad spectrum in the field of historical performance practice. The study of early music takes place in a modern artistic environment and leads to a broader interdisciplinary understanding.
Time structure.
The Minor requires different time structures:
โ Individual lessons (historical instrument):
are not bound to general time structures.
โ Ensemble internship / chamber music internship / workshop / masterclasses:
The ensemble/chamber music internship takes place continuously during the semester and/or during the minor weeks, depending on the repertoire structure, project and objectives. During the minor weeks, master classes, workshops and practical ensemble/chamber music courses are also held with lecturers. Recital evenings take place during the semester and in the minor weeks.
โ Historical performance practice:
The lesson is a part of the major and is expected to take place on Monday mornings.
โ Ornamentation theory, historical improvisation, harmony theory/general bass, instrument-specific source studies, workshops:
take place cursorily and during the minor periods, evenings and Friday afternoons.
โ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Der Minor ยซHistorical Performance Practiceยป vertieft die aus dem Major stammenden Grundlagen der Interpretation historischer Musik auf historischen Instrumenten bzw. im Gesang. Dabei spielen Aspekte wie Artikulation, Phrasierung und Verzierung genauso eine Rolle wie die stilistische Differenzierung nach Periode und Region. Studierende erhalten Einzelunterricht auf Variantinstrumenten oder in Gesang, Grundlagenkurse zu den Aspekten der historisch fundierten Interpretation und Auffรผhrung von Musik (ab Barock bis Romantik) sowie Ensemblepraxis.
Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Absolvent:innen verfรผgen รผber die wichtigsten Kenntnisse zu spezifischen historischen Quellen, unterschiedlichen Stilen und Spielpraktiken und kรถnnen diese in der Praxis anwenden.
Durch die Beschรคftigung mit den Grundlagen der historischen Auffรผhrungspraxis kรถnnen sie selbststรคndig interpretatorische Entscheidungen treffen. Sie sind in der Lage, sich im Solo- und Ensemblerepertoire des 17. bis 19. Jahrhunderts historisch informiert und differenziert auszudrรผcken.
Diese Voraussetzungen bringst du mit.
ยซHistorical Performance Practiceยป empfiehlt sich fรผr Studierende mit einem praktischen Bezug zur Musik vor 1900 und einem spezifisch theoretisch-historischen Interesse. Die vorgรคngige Beherrschung eines historischen Instrumentes ist nicht zwangslรคufig notwendig, das Interesse daran wird aber erwartet. Der Minor empfiehlt sich fรผr Studierende mit einem Major aus den Fachgruppen Blechblasinstrumente, Gesang, Holzblasinstrumente, Saiteninstrumente sowie Tasteninstrumente und aus den Studiengรคngen Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance.
Von diesen Besonderheiten profitierst du.
Die ZHdK deckt im Bereich der Historischen Auffรผhrungspraxis mit zahlreichen Instrumental- und Gesangspezialist:innen, Musiktheoretiker:innen und Forscher:innen ein grosses inhaltliches Spektrum ab. Die Beschรคftigung mit alter Musik spielt sich in einem modernen kรผnstlerischen Umfeld ab und fรผhrt zu einem erweiterten interdisziplinรคren Verstรคndnis.
Zeitstruktur.
Der Minor beansprucht verschiedene Zeitstrukturen:
โ Einzelunterricht (historisches Instrument):
ist nicht an allgemeine Zeitstrukturen gebunden.
โ Praktikum Ensemble / Praktikum Kammermusik / Workshop / Meisterkurse:
Die Praktika finden kontinuierlich wรคhrend des Semesters und/oder wรคhrend der Minorwochen je nach Repertoireaufbau, Projekt und Zielsetzung statt. In den Minorwochen finden zusรคtzlich Meisterkurse, Workshops, Praktika mit Dozierenden statt. Vortragsabende finden im Semester und in den Minorwochen statt.
โ Historische Auffรผhrungspraxis:
Die im Major angesiedelten Lektionen finden voraussichtlich am Montagvormittag statt.
โ Verzierungslehre, Historische Improvisation, Harmonielehre/Generalbass, instrumentenspezifische Quellenkunde, Werkstรคtten:
finden kursorisch und zu den Minorzeiten, an Abenden und Freitagnachmittagen statt.
โ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wรคhlen Studierende ihren Studienschwerpunkt. Dazu kรถnnen sie einen oder zwei Minors wรคhlen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenรผbergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schรคrfung des eigenen Studienprofils ermรถglicht.
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Produzieren/Konzeption: Die Module drehen sich um den Text (im engeren wie im weiteren Sinn), der sich als materialisiertes Produkt innerhalb eines Marktes und einer Teilsphรคre kultureller รffentlichkeit an Leser:innen/Rezipient:innen wendet. Voraussetzungen Voraussetzung ist die Immatrikulation in einem Masterstudiengang der ZHdK und รผberdies eine hohe Sensibilitรคt fรผr Sprache und Text in mindestens einem Teilfeld des Schreibens in den Kรผnsten. Diese bezieht sich einerseits auf die Leseerfahrung und Analysekompetenz; andererseits wird ein nachgewiesenes Potenzial in der Kreation anspruchsvoller Texte vorausgesetzt. Eine Eignungsprรผfung entscheidet รผber die Aufnahme in den Minor. Besonderheiten Der Minor ยซKreatives Schreibenยป ist der Idee eines dialogischen und tรคtigen Lernens verpflichtet, worin jederzeit ยซLernendeยป zu ยซLehrendenยป (und umgekehrt) werden kรถnnen. Dies lebt vom jeweils eigenen Zugang der Teilnehmenden, dem direkten Dialog mit Dozierenden und Mitstudierenden sowie dem Kontakt mit konkreten professionellen Akteur:innen bzw. mit Publikationskontexten. Es handelt sich um ein modulares Studienprogramm, das es den Teilnehmenden ermรถglicht, individuell innerhalb einer breiten Kursauswahl zu navigieren und sich so einen massgeschneiderten Lernweg zusammenzustellen. Der Minor kann konsekutiv studiert werden. Im Minor ยซKreatives Schreiben โ basicยป (15 Credits) wird das eigene Profil erarbeitet und gesetzt. Im Minor ยซKreatives Schreiben โ advancedยป (15 Credits) wird dieses zur Entfaltung gebracht und in einer Minorarbeit nachgewiesen. Eine Anzahl von Modulen wird mit dem Major Kulturpublizistik sowie diversen weiteren Programmen der ZHdK โ so auch namentlich dem CAS/DAS Schreiben in Kunst und Kultur geteilt.\r\nZeitstruktur Der Minor ยซKreatives Schreibenยป findet in den Minorwochen sowie am Freitagnachmittag statt.\r\nDozierende Lukas Bรคrfuss ist Schriftsteller und Dramatiker. Seine Romane erscheinen im Wallstein-Verlag. Claudio Bucher ist Kulturpublizist, Musiker, Filmkomponist und Dozent im Master Kulturpublizistik. Delphine Chapuis Schmitz ist Kรผnstlerin und promovierte Philosophin. Sie unterrichtet seit 2012 im Master Transdisziplinaritรคt (ZHdK). Sie schreibt/mentoriert in Franzรถsisch, Deutsch und Englisch. Stefan Jรคger ist Regisseur, Drehbuchautor, Produzent. Als Dozent ist er verantwortlich fรผr den Fachbereich Drehbuch der ZHdK. Christoph Keller ist Reporter, Autor, Mitbegrรผnder von podcastlab.ch und Dozent im MA Kulturpublizistik (ZHdK). Florian Keller ist Kultur-Redaktor mit den Spezialgebieten Film und Literatur bei der Wochenzeitung. Jochen Kiefer ist Inhaber der ZHdK Professur Dramaturgie und verantwortlich fรผr den BA und MA Dramaturgie (ZHdK). Peter Kuntner ist Ausstellungsmacher, Experte fรผr Buchhandel / Verlag und Verwaltungsratsprรคsident des Limmat Verlag. Eva Mackensen ist Journalistin, Kulturwissenschaftlerin und Dozentin im Master Kulturpublizistik (ZHdK). Franziska Nyffenegger (Ko-Studienleitung) ist promovierte Kulturwissenschafterin, Lektorin und ZHdK-Dozentin. Sie schreibt / mentoriert in Deutsch, Spanisch und Englisch. Daniel Puntas Bernet ist Herausgeber und Chefredaktor des Magazins Reportagen. Aoife Rosenmeyer ist Kunstkritikerin und รbersetzerin. Sie schreibt/mentoriert in Englisch und Deutsch. Paula Scheidt ist Reporterin und Mitglied der Redaktionsleitung des Magazins Annabelle. Ruth Schweikert ist Schriftstellerin. Ihre Romane erscheinen im Fischer-Verlag. Barbara Sommer ist Theaterwissenschaftlerin, Dramaturgin und Drehbuch-Autorin. Tabea Steiner ist Literaturvermittlerin und Autorin. Patrick Tschirky ist Germanist und Dozent am IAM Institut fรผr Angewandte Medienwissenschaft der ZHAW sowie im MA Kulturpublizistik der ZHdK Ruedi Widmer (Studienleitung) ist Journalist und Publizist. Er verantwortet den Master Kulturpublizistik der ZHdK. Er schreibt/mentoriert in Deutsch, Franzรถsisch, Englisch und Spanisch. โ Mehr zum Minor Kreatives Schreiben โ basic (PDF-Download) โ Mehr zum Minor Kreatives Schreiben โ advanced (PDF-Download)","Im Rahmen des DKV-Minor-Infotages am 12. Mรคrz 2024 hat Ruedi Widmer den Minor ยซKreatives Schreibenยป vorgestellt:","",""],"title_en":["","Course","","Major-Minor Programme Model"],"text_en":["","Course content The Minor in โCreative Writingโ is aimed at Masterโs students for whom the written word is a key dimension of their (envisaged) professional identity and who wish to expand their horizons in this regard and/or learn more about specific fields of writing. The spectrum ranges from literary-narrative to dramatic to journalistic approaches in both classic contexts such as art, theatre, music, film and design and new hybrid fields combining arts and the media. Key areas of competency include work on research, genres, materials and figures, analysis and self-questioning in aspects such as style, technique and craftsmanship, and more in-depth reflection on writing as a cultural technique in the digital present. In the Minor, students write texts or plays that are designed for potential publication. Communication formats and feedback rounds with people from the target contexts help students to further develop their own profiles and increase their chances of obtaining funding and/or publication. Skills Students operate in the following competency areas (though it is possible and indeed desirable to set individual priorities): Reading/interpretation: The modules revolve around reading and interpretation skills both in the sense of thinking about and analyzing texts in studentsโ own field (as an author and/or proofreader) and in the sense of criticism as an interpretation of works in all art forms. Writing/creation: These modules revolve around writing as a craft, technique and strategy in the sense of โapplied poeticsโ in all sub-fields of writing in the arts/writing as art. Production/design: The modules revolve around texts (in both the narrower and the broader sense) that address readers/recipients as a materialized product within a market and a sub-sphere of the cultural public. Admissions requirements Applicants must be registered on a ZHdK Masterโs degree programme and have a strong sensitivity for language and text in at least one sub-field of writing in the arts. This means that they must have reading experience and analytical skills, but also proven potential in the creation of sophisticated texts. The decision regarding admission to the minor is made on the basis of an aptitude test. Special features of the course The Minor โCreative Writingโ is committed to the idea of dialogue-based, active learning in which โlearnersโ can become โteachersโ (and vice versa) at any time. This depends on the approaches of the participants, direct dialogue with lecturers and fellow students, and contact with specific professional people/publication contexts. It is a modular study programme that enables participants to navigate individually within a broad selection of courses and thus put together their own, tailored learning paths. The Minor may be undertaken consecutively. In the โCreative writing โ basicโ minor (15 credits), students develop and define their own profile. In the โCreative writing โ advancedโ minor (15 credits), this is fully realized and then evidenced in a minor project. A number of modules are shared with the Cultural Publishing major and various other ZHdK programmes โ including, specifically, the CAS/DAS Writing in Art and Culture. Time structure The Minor ยซCreative Writingยป takes place in the Minor Weeks and on Friday afternoons.\r\nLecturers Lukas Bรคrfuss is a writer and playwright. His novels are published by Wallstein Verlag. Claudio Bucher is a cultural publisher, musician, film composer and lecturer on the Masterโs in Cultural Publishing. Delphine Chapuis Schmitz is an artist with a PhD in Philosophy. She has been teaching on the Master of Arts in Transdisciplinary Studies (ZHdK) since 2012. She writes and mentors in French, German and English. Stefan Jรคger is a director, screenwriter and producer. As a lecturer, he is responsible for the field of study of screenwriting at ZHdK. Christoph Keller is a reporter, author, co-founder of podcastlab.ch and a lecturer on the Master of Arts in Cultural Publishing (ZHdK). Florian Keller is a cultural editor specializing in film and literature for the Wochenzeitung newspaper. Jochen Kiefer holds the chair of Dramaturgy at ZHdK and is responsible for the Bachelor and Master of Arts in Dramaturgy (ZHdK). Peter Kuntner is an exhibition maker, expert in book trade/publishing and chairman of the board of Limmat Verlag. Eva Mackensen is a journalist, cultural scientist and lecturer on the Master of Arts in Cultural Publishing (ZHdK). Franziska Nyffenegger (Co-Head of Programme) holds a PhD in Cultural Sciences, and is a copy-editor and lecturer at ZHdK. She writes/mentors in German, Spanish and English. Daniel Puntas Bernet is the publisher and senior editor of the Reportagen magazine. Aoife Rosenmeyer is an art critic and a translator. She writes and mentors in English and German. Paula Scheidt is a reporter and member of the editorial board of Annabelle magazine. Ruth Schweikert is a writer. Her novels are published by Fischer Verlag. Barbara Sommer is a theatre scholar, dramatist and screenwriter. Tabea Steiner is is a literary mediator and author. Patrick Tschirky is a Germanist and lecturer at the IAM Institute of Applied Media Sciences at ZHAW as well on the Master of Arts in Cultural Publishing at ZHdK. Ruedi Widmer (Head of Programme) is a journalist and publicist. He is responsible for the Master of Arts in Cultural Publishing at ZHdK. He writes and mentors in German, French, English and Spanish. โ More about the Minor Creative Writing โ basic (PDF-Download) โ More about the Minor Creative Writing โ advanced (PDF-Download)","",""],"assets":{"title_de":["Kreatives Schreiben"]}}},"relationships":{"study_model_disciplines":{"data":[{"type":"study_model_discipline","id":19,"attributes":{"uid":19,"deleted":0,"sys_language_uid":0,"l10n_parent":0,"title":"Cultural Critique","auto_select":0,"to_be_auto_selected":0},"relationships":{"translations":{"data":[{"type":"study_model_discipline","id":20,"attributes":{"uid":20,"deleted":0,"sys_language_uid":1,"l10n_parent":19,"title":"Cultural Critique","auto_select":0,"to_be_auto_selected":0}}]}}}]},"study_model_interests":{"data":[{"type":"study_model_interest","id":53,"attributes":{"uid":53,"deleted":0,"sys_language_uid":0,"l10n_parent":0,"title":"Kulturelle 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The Minor in โCreative Writingโ is aimed at Masterโs students for whom the written word is a key dimension of their (envisaged) professional identity and who wish to expand their horizons in this regard and/or learn more about specific fields of writing. The spectrum ranges from literary-narrative to dramatic to journalistic approaches in both classic contexts such as art, theatre, music, film and design and new hybrid fields combining arts and the media.
Key areas of competency include work on research, genres, materials and figures, analysis and self-questioning in aspects such as style, technique and craftsmanship, and more in-depth reflection on writing as a cultural technique in the digital present. In the Minor, students write texts or plays that are designed for potential publication. Communication formats and feedback rounds with people from the target contexts help students to further develop their own profiles and increase their chances of obtaining funding and/or publication.
Skills
Students operate in the following competency areas (though it is possible and indeed desirable to set individual priorities):
Reading/interpretation: The modules revolve around reading and interpretation skills both in the sense of thinking about and analyzing texts in studentsโ own field (as an author and/or proofreader) and in the sense of criticism as an interpretation of works in all art forms.
Writing/creation: These modules revolve around writing as a craft, technique and strategy in the sense of โapplied poeticsโ in all sub-fields of writing in the arts/writing as art.
Production/design: The modules revolve around texts (in both the narrower and the broader sense) that address readers/recipients as a materialized product within a market and a sub-sphere of the cultural public.
Admissions requirements
Applicants must be registered on a ZHdK Masterโs degree programme and have a strong sensitivity for language and text in at least one sub-field of writing in the arts. This means that they must have reading experience and analytical skills, but also proven potential in the creation of sophisticated texts. The decision regarding admission to the minor is made on the basis of an aptitude test.
Special features of the course
The Minor โCreative Writingโ is committed to the idea of dialogue-based, active learning in which โlearnersโ can become โteachersโ (and vice versa) at any time. This depends on the approaches of the participants, direct dialogue with lecturers and fellow students, and contact with specific professional people/publication contexts.
It is a modular study programme that enables participants to navigate individually within a broad selection of courses and thus put together their own, tailored learning paths.
The Minor may be undertaken consecutively. In the โCreative writing โ basicโ minor (15 credits), students develop and define their own profile. In the โCreative writing โ advancedโ minor (15 credits), this is fully realized and then evidenced in a minor project.
A number of modules are shared with the Cultural Publishing major and various other ZHdK programmes โ including, specifically, the CAS/DAS Writing in Art and Culture.
Time structure
The Minor ยซCreative Writingยป takes place in the Minor Weeks and on Friday afternoons.
Lecturers
Lukas Bรคrfuss is a writer and playwright. His novels are published by Wallstein Verlag.
Claudio Bucher is a cultural publisher, musician, film composer and lecturer on the Masterโs in Cultural Publishing.
Delphine Chapuis Schmitz is an artist with a PhD in Philosophy. She has been teaching on the Master of Arts in Transdisciplinary Studies (ZHdK) since 2012. She writes and mentors in French, German and English.
Stefan Jรคger is a director, screenwriter and producer. As a lecturer, he is responsible for the field of study of screenwriting at ZHdK.
Christoph Keller is a reporter, author, co-founder of podcastlab.ch and a lecturer on the Master of Arts in Cultural Publishing (ZHdK).
Florian Keller is a cultural editor specializing in film and literature for the Wochenzeitung newspaper.
Jochen Kiefer holds the chair of Dramaturgy at ZHdK and is responsible for the Bachelor and Master of Arts in Dramaturgy (ZHdK).
Peter Kuntner is an exhibition maker, expert in book trade/publishing and chairman of the board of Limmat Verlag.
Eva Mackensen is a journalist, cultural scientist and lecturer on the Master of Arts in Cultural Publishing (ZHdK).
Franziska Nyffenegger (Co-Head of Programme) holds a PhD in Cultural Sciences, and is a copy-editor and lecturer at ZHdK. She writes/mentors in German, Spanish and English.
Daniel Puntas Bernet is the publisher and senior editor of the Reportagen magazine.
Aoife Rosenmeyer is an art critic and a translator. She writes and mentors in English and German.
Paula Scheidt is a reporter and member of the editorial board of Annabelle magazine.
Ruth Schweikert is a writer. Her novels are published by Fischer Verlag.
Barbara Sommer is a theatre scholar, dramatist and screenwriter.
Tabea Steiner is is a literary mediator and author.
Patrick Tschirky is a Germanist and lecturer at the IAM Institute of Applied Media Sciences at ZHAW as well on the Master of Arts in Cultural Publishing at ZHdK.
Ruedi Widmer (Head of Programme) is a journalist and publicist. He is responsible for the Master of Arts in Cultural Publishing at ZHdK. He writes and mentors in German, French, English and Spanish.
โ More about the Minor Creative Writing โ basic (PDF-Download)
โ More about the Minor Creative Writing โ advanced (PDF-Download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Der Minor ยซKreatives Schreibenยป richtet sich an Masterstudierende, fรผr die das geschriebene Wort eine wesentliche Dimension ihres (anvisierten) professionellen Selbstverstรคndnisses darstellt, und die diesbezรผglich ihren Horizont erweitern und/oder besondere Bereiche des Schreibens vertiefen wollen. Das Spektrum reicht von literarisch-erzรคhlerischen รผber szenische bis zu journalistischen Zugรคngen sowohl in klassischen Kontexten wie Kunst, Theater, Musik, Film und Design als auch in neuen hybriden Feldern zwischen Kรผnsten und Medien.
Zu den zentralen Kompetenzfeldern gehรถren der Umgang mit Recherche, Genres, Stoffen und Figuren, die Analyse und Selbstbefragung in Aspekten wie Stil, Technik, Handwerk sowie die tiefergehende Reflexion des Schreibens als Kulturtechnik in der digitalen Gegenwart. Im Minor verfassen die Studierenden Texte bzw. Stรผcke, die auf eine mรถgliche Verรถffentlichung hin konzipiert sind. Austauschformate und Feedbackrunden mit Akteur:innen der Zielkontexte unterstรผtzen die Studierenden dabei, das eigene Profil weiterzuentwickeln und die Chancen auf Fรถrderung und/oder Publikation zu erhรถhen.
Kompetenzen
Die Studierenden bewegen sich in folgenden Kompetenzfeldern, wobei das Setzen individueller Schwerpunkte mรถglich und erwรผnscht ist:
Lesen/Interpretation: Die Module drehen sich um Lese- und Interpretationskompetenz sowohl im Sinne des Denkens und Analysierens von Texten im eigenen Feld (als Autor:in und/oder Lektor:in) als auch im Sinne der Kritik als Interpretation von Werken in grundsรคtzlich allen Kรผnsten.
Schreiben/Kreation: Die Module drehen sich um das Schreiben als Handwerk, Technik und Strategie im Sinne einer ยซangewandten Poetikยป in grundsรคtzlich allen Teilfeldern des Schreibens in den Kรผnsten bzw. des Schreibens als Kunst.
Produzieren/Konzeption: Die Module drehen sich um den Text (im engeren wie im weiteren Sinn), der sich als materialisiertes Produkt innerhalb eines Marktes und einer Teilsphรคre kultureller รffentlichkeit an Leser:innen/Rezipient:innen wendet.
Voraussetzungen
Voraussetzung ist die Immatrikulation in einem Masterstudiengang der ZHdK und รผberdies eine hohe Sensibilitรคt fรผr Sprache und Text in mindestens einem Teilfeld des Schreibens in den Kรผnsten. Diese bezieht sich einerseits auf die Leseerfahrung und Analysekompetenz; andererseits wird ein nachgewiesenes Potenzial in der Kreation anspruchsvoller Texte vorausgesetzt. Eine Eignungsprรผfung entscheidet รผber die Aufnahme in den Minor.
Besonderheiten
Der Minor ยซKreatives Schreibenยป ist der Idee eines dialogischen und tรคtigen Lernens verpflichtet, worin jederzeit ยซLernendeยป zu ยซLehrendenยป (und umgekehrt) werden kรถnnen. Dies lebt vom jeweils eigenen Zugang der Teilnehmenden, dem direkten Dialog mit Dozierenden und Mitstudierenden sowie dem Kontakt mit konkreten professionellen Akteur:innen bzw. mit Publikationskontexten.
Es handelt sich um ein modulares Studienprogramm, das es den Teilnehmenden ermรถglicht, individuell innerhalb einer breiten Kursauswahl zu navigieren und sich so einen massgeschneiderten Lernweg zusammenzustellen.
Der Minor kann konsekutiv studiert werden. Im Minor ยซKreatives Schreiben โ basicยป (15 Credits) wird das eigene Profil erarbeitet und gesetzt. Im Minor ยซKreatives Schreiben โ advancedยป (15 Credits) wird dieses zur Entfaltung gebracht und in einer Minorarbeit nachgewiesen.
Eine Anzahl von Modulen wird mit dem Major Kulturpublizistik sowie diversen weiteren Programmen der ZHdK โ so auch namentlich dem CAS/DAS Schreiben in Kunst und Kultur geteilt.
Zeitstruktur
Der Minor ยซKreatives Schreibenยป findet in den Minorwochen sowie am Freitagnachmittag statt.
Dozierende
Lukas Bรคrfuss ist Schriftsteller und Dramatiker. Seine Romane erscheinen im Wallstein-Verlag.
Claudio Bucher ist Kulturpublizist, Musiker, Filmkomponist und Dozent im Master Kulturpublizistik.
Delphine Chapuis Schmitz ist Kรผnstlerin und promovierte Philosophin. Sie unterrichtet seit 2012 im Master Transdisziplinaritรคt (ZHdK). Sie schreibt/mentoriert in Franzรถsisch, Deutsch und Englisch.
Stefan Jรคger ist Regisseur, Drehbuchautor, Produzent. Als Dozent ist er verantwortlich fรผr den Fachbereich Drehbuch der ZHdK.
Christoph Keller ist Reporter, Autor, Mitbegrรผnder von podcastlab.ch und Dozent im MA Kulturpublizistik (ZHdK).
Florian Keller ist Kultur-Redaktor mit den Spezialgebieten Film und Literatur bei der Wochenzeitung.
Jochen Kiefer ist Inhaber der ZHdK Professur Dramaturgie und verantwortlich fรผr den BA und MA Dramaturgie (ZHdK).
Peter Kuntner ist Ausstellungsmacher, Experte fรผr Buchhandel / Verlag und Verwaltungsratsprรคsident des Limmat Verlag.
Eva Mackensen ist Journalistin, Kulturwissenschaftlerin und Dozentin im Master Kulturpublizistik (ZHdK).
Franziska Nyffenegger (Ko-Studienleitung) ist promovierte Kulturwissenschafterin, Lektorin und ZHdK-Dozentin. Sie schreibt / mentoriert in Deutsch, Spanisch und Englisch.
Daniel Puntas Bernet ist Herausgeber und Chefredaktor des Magazins Reportagen.
Aoife Rosenmeyer ist Kunstkritikerin und รbersetzerin. Sie schreibt/mentoriert in Englisch und Deutsch.
Paula Scheidt ist Reporterin und Mitglied der Redaktionsleitung des Magazins Annabelle.
Ruth Schweikert ist Schriftstellerin. Ihre Romane erscheinen im Fischer-Verlag.
Barbara Sommer ist Theaterwissenschaftlerin, Dramaturgin und Drehbuch-Autorin.
Tabea Steiner ist Literaturvermittlerin und Autorin.
Patrick Tschirky ist Germanist und Dozent am IAM Institut fรผr Angewandte Medienwissenschaft der ZHAW sowie im MA Kulturpublizistik der ZHdK
Ruedi Widmer (Studienleitung) ist Journalist und Publizist. Er verantwortet den Master Kulturpublizistik der ZHdK. Er schreibt/mentoriert in Deutsch, Franzรถsisch, Englisch und Spanisch.
โ Mehr zum Minor Kreatives Schreiben โ basic (PDF-Download)
โ Mehr zum Minor Kreatives Schreiben โ advanced (PDF-Download)
Im Rahmen des DKV-Minor-Infotages am 12. Mรคrz 2024 hat Ruedi Widmer den Minor ยซKreatives Schreibenยป vorgestellt:
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Studierende mit dem Berufsziel Orchesterspiel erhalten in diesem Minor eine fundierte Ausbildung. Das Programm ยซOrchestral Studiesยป behandelt sinfonische Literatur und Opernliteratur exemplarisch โ sowohl im instrumentenspezifischen Einzelunterricht (Orchesterstellen und Variantinstrument) als auch im Register-Gruppenunterricht und Ensemblekontext. Vor allem bei den Variantinstrumenten (z. B. Bassklarinette oder Piccolo) spielt eine frรผhe und grรผndliche Spezialisierung auf dem Instrument fรผr kommende Probespiele eine wichtige Rolle. Die Studierenden profitieren von einem Probespieltraining (verbunden mit Mental- und allgemeinem Vorspieltraining) und von einem berufsvorbereitenden Angebot zu Themen wie Vorstandsarbeit, Konfliktmanagement, Orchesterfรผhrung und Berufsmodelle. Der Minor in Deutsch und Englisch wird vom Profil Interpretation & Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Der Minor ยซOrchestral Studiesยป bereitet auf Probespiele, den Einstieg ins Berufsleben und den Beruf als Orchestermusiker:in an sich vor. Dazu gehรถren neben dem instrumentalen Unterricht Aspekte der Probenarbeit, mentales Training, Gesundheitsprophylaxe, soziale Skills und die Vermittlung eines stilistisch breiten Repertoires. Diese Voraussetzungen bringst du mit. ยซOrchestral Studiesยป empfiehlt sich fรผr fortgeschrittene Instrumentalist:innen mit Major Violine, Viola, Violoncello, Kontrabass, Harfe, Querflรถte, Oboe, Klarinette, Fagott, Trompete, Posaune, Horn, Tuba, Schlagzeug oder Pauke der Studiengรคnge Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Die Zulassung erfolgt mit Prรผfung der fachlichen Eingangskompetenzen. Von diesen Besonderheiten profitierst du. Dozierende des Minors sind beruflich in nationalen Spitzenorchestern wie dem Tonhalle Orchester Zรผrich, der Philharmonia Zรผrich, dem Orchester des Musikkollegiums Winterthur, dem Berner Sinfonieorchester oder dem Luzerner Sinfonieorchester tรคtig. Sie verfรผgen รผber langjรคhrige Berufserfahrung in diesen oder vergleichbaren, internationalen Ensembles. Diese Expertise wird seit Jahrzehnten mit grossem Erfolg an der ZHdK vermittelt und nun via Minor allen Studiengรคngen zur Verfรผgung gestellt. Im Bereich der Musikmedizin ist die ZHdK fรผhrend und ermรถglicht eine grรผndliche Unterstรผtzung der Ausbildung in Gefรคssen wie psycho-physiologisches Vorspieltraining, mentales Training sowie Vorbeugung von Gesundheitsproblemen (Dispokinesis). โ Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","","Major-Minor Programme Model"],"text_en":["","Course content. Students with the professional goal of playing in an orchestra receive a sound education in this minor. The Orchestral Studies programme deals with symphonic and opera literature in an exemplary manner โ both in instrument-specific individual lessons (orchestral positions) and in register group lessons and ensemble contexts. Students benefit from audition training (combined with mental and general audition training) and from a pre-professional programme on topics such as board work, conflict management, orchestra leadership and professional models. The minor in German and English is offered by the Interpretation & Performance profile. It is aimed at the Bachelorโs and Masterโs degree levels. Skills acquired in the course. The Minor โOrchestral Studiesโ prepares students for auditions, entry into professional life and the profession of orchestral musician. In addition to instrumental instruction, this includes aspects of rehearsal work, mental training, preventive healthcare measures, social skills and a stylistically broad repertoire. Admissions requirements. โOrchestral Studiesโ is recommended for advanced instrumentalists with a major in violin, viola, violoncello, double bass, harp, flute, oboe, clarinet, bassoon, trumpet, trombone, horn, tuba, percussion or timpani from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master in Specialized Music Performance degree programmes. Admission is subject to an examination of the subject-specific entry competences. Benefits of studying at ZHdK. Lecturers in the minor are professionally active in top national orchestras such as the Tonhalle Orchestra Zurich, the Philharmonia Zurich, the Orchestra of the Musikkollegium Winterthur, the Bern Symphony Orchestra or the Lucerne Symphony Orchestra. They have long-standing professional experience in these or comparable, international ensembles. This expertise has been imparted with great success at the ZHdK for decades and is now made available to all degree programmes via a minor. 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Students with the professional goal of playing in an orchestra receive a sound education in this minor. The Orchestral Studies programme deals with symphonic and opera literature in an exemplary manner โ both in instrument-specific individual lessons (orchestral positions) and in register group lessons and ensemble contexts. Students benefit from audition training (combined with mental and general audition training) and from a pre-professional programme on topics such as board work, conflict management, orchestra leadership and professional models.
The minor in German and English is offered by the Interpretation & Performance profile. It is aimed at the Bachelorโs and Masterโs degree levels.
Skills acquired in the course.
The Minor โOrchestral Studiesโ prepares students for auditions, entry into professional life and the profession of orchestral musician. In addition to instrumental instruction, this includes aspects of rehearsal work, mental training, preventive healthcare measures, social skills and a stylistically broad repertoire.
Admissions requirements.
โOrchestral Studiesโ is recommended for advanced instrumentalists with a major in violin, viola, violoncello, double bass, harp, flute, oboe, clarinet, bassoon, trumpet, trombone, horn, tuba, percussion or timpani from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master in Specialized Music Performance degree programmes. Admission is subject to an examination of the subject-specific entry competences.
Benefits of studying at ZHdK.
Lecturers in the minor are professionally active in top national orchestras such as the Tonhalle Orchestra Zurich, the Philharmonia Zurich, the Orchestra of the Musikkollegium Winterthur, the Bern Symphony Orchestra or the Lucerne Symphony Orchestra. They have long-standing professional experience in these or comparable, international ensembles. This expertise has been imparted with great success at the ZHdK for decades and is now made available to all degree programmes via a minor. In the field of music medicine, the ZHdK is a leader and enables thorough support of training in vessels such as psycho-physiological audition training, mental training as well as prevention of health problems (Dispokinesis).
โ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Studierende mit dem Berufsziel Orchesterspiel erhalten in diesem Minor eine fundierte Ausbildung. Das Programm ยซOrchestral Studiesยป behandelt sinfonische Literatur und Opernliteratur exemplarisch โ sowohl im instrumentenspezifischen Einzelunterricht (Orchesterstellen und Variantinstrument) als auch im Register-Gruppenunterricht und Ensemblekontext. Vor allem bei den Variantinstrumenten (z. B. Bassklarinette oder Piccolo) spielt eine frรผhe und grรผndliche Spezialisierung auf dem Instrument fรผr kommende Probespiele eine wichtige Rolle. Die Studierenden profitieren von einem Probespieltraining (verbunden mit Mental- und allgemeinem Vorspieltraining) und von einem berufsvorbereitenden Angebot zu Themen wie Vorstandsarbeit, Konfliktmanagement, Orchesterfรผhrung und Berufsmodelle.
Der Minor in Deutsch und Englisch wird vom Profil Interpretation & Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Der Minor ยซOrchestral Studiesยป bereitet auf Probespiele, den Einstieg ins Berufsleben und den Beruf als Orchestermusiker:in an sich vor. Dazu gehรถren neben dem instrumentalen Unterricht Aspekte der Probenarbeit, mentales Training, Gesundheitsprophylaxe, soziale Skills und die Vermittlung eines stilistisch breiten Repertoires.
Diese Voraussetzungen bringst du mit.
ยซOrchestral Studiesยป empfiehlt sich fรผr fortgeschrittene Instrumentalist:innen mit Major Violine, Viola, Violoncello, Kontrabass, Harfe, Querflรถte, Oboe, Klarinette, Fagott, Trompete, Posaune, Horn, Tuba, Schlagzeug oder Pauke der Studiengรคnge Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Die Zulassung erfolgt mit Prรผfung der fachlichen Eingangskompetenzen.
Von diesen Besonderheiten profitierst du.
Dozierende des Minors sind beruflich in nationalen Spitzenorchestern wie dem Tonhalle Orchester Zรผrich, der Philharmonia Zรผrich, dem Orchester des Musikkollegiums Winterthur, dem Berner Sinfonieorchester oder dem Luzerner Sinfonieorchester tรคtig. Sie verfรผgen รผber langjรคhrige Berufserfahrung in diesen oder vergleichbaren, internationalen Ensembles. Diese Expertise wird seit Jahrzehnten mit grossem Erfolg an der ZHdK vermittelt und nun via Minor allen Studiengรคngen zur Verfรผgung gestellt. Im Bereich der Musikmedizin ist die ZHdK fรผhrend und ermรถglicht eine grรผndliche Unterstรผtzung der Ausbildung in Gefรคssen wie psycho-physiologisches Vorspieltraining, mentales Training sowie Vorbeugung von Gesundheitsproblemen (Dispokinesis).
โ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wรคhlen Studierende ihren Studienschwerpunkt. Dazu kรถnnen sie einen oder zwei Minors wรคhlen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenรผbergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schรคrfung des eigenen Studienprofils ermรถglicht.
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Der Minor ยซSelf Composed (Musik)ยป unterstรผtzt die Studierenden darin, ein den eigenen Bedรผrfnissen entsprechendes Studienprogramm zu gestalten. Er ermรถglicht ein Hรถchstmass an Wahlfreiheit und umfasst 15 Credits. In Absprache mit den Programmverantwortlichen kรผmmern sich die Studierenden semesterweise um die Planung der Inhalte und entwickeln ihr Studium zielgerichtet weiter. Meist fokussiert sich der ยซSelf Composed (Musik)ยป Minor auf die kรผnftige Berufspraxis und die Schรคrfung der eigenen Potenziale. Dieser Prozess kann begleitet erfolgen und fรผhrt in einem Abschlussmodul zu einer Prรคsentation der erworbenen Fรคhigkeiten. Der Minor in Deutsch und Englisch wird von allen Musik-Studiengรคngen angeboten und richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Die inhaltlichen Schwerpunkte und Ziele des ยซSelf Composed (Musik)ยป Minors sind so vielfรคltig wie die Studierenden selbst. Neben den konkreten Inhalten fรถrdert der Minor Eigenverantwortung, Selbstreflexion und Persรถnlichkeitsbildung. Die Studierenden entwickeln in Absprache mit den Programmverantwortlichen ihr eigenes Curriculum im Rahmen der gegebenen Mรถglichkeiten. Diese Voraussetzungen bringst du mit. Der Minor ยซSelf Composed (Musik)ยป richtet sich an Studierende, die schon einen betrรคchtlichen kรผnstlerischen Werdegang absolviert haben und es gewohnt sind, anspruchsvolle Ziele zu erreichen. Er kann in Kombination mit allen Majors belegt werden. Entscheidend sind Motivation und Bereitschaft, individuell zu studieren. Von diesen Besonderheiten profitierst du. Der Minor ยซSelf Composed (Musik)ยป bietet die Gelegenheit, aus dem รผppigen Lehrangebot der ZHdK ein eigenes Curriculum selbststรคndig zusammenzustellen und kontinuierlich anzupassen. Es gehรถrt zum Lehr- und Lernkonzept, dass die Studierendenbedรผrfnisse sich im Laufe des Studienfortschritts aufgrund der gemachten Erfahrungen schrittweise ausdifferenzieren und entwickeln. Verรคnderungen des Themenfokus oder der Lehrformate sind ausdrรผcklich mรถglich und werden unterstรผtzt. Zeitstruktur. Die Studierenden verantworten eigenstรคndig die Inhalte und die Organisation des Self Composed Minor. Insofern kann die Durchfรผhrung parallel zum Majorsemester und/oder in den Minorwochen erfolgen. โ Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","","Major-Minor Programme Model"],"text_en":["","Course content. The minor โSelf Composed (Music)โ helps students to design a study programme that meets their own particular needs. It offers maximum freedom of choice and comprises 15 credits. In discussion with the Head of Programme, students plan the content on a semester basis and develop their studies in a targeted manner. The minor โSelf Composed (Music)โ focuses predominantly on studentsโ future professional lives and on honing their own potential. This process can take place with support, and culminates in a final module consisting of a presentation about what they have learned. The minor, which is taught in German and English, is offered by all the music degree programmes and aimed at Bachelorโs and Masterโs students. Skills acquired in the course. The focus areas and the objectives of the โSelf Composed (Music)โ minor are as diverse as the students themselves. Besides specific content, the minor promotes independence, self-reflection and personal development. Students develop their own curriculum within the scope of the specified options in discussion with the Head of Programme. Admissions requirements. The minor โSelf Composed (Music)โ is aimed at students who already have a well-established artistic career and are used to achieving challenging goals. Students may undertake the minor in combination with all the majors. Motivation and a readiness to study independently are paramount. Benefits of studying at ZHdK. The minor โSelf Composed (Music)โ gives students the opportunity to compile their own curriculum from the wide range of courses on offer at ZHdK and continually adjust it. The teaching and learning concept focuses on progressively differentiating and developing studentsโ needs over the course of their studies as a result of the experiences that they have had. Changes in topic focus or teaching format are particularly welcome and supported. Time structure. Students are responsible for the content and organisation of the Self Composed Minor. 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The minor โSelf Composed (Music)โ helps students to design a study programme that meets their own particular needs. It offers maximum freedom of choice and comprises 15 credits.
In discussion with the Head of Programme, students plan the content on a semester basis and develop their studies in a targeted manner. The minor โSelf Composed (Music)โ focuses predominantly on studentsโ future professional lives and on honing their own potential. This process can take place with support, and culminates in a final module consisting of a presentation about what they have learned.
The minor, which is taught in German and English, is offered by all the music degree programmes and aimed at Bachelorโs and Masterโs students.
Skills acquired in the course.
The focus areas and the objectives of the โSelf Composed (Music)โ minor are as diverse as the students themselves. Besides specific content, the minor promotes independence, self-reflection and personal development. Students develop their own curriculum within the scope of the specified options in discussion with the Head of Programme.
Admissions requirements.
The minor โSelf Composed (Music)โ is aimed at students who already have a well-established artistic career and are used to achieving challenging goals. Students may undertake the minor in combination with all the majors. Motivation and a readiness to study independently are paramount.
Benefits of studying at ZHdK.
The minor โSelf Composed (Music)โ gives students the opportunity to compile their own curriculum from the wide range of courses on offer at ZHdK and continually adjust it. The teaching and learning concept focuses on progressively differentiating and developing studentsโ needs over the course of their studies as a result of the experiences that they have had. Changes in topic focus or teaching format are particularly welcome and supported.
Time structure.
Students are responsible for the content and organisation of the Self Composed Minor. In this respect, it can be carried out parallel to the major semester and/or in the minor weeks.
โ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Der Minor ยซSelf Composed (Musik)ยป unterstรผtzt die Studierenden darin, ein den eigenen Bedรผrfnissen entsprechendes Studienprogramm zu gestalten. Er ermรถglicht ein Hรถchstmass an Wahlfreiheit und umfasst 15 Credits.
In Absprache mit den Programmverantwortlichen kรผmmern sich die Studierenden semesterweise um die Planung der Inhalte und entwickeln ihr Studium zielgerichtet weiter. Meist fokussiert sich der ยซSelf Composed (Musik)ยป Minor auf die kรผnftige Berufspraxis und die Schรคrfung der eigenen Potenziale. Dieser Prozess kann begleitet erfolgen und fรผhrt in einem Abschlussmodul zu einer Prรคsentation der erworbenen Fรคhigkeiten.
Der Minor in Deutsch und Englisch wird von allen Musik-Studiengรคngen angeboten und richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Die inhaltlichen Schwerpunkte und Ziele des ยซSelf Composed (Musik)ยป Minors sind so vielfรคltig wie die Studierenden selbst. Neben den konkreten Inhalten fรถrdert der Minor Eigenverantwortung, Selbstreflexion und Persรถnlichkeitsbildung. Die Studierenden entwickeln in Absprache mit den Programmverantwortlichen ihr eigenes Curriculum im Rahmen der gegebenen Mรถglichkeiten.
Diese Voraussetzungen bringst du mit.
Der Minor ยซSelf Composed (Musik)ยป richtet sich an Studierende, die schon einen betrรคchtlichen kรผnstlerischen Werdegang absolviert haben und es gewohnt sind, anspruchsvolle Ziele zu erreichen. Er kann in Kombination mit allen Majors belegt werden. Entscheidend sind Motivation und Bereitschaft, individuell zu studieren.
Von diesen Besonderheiten profitierst du.
Der Minor ยซSelf Composed (Musik)ยป bietet die Gelegenheit, aus dem รผppigen Lehrangebot der ZHdK ein eigenes Curriculum selbststรคndig zusammenzustellen und kontinuierlich anzupassen. Es gehรถrt zum Lehr- und Lernkonzept, dass die Studierendenbedรผrfnisse sich im Laufe des Studienfortschritts aufgrund der gemachten Erfahrungen schrittweise ausdifferenzieren und entwickeln. Verรคnderungen des Themenfokus oder der Lehrformate sind ausdrรผcklich mรถglich und werden unterstรผtzt.
Zeitstruktur.
Die Studierenden verantworten eigenstรคndig die Inhalte und die Organisation des Self Composed Minor. Insofern kann die Durchfรผhrung parallel zum Majorsemester und/oder in den Minorwochen erfolgen.
โ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wรคhlen Studierende ihren Studienschwerpunkt. Dazu kรถnnen sie einen oder zwei Minors wรคhlen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenรผbergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schรคrfung des eigenen Studienprofils ermรถglicht.
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CD \"Rรคuber\"
Kaspar Ewalds Exorbitantes Kabinett
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CD \"Ritter\"
Kaspar Ewalds Exorbitantes Kabinett
erschienen 2009 beim Label Altrisuoni (CD-Nr. AS264)","subtype":"tutor","canonicalPath":"kaspar-ewald-150937","photo":[{"type":"file","id":"cdec1d34f60db7e40346156749230cfe5d461be4","attributes":{"id":"cdec1d34f60db7e40346156749230cfe5d461be4","filename":"150937.jpg","mime_type":"image/jpeg","path":"live/cd/cdec1d34f60db7e40346156749230cfe5d461be4","path_file":"live/cd/cdec1d34f60db7e40346156749230cfe5d461be4/150937.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=150937","height":440,"width":330,"title":"Kaspar Ewald","alternativeText":"Kaspar Ewald","description":"Kaspar Ewald","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[],"studies":[]},{"id":126990,"last_name":"Profos","first_name":"Felix","title":"Prof.","affiliation":["tutor"],"teaching_summary":["Lehrt Komposition (Hauptfach und Nebenfach) und Musiktheorie / Gehรถrbildung im Profil Interpretation und Performance und Theorie"],"music_subject":[{"name":"Komposition","qualification":"Hauptfach","is_major_subject":true},{"name":"Komposition","qualification":"Nebenfach","is_major_subject":false},{"name":"Musiktheorie / Gehรถrbildung","qualification":null,"is_major_subject":false}],"sex":"M","email":"sryvk.cebsbf@muqx.pu","website":"","biography":"Felix Profos studierte 1988 - 1994 und 1998 - 1999 Klavier am Konservatorium Winterthur bei Hans-Jรผrg Strub, und Komposition bei Roland Moser an der Musik-Akademie Basel (1992 - 1996) sowie bei Wladimir Tarnopolski am Moskauer Konservatorium (1996 - 1997).
Er schrieb Kompositionen fรผr Sinfonie- und Kammerorchester, Ensembles, Bands, Solisten, Elektronik und Video, in Zusammenarbeit u.a. mit dem Solistenensemble Kaleidoskop (Berlin), dem Mondrian Ensemble (Basel), dem Avant-Core-Trio Steamboat Switzerland, dem Schlagzeugduo Niggli-Zumthor, der Sinfonietta Basel, dem Kammerorchester Basel, dem Amsterdamer Ensemble mae, dem Orchester Musikkollegium Winterthur, mit dem Dichter Raphael Urweider und der Pianistin Tamriko Kordzaia. Auffรผhrungen in vielen Lรคndern Europas und Amerikas, an Festivals wie Gaudeamus Amsterdam, Berliner Festspiele, Donaueschinger Musiktage, Jazzfestival Willisau, am Europรคischen Musikmonat Basel und am Schweizerischen Tonkรผnstlerfest.
Als Performer arbeitete er zusammen mit der Kรผnstlerin Roseline Rannoch (doom spa). Er war 2016 - 2018 Pianist und Arrangeur des Ever Present Orchestra, das ausschliesslich Musik von Alvin Lucier spielte und dem einige von dessen letzten Kompositionen gewidmet waren. 2015 - 2017 war sein ununterbrochener Klangstrom eastern shore online. Er schrieb Soundtracks fรผr den Kรผnstler Andro Wekua und war von 2008 - 2011 Komponist und Keyboarder in seinem eigenen Septett forcemajeure. Seit 2021 spielt er Harmonium im Duo Grund mit dem Schlagzeuger Peter Conradin Zumthor.
2005 - 2008 war er Co-Leiter des Musikfestivals Close Encounters, das in mehreren Stรคdten Georgiens und der Schweiz stattfand.
Er lebte 1996 bis 2011 mit der Pianistin Tamriko Kordzaia und ihrem Sohn Alexandre Kordzaia zusammen in Winterthur und Zรผrich. Seit 2012 lebt er mit der Kรผnstlerin Roseline Rannoch und der gemeinsamen Tochter in Berlin.
Felix Profos unterrichtet seit 2002 als Dozent fรผr Komposition und Musiktheorie an der Zรผrcher Hochschule der Kรผnste.","publication":null,"subtype":"tutor","canonicalPath":"prof-felix-profos-126990","photo":[{"type":"file","id":"84cfbd685d70a3b380fe64fd63fcce21362904ce","attributes":{"id":"84cfbd685d70a3b380fe64fd63fcce21362904ce","filename":"126990.jpg","mime_type":"image/jpeg","path":"live/84/84cfbd685d70a3b380fe64fd63fcce21362904ce","path_file":"live/84/84cfbd685d70a3b380fe64fd63fcce21362904ce/126990.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=126990","height":630,"width":618,"title":"Felix Profos","alternativeText":"Felix Profos","description":"Felix Profos","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[],"studies":[]},{"id":150505,"last_name":"Baumann","first_name":"Felix","title":"Prof.","affiliation":["tutor"],"teaching_summary":["Lehrt Komposition (Hauptfach), Musiktheorie (Hauptfach und Fachdidaktik), Fachdidaktik im Profil Interpretation und Performance, Theorie und Tonmeister und in der Weiterbildung"],"music_subject":[{"name":"Komposition","qualification":"Hauptfach","is_major_subject":true},{"name":"Musiktheorie","qualification":"Hauptfach","is_major_subject":true},{"name":"Fachdidaktik","qualification":null,"is_major_subject":false},{"name":"Musiktheorie","qualification":"Fachdidaktik","is_major_subject":false}],"sex":"M","email":"sryvk.onhznaa@muqx.pu","website":"http://www.felixbaumann.ch","biography":"1961 in Speicher geboren. Studium an der Akademie fรผr Schul- und Kirchenmusik Luzern (Klavier, Schulmusik I+II und Dirigieren) und an der Musikakademie Basel (Theorie und Komposition bei Roland Moser und Detlev Mรผller-Siemens). Rhythmus-Studien bei Pierre Favre.
Seit 1992 Professor fรผr Komposition, Musiktheorie und Interpretation zeitgenรถssischer Musik an der Zรผrcher Hochschule der Kรผnste ZHdK. Leiter der Profile Komposition, Theorie, Sound Design und Tonmeister:in. Betreut zusammen mit Isabel Mundry das Studio zeitgenรถssische Musik. 2001 Grรผndung und seither kรผnstlerische Leitung des Ensembles fรผr zeitgenรถssische Musik Arc-en-Ciel.
In den letzten Jahren vertieftes Studium von Rhythmus, Metrik und zeitlichen Phรคnomenen im klassischen Sonatensatz. Arbeit an Verรถffentlichungen.
Schwerpunkte seiner kompositorischen Arbeit sind die Erkundung von sich entfaltender Bewegung, die Beschรคftigung mit Themen der Verstรคndigung sowie das Hรถren an sich. Sein Oeuvre umfasst Arbeiten fรผr verschiedenste Solo- und Kammermusikbesetzungen, mehrere Vokalwerke sowie Kompositionen fรผr Orchester.
Auffรผhrungen in Europa, Amerika, Asien und Australien. Einladungen an internationale Festivals, Symposien und Musikhochschulen als Komponist und Gastdozent.
2002 Werkjahr des Prรคsidialdepartements der Stadt Zรผrich, im Frรผhjahr 2014 Artist in Residence am Zentrum fรผr Literatur und Kulturforschung ZfL in Berlin.
Kompositionen (Auswahl): Monolith fรผr grosses Orchester (1993), Poren fรผr 3 Bassetthรถrner (1999), Baustelle Dialog fรผr Barockvioline und Shakuhachi (2011), hellwach fรผr grosses Ensemble (2012), Schimmer fรผr grosses Orchester (2013), an vorbei fรผr Akkordeon und Streichquartett (2014), Konzert fรผr Akkordeon und Orchester (2017), KippMoment fรผr 2 Saxophone (2019)
Seine Werke werden von der Schweizerischen Musikedition (www.musinfo.ch) vertrieben.
felixbaumann.ch","publication":"www.musinfo.ch","subtype":"tutor","canonicalPath":"prof-felix-baumann-150505","photo":[{"type":"file","id":"5cd33251de1e69cf4371674e7821bb14783631eb","attributes":{"id":"5cd33251de1e69cf4371674e7821bb14783631eb","filename":"150505.jpg","mime_type":"image/jpeg","path":"live/5c/5cd33251de1e69cf4371674e7821bb14783631eb","path_file":"live/5c/5cd33251de1e69cf4371674e7821bb14783631eb/150505.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=150505","height":1923,"width":1280,"title":"Felix Baumann","alternativeText":"Felix Baumann","description":"Felix Baumann","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[{"type":"zapi-person-directory","id":null,"attributes":{"phone":null,"work":"Leitung > Komposition / Theorie > Departement Musik","area":"Departement Musik","sub_areas":["Komposition / Theorie"],"position":"Leitung"}},{"type":"zapi-person-directory","id":null,"attributes":{"phone":null,"work":"Leitung > Tonmeister > Departement Musik","area":"Departement Musik","sub_areas":["Tonmeister"],"position":"Leitung"}}],"studies":[]},{"id":188324,"last_name":"Brenner","first_name":"Andreas","title":null,"affiliation":["tutor"],"teaching_summary":["Profil Theorie"],"music_subject":[],"sex":"M","email":"naqernf.oeraare@muqx.pu","website":null,"biography":"Andreas Brenner ist im Kanton Thurgau aufgewachsen. Er studierte Violoncello, Musiktheorie und Dirigieren in Zรผrich, Berlin und Luzern. Von 2001 bis 2019 war er zunรคchst Dozent fรผr Musiktheorie, dann Leiter des Instituts fรผr Neue Musik, Komposition und Musiktheorie an der Hochschule Luzern โ Musik. Seit 2019 unterrichtet er Musiktheorie und Neue Musik an der Zรผrcher Hochschule der Kรผnste. Er ist kรผnstlerischer Leiter und Dirigent des Ensemble Montaigne (www.ignm-zentralschweiz.ch), als musikalischer Leiter der szenischen Produktionen von Kulturschock Schwyz (www.kulturschock-schwyz.ch) dirigierte er Rossinis La Scala die Seta (2015), La Cenerentola (2018/19) und LโItaliana in Algeri (2022). In der Retrospektive zu Dieter Ammanns 60. Geburtstag 2022 fรผhrte er dessen Ensemblewerke Freedom of Speech und Violation mit einem Ensemble aus Studierenden der Hochschule Luzern โ Musik auf (Livemitschnitt auf www.srf.ch). Er verรถffentlichte analytische Texte zu Musik von Alexander Skrjabin (www.chronos-verlag.ch/node/20420#einblick) und Claude Debussy (open access unter www.wolke-verlag.de/musikbuecher/tihomir-popovic-claude-debussy-die-klavieraufnahmen), seine Kompositionen werden vertrieben รผber die Schweizer Musikedition (www.musinfo.ch/de/personen/komponisten/?pers_id=1381&abc=B). 2022 war er an der Hochschule fรผr Musik Hanns Eisler Berlin Mitglied der Jury beim Boris-Pergamenschikow-Preis fรผr zeitgenรถssische Kammermusik und seit 2022 wirkt er in der Musikkommission der Stadt Zรผrich mit. Andreas Brenner lebt in der Stadt Luzern.
In Bezug auf seine Kompositionen spricht er vom Konzept der Arabeske und stellt den Partituren als Motto ein Zitat von Beaudelaire voran: Le dessin arabesque est le plus spiritualiste des dessins. Zeichnung und Arabeske bedeuten fรผr die Musik als Zeitkunst: Verrรคumlichung, Bewegung im Stillstand, entschieden im Sinn des Mottos: Disposition zu mystischem Erleben. In diesem (unzeitgemรคssen) Gegensatz zu narrativem Denken und damit einhergehend der Beschrรคnkung der Mittel besteht eine innere Verwandtschaft zum alten Kontrapunkt. Die geheimnisvollen Kraftlinien, die sich im Kontrapunkt der Arabeske verschlingen, sind stark und dennoch transparent, sicher und dennoch biegsam, weit ausgreifend und dennoch zentriert. Bei aller Abstraktion und Dissonanz will diese Musik โ gefallen (detaillierter in: Thomas Fesefeldt, Kilian Sprau et al. (Hg.), Kombinatorik und Spiel. Wege musikalischen Denkens, Online-Festschrift fรผr Stefan Prey, Universitรคt der Kรผnste Berlin 2022).","publication":null,"subtype":"tutor","canonicalPath":"andreas-brenner-188324","photo":[{"type":"file","id":"f24d5676fa05a2bbe01ab71ffa8b807eebc6630f","attributes":{"id":"f24d5676fa05a2bbe01ab71ffa8b807eebc6630f","filename":"188324.jpg","mime_type":"image/jpeg","path":"live/f2/f24d5676fa05a2bbe01ab71ffa8b807eebc6630f","path_file":"live/f2/f24d5676fa05a2bbe01ab71ffa8b807eebc6630f/188324.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=188324","height":421,"width":337,"title":"Andreas Brenner","alternativeText":"Andreas Brenner","description":"Andreas Brenner","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[{"type":"zapi-person-directory","id":null,"attributes":{"phone":null,"work":"Dozent > Komposition / Theorie > Departement Musik","area":"Departement Musik","sub_areas":["Komposition / Theorie"],"position":"Dozent"}}],"studies":[]},{"id":151030,"last_name":"Kinzler","first_name":"Burkhard","title":"Prof.","affiliation":["tutor"],"teaching_summary":["Lehrt Musiktheorie (Hauptfach und Nebenfach), Kammermusik, Musiktheorie / Gehรถrbildung im Profil Interpretation und Performance, Kirchenmusik, Musik und Bewegung / Schulmusik, Theorie und Tonmeister und in der Weiterbildung","Tรคtig am Institute for Music Research"],"music_subject":[{"name":"Musiktheorie","qualification":"Hauptfach","is_major_subject":true},{"name":"Kammermusik","qualification":null,"is_major_subject":false},{"name":"Musiktheorie","qualification":"Nebenfach","is_major_subject":false},{"name":"Musiktheorie / Gehรถrbildung","qualification":null,"is_major_subject":false}],"sex":"M","email":"ohexuneq.xvamyre@muqx.pu","website":"http://burkhard-kinzler.info","biography":"Komponist, Dirigent, Chorleiter, Pรคdagoge
geboren 1963 in Stuttgart, aufgewachsen in Heidenheim / Brenz
Studien:
ev. Kirchenmusik in Heidelberg (A-Prรผfung 1992)
Komposition in Basel bei Roland Moser (Diplom 1996)
Dirigieren in Trossingen bei Prof. Manfred Schreier (Kรผnstlerische Abschlussprรผfung 1999)
Lehrauftrรคge:
Chorleitung in Hannover (1993 - 1996)
Musiktheorie, Komposition und Improvisation in Heidelberg (1992 bis 2003)
Professor fรผr Musiktheorie in Mannheim (1999 - 2006)
Seit 2003 an der ZHdK tรคtig
Leiter und Gastdirigent verschiedener Ensembles und Projekte รผberwiegend mit neuer Musik
Grรผnder und Leiter des Vokalensembles \"chroma\"
Dirigent des Winterthurer Kammerchores
kรผnstlerischer Leiter der Museumskonzerte Winterthur
Komponist und Arrangeur","publication":"Vokalwerke
- fรผr solistische Stimme(n):
(UA Heidenheim 1989)
\"Doppelgesicht\" fรผr Stimme solo, 1992 (UA Basel 1996)
Messe fรผr 12 Stimmen, 1992 (UA Stuttgart 1996, Neue Vokalsolisten, Leitung Prof. Manfred Schreier)
Magnificat fรผr 6 Stimmen, 1994/95 (UA Stuttgart 1996, Neue Vokalsolisten, Leitung Prof. Manfred Schreier)
\"el viaje definitivo\" fรผr Bariton, Flรถte, Violoncello und Cembalo, 1995
(UA Basel 1996)
\"vogelfrei\" Liederzyklus fรผr Sopran und Orchester, 1995
\"Langizit\" nach Robert Walser fรผr Bariton, Violine, Bratsche und Kontrabaร, 1996 (UA IGNM Basel 2001, Leitung Lukas Langlotz)
\"Zeit-Gehรถft\" nach Prediger Salomo und Paul Celan fรผr Bariton und Posaunenquartett, 1997 (Auftrag des \"datura\"-Posaunenquartetts, UA Gรถppingen 1999)
\"Der Stein\" nach Ossip Mandelstam fรผr Sopran, Trompete und Orgel, 1999
(UA Schwetzingen 1999)
\"Deus ubi\" fรผr vier Mรคnnerstimmen (Altus, zwei Tenรถre, Bass), 2000
\"Die Welt ist fort\" fรผr 16 Solostimmen, 2001
(UA Nรผrnberg 2001, Leitung. Prof. Georg Grรผn)
\"Johannes 1, 1\" fรผr drei Trompeten, Pauke und Tenor, 2002
(UA Nรผrnberg 2002, Leitung KMD Matthias Ank)
\"Der wirksame Mond\" fรผr zehn Stimmen und fรผnf Instrumente nach Gedichten von Christine Lavant, 2002/03 (UA 2003 Basel, Basler Madrigalisten, Leitung Werner Pfaff)
\"Paz-Fragmente\" fรผr 12 Stimmen, Gambe und zwei Lauten, 2007 (Auftrag des Vokalensemble Zรผrich, UA 2007 Zรผrich, VEZ, Leitung Peter Siegwart)
\"solo e pensoso\" (Petrarca) fรผr 6 Stimmen, 2010 (UA Basel 2011, Ensemble Lamaraviglia)
\"Rรผckert-Sรคulen zu Pergolesi\" fรผr Bariton, Streicher und GB, 2012 (UA Aarau 2013, Richard Helm, voces suaves, Leitung Francesco Pedrini)
\"a curl\" fรผr Stimme und Schlagzeug, 2013 (UA Zรผrich 2013, Anna Gschwend und Anna Tuena)
\"ich & ich\" vier kleine Tรคnze mit sich selber fรผr singende Bratscherin / bratschende Sรคngerin, 2015 (UA 2015 Zรผrich, Anna Gschwend)
- fรผr Chor:
\"Hoffnung von unten\" Kantate fรผr Solisten, Laienchor und Instrumente, 1993/94
(UA Hamburg 1995, Leitung Christian Hoffmann)
\"Omnia tempus habent\" fรผr Choralschola, 1997 (UA Heidelberg 1997, Leitung Wilfried Rombach)
\"Prolog zu einer Apokalypse\" fรผr vier Chorgruppen und sieben Instrumente, 1997
\"CH\" fรผr Chor und Saxophonquartett, 1998/99
\"so licht und dunkel wie mein irdisch hemd\" Kantate fรผr Soli, Chor und barockes Orchester, 1999 (UA Frankfurt 2001, Leitung Bastian Baumann)
\"So iร dein Brot mit Freuden\" Motettenzyklus nach Prediger Salomo fรผr Chor, Vc, Kb und Org., 2000 (UA Frankfurt 2001, Leitung LKMD Michael Graf Mรผnster)
\"Jesu meine Freude\", Jazzchorbuch zu Liedern des EG, Carus-Verlag 2001
\"Psalm 98\" und \"Blind man of Jericho\", zwei Motetten im Jazz-Idiom, Carus-Verlag 2002
\"Psalm-Fragment\" nach Nelly Sachs fรผr Chor und zwei Weinglรคser, 2004 (UA Ludwigshafen 2004, Leitung Burkhard Kinzler)
\"รbermalung\" nach Tallis fรผr grossen Chor und 5 Solisten, 2006/07 (UA Ravensburg 2007, Leitung Burkhard Kinzler)
\"winterreisen\" Kantate nach Robert Walser fรผr Soli, Chor und Orchester, 2007 (UA Heidenheim 2008, Leitung Thomas Kammel)
\"post tenebras lux\" Psalmkantate anlรคsslich des 500. Geburtstages von Jean Calvin, 2008 (Auftrag der Zรผrcher reformierten Landeskirche, UA 2009 Zรผrich / Genf, Leitung Daniel Schmid)
\"ad vitam\", komponierter Gottesdienst fรผr das Internationale Orgelsymposion 2011 Zรผrich; daraus u. a. \"Sanctus\", \"Totengebet\" fรผr Vokalensemble, \"Liganden\", \"Spielmann Gottes\" fรผr Orgel, u. a.
\"Fragment und Entrรผckung\" fรผr Chor, Solisten und die Instrumentalbesetzung von Bachs Kantate \"Herr, deine Augen sehen nach dem Glauben\"; daraus auch \"Paradies\" fรผr Traversflรถte und Vokalensemble (UA Basel 2012, Sarah Giger, Traversflรถte, Larynx Vokalensemble, der Minervae Banquet Barockensemble, Leitung Jakob Pilgram)
\"Fatrasia I\" fรผr Chor, zwei Klaviere, zwei Vibraphone bzw. Percussion, 2012/13 (UA Bremgarten 2013, gemischter Chor, Leitung Markus J. Frey)
\"Mรผthel-Brรผcken und -Oden\" fรผr Chor, Solisten, Streicher, Horn, Alphorn und Fagott, 2013, fรผr ein komponiertes Programm mit Werken von Johann Gottfried Mรผthel (UA Rezekne/Lettland 2014, Leitung Ilze Grudule)
\"Frucht der Wรผste\" fรผr Chor und chromatische Stimmgabeln auf Holzpulten, 2014 (UA 2015 Konstanz, Vokalensemble Konstanz, Leitung Steffen Schreyer)
\"Kain und Abel\", Kantate fรผr Chor, drei Vokalsolisten und Violine, 2014 (UA 2015 Bern, Uni-Chor Bern, Leitung Matthias Heep)
\"Herbst-Synkopen\" fรผr Vokalensemble und Klavier, 2016 (UA 2016 Solothurn, Zรผrcher Singakademie, Leitung Andreas Felber)
\"Omnia tempus habent\" fรผr 5 Stimmen und barockes Instrumentalensemble (Interpolationen zum Requiem f-moll von H. I. F. Biber), 2016 (UA 2016 Winterthur, ensemble picaro, Leitung Marco Amherd)
Instrumentalwerke
fรผr Solo-Instrumente:
\"Triptychon\" fรผr Orgel, 1989 (UA 1990, Heidenheim)
\"aber das Herz...\" fรผr Flรถte solo, 1995 (UA Basel 1996)
\"Anmerkungen zu David\" fรผr Harfe solo, 1995 (UA Heidelberg 1997)
\"Fรผnf Episoden\" fรผr Violine solo, 1996 (UA Mannheim 2000)
\"Inventiones\" fรผr Bratsche solo, 1997 (\"...ex re\", \"...ex sol\", \"...ex la\", \"...ex do\") (Fassung fรผr VC solo 1999) (UA Wiesbaden 1999, Almut Steinhausen)
\"Epitaph fรผr Gert Baetge\" fรผr Klarinette solo, 1998 (UA Heidenheim 1999)
\"Drei Miniaturen\" fรผr Fagott solo, 2003 (UA Zรผrich 2004)
\"Toccatadagioral\" รผber \"Wachet auf\" fรผr Orgel (mit zwei Stimmen ad lib.), 2010/11 (UA Zรผrich 2011, Marco Amherd)
\"circles & commas\" fรผr Klavier, 2010 (UA Washington/USA 2011, See Siang Wong), eingespielt auf der CD swiss piano (2015)
\"ad ventum\" fรผr (romantische) Orgel, 2014 (UA vorgesehen in St. Anton Zรผrich, Orgel Heinz Specker)
fรผr Orgel und Solo-Instrument(e):
\"proportio tripla\" fรผr drei Orgeln, 1993/94 (UA Berlin 1995)
\"chromA\" fรผr Posaune und Orgel, 1996 (UA Schwรคbisch Gmรผnd 1996)
\"magma\" fรผr Tenorsaxophon und Orgel, 1999 (UA Klagenfurt 1999)
\"ligamentum\" fรผr Klarinette und Orgel, 2001 (UA Mannheim 2002)
\"organisierter Choral (Die Nacht ist kommen)\" fรผr vier Orgeln, 2004 (UA 2004 Nรผrnberg)
fรผr Ensemble:
Fรผnf Sรคtze fรผr Streichquintett und Harfe, 1993/94
\"zusammengeschlossen / abgegrenzt\" fรผr Kl, Vl, Vc, Kb, Klavier (2 Pantomimen ad lib.)1994 (UA Aalen 1994)
\"die Zeit ist bitter, aber im Wolkenloch brennt der grรผne Stein der Verwandlung\" fรผr Saxophon-Quartett, 1994 (UA Basel 1995)
Trio fรผr drei Schlagzeuger, 1995
\"zwei Studien รผber Flageolettklรคnge\" fรผr vier Kontrabรคsse, 1995
(UA Basel 1996)
\"...in den Flammen dort singt sie, die Zeit...\" fรผr Flรถte, Oboe und Saxophon, 1996/97 (UA Zรผrich 1997)
\"ich und du\" Be- und Entgegnungen fรผr zwei Tenorblockflรถten, 1996, Neufassung 1998 (UA 1997 Wรคdenswil)
\"Vier Psychogramme\" fรผr Ob, Kl, Hrn, Trp, Pos, Vl, Vla, Vc, Kb, Perc, 1997 (UA Heidenheim 1998)
\"panta rei\" fรผr E-Gitarre, Violoncello, Tenorsax, Klavier und Schlagzeug, 1998 (UA St. Gallen 1999)
\"Infinito\" fรผr Querflรถten-Quartett, 1999 (UA Freiburg 1999)
\"bis\" fรผr Altposaune und Harfe, 2005/07 (UA Bad Dรผrkheim 2007)
\"CH (5x4)\" fรผr vier Flรผgel und (mindestens) 16 Ausfรผhrende, 2008/09 (Auftrag des Konservatoriums Winterthur, UA Winterthur 2009)
\"(um-)kreisend\" fรผr Vl, Vla, Vc, Kb, Horn und mitteltรถnige Orgel, 2008/09 (UA 2009 Zรผrich / Bern)
fรผr Orchester:
\"farewell\" fรผr Orchester, 1994
\"Innenbilder\" zwei Intermezzi zum Weihnachtsoratorium fรผr (barockes) Orchester, 2000 (UA Emmendingen 2000, Leitung Thilo Frank)
\"vacuus\" fรผr Streichorchester mit skordierten Saiten, 2005 (Teil-UA 2006 Stuttgart, Leitung Erich Scheungraber)
Arrangements
Arrangements von Volks- und Studentenliedern, eingespielt vom ZHdK Vokalensemble, Leitung Markus Utz, ZHdK-Records
Arrangements von Mani-Matter-Liedern fรผr vier Stimmen (Dr Columbus, Ballade vom Nationalrat Hugo Sanders, Dr eint het Angscht, Farbfoto, Dr Sidi abdel Assar)
\"In nomine\" Bearbeitung und kompositorische Erweiterung altenglischer Kompositionen von Bull, Picforth, Taverner, 2012
Verรถffentlichungen verschiedener Werke und Arrangements beim Carus-Verlag sowie beim Schott-Verlag
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Blog Sound in Motion
Horacio Vaggione war 2015 Artist in Residence am ICST. Dabei komponierte ยซGymel IIยป fรผr acht Lautsprecher. Beinahe eine Dekade spรคter kommt er erneut an das Institut, da er seine Komposition im letzten Jahr komplett รผberarbeitet und schliesslich eine mehrkanalige Version, ยซGymel IIIยป fรผr die Urauffรผhrung finalisiert hat. Im ICST Artist Talk wird Vaggione รผber seine Arbeit und insbesondere รผber die Geschichte von ยซGymelยป sprechen.
Biografie
Horacio Vaggione, 1943 in Cordoba (Argentinien) geboren, lebt seit 1978 in Paris. Er studierte Klavier und Komposition an der Universitรคt in Cordoba, und promovierte an der ยซUniversitรฉ de Paris VIIIยป in Musikwissenschaft. Als Fulbright-Stipendiat kam er 1966 an der Universitรคt Illinois (USA) durch Lejaren Hiller mit dem Computer als Musikinstrument in Kontakt und grรผndete 1969 zusammen mit Luis de Pablo in Madrid die Live-Elektronik-Gruppe ALEA. Zur gleichen Zeit arbeitete er im Projekt ยซMusik und Computerยป an der Universitรคt Madrid. Vaggione war Composer in Residence am IRCAM, dem INAGRM, dem GMEB, an der technischem Universitรคt Berlin, am Institut de Sonologie von La Haye, an der McGill Universitรคt in Montrรฉal, und ยซFaculty composerยป am ยซJune in Buffaloยป-Festival (USA), sowie DAAD-Stipendiat.Vaggione hat ein umfangreiches Oeuvre von instrumentalen, elektroakustischen und gemischten Werken geschaffen, darunter Auftragskompositionen des Ministรจre de la Culture, des INA-GRM, des IMEB, des Arts Board of Cambridge (GB), der TU-Berlin, des ZKM-Karlsruhe und der International Computer Music Association (USA).
Seit 1985 war Horacio Vaggione Professor an der ยซUniversitรฉ de Paris VIIIยป, wo er dem ยซCentre de recherche Informatique et Crรฉation Musicaleยป (CICM) vorstand, bevor er 2012 emeritiert wurde. Er hat diverse Auszeichnungen erhalten, darunter den Newcomp Prize (Cambridge, USA), den International Computer Music Association Award (USA), die Euphonie dโor (Bourges), den Prix Ton Bruynel (Amsterdam), den Giga-Hertz Produktion Preiss (ZKM-Karlsruhe und Experimentalstudio Freiburg).","cast":"","abstract":"Horacio Vaggione (*1943, Argentinien) prรคgt und entwickelt seit den 1970er Jahren die Computermusik massgeblich und gehรถrt zu den renommiertesten Personen in der elektroakustischen Komposition. Sein Werk umfasst elektroakustische gemischte und instrumentale Kompositionen. Vaggione war 2015 ICST Artist in Residence und wird im Artist Talk Einblick in seine kรผnstlerische Arbeit geben.","categories":[{"attributes":{"id":"60","title":"Musik"},"id":"60","type":"zhdk-agenda-event-disciplines"}],"teaser":[{"attributes":{"copyright":null,"link":null,"filename_original":"","date_update":null,"description":"Artist Talkhoracio Facebook2X","path_source":"https://intern.zhdk.ch/?agenda/detail&vid=53205&uldl%5Bmode%5D=p&uldl%5Bid%5D=416033","title":"Artist Talkhoracio Facebook2X","path_file":"live/b8/b8cf9d91f49fba31f39886b4460b4473f0eec494/53205.jpg","path":"live/b8/b8cf9d91f49fba31f39886b4460b4473f0eec494","mime_type_original":"","filename":"53205.jpg","mime_type":"image/jpeg","date_create":null,"width":3840,"column_width":"100","id":"b8cf9d91f49fba31f39886b4460b4473f0eec494","alternativeText":"Artist Talkhoracio Facebook2X","height":2010},"id":"b8cf9d91f49fba31f39886b4460b4473f0eec494","type":"file"}],"tags":[{"id":729,"type":"zapi-tag"},{"id":825,"type":"zapi-tag"},{"id":2792,"type":"zapi-tag"},{"id":829,"type":"zapi-tag"},{"id":2790,"type":"zapi-tag"}],"images":[],"assets":[]}},{"meta":{"elastic":{"index":"zhdk_event_morty","type":"zhdk-agenda-event","id":"53207","score":0}},"data":{"id":53207,"title":"ICST Air-Showcase","subtitle":"Portraitkonzert โ Horacio Vaggione","related_id":"11272","location":"Toni-Areal, Konzertsaal 1, Ebene 7, Pfingstweidstrasse 96, Zรผrich","location_shortname":"Konzertsaal 1 ZT 7.K05","prices":"Eintriff frei","is_cancelled":false,"reservation_information":"Kein Reservation notwendig","opening_hours":"","time_start":"70200","time_end":"0","exists":true,"date_start":{"date":"2024-05-31 00:00:00.000000","timezone_type":3,"timezone":"Europe/Berlin"},"date_start_miliseconds":1717106400000,"date_start_month_milliseconds":1714514400000,"is_ongoing":0,"enddatum":null,"type":"Konzert","common_study_ids":["DMU"],"description":"Horacio Vaggione wurde 1943 in Argentinien geboren und ist besonders bekannt fรผr seine Fixed-Media Kompositionen. Seit den 1970er Jahren nutzt er Computer fรผr seine kompositorische Praxis. Sein Werk umfasst elektroakustische, gemischte und instrumentale Kompositionen. Es wurde mit zahlreichen Preisen geehrt.
Vaggione war 2015 Artist in Residence am ICST. Wรคhrend seinem Aufenthalt am Institut komponierte er ยซGymel IIยป fรผr acht Lautsprecher. Acht Jahre spรคter beschรคftigte sich Manolo Mรผller (Master Elektroakustische Komposition ZHdK) fรผr seine Masterthesis ยซAnalyse des rรคumlichen Denkens in Gymel II von Horacio Vaggioneยป eingehend mit dessen Komposition und kontaktierte ihn diesbezรผglich. Dies wiederum veranlasste Vaggione, das ganze Stรผck umfassend zu รผberarbeiten. Die mehrkanalige Version der neuen Fassung wird er im Mai 2024 unter dem Titel ยซGymel IIIยป am ICST abschliessend abmischen und im Rahmen seines Portraitkonzertes urauffรผhren. Darรผber hinaus werden am Konzert auch einige seiner selten aufgefรผhrten kammermusikalischen Stรผcke zu hรถren sein.
Programm
Mรฉcanique des fluides (2014)
electroacoustic composition, 8 channel
Myr/S (1999)
for violoncello and electronics (fixe media), 2 channel
Isabel Gehweiler (violoncello)
Shifting Mirrors (2016-2017)
for saxophone alto and electronics (fixe media), 6 channel
Marรญa Luisa Cuenca (saxophone)
Gymel III (2016/ 2024)
electroacoustic composition, 8 channel
Horacio Vaggione: Gymel III (2024)
ยซGymel IIIยป is a new electronic piece which further develops a formal model that has already been outlined in two previous pieces sharing the same title.
The word Gymel derives from old English, referring to an early concept of polyphony in vocal music: a very new idea for the time leading to the invention of counterpoint. The word has not been in use for a long time. I recuperated it to refer to categories applied to the field of computer electronic music.
Basically, a Gymel โ as I use it โ refers to a concept of highly stratified music, where many different layers are exposed simultaneously. These layers are expressed in many diverse time scales, from the micro-time of milliseconds to the final global macro-form.
Besides the polyphonic aspect, there are other salient musical categories being present on the piece. One of these is the use of reiterations of musical figures in various scales. These reiterations, literal or transformed, are not functioning as repetitions in a minimal sense, but constituted strong figurative appearances that build a kind of narrative character (with only articulatory, specific musical meanings).
Finally, there is also a spatial treatment of this polyphony through a technique that I call โphase-decorrelationโ; which is employed here to structure the listening space, something which clarifies the position and trajectories of sounds as they develop.
The first piece of mine called Gymel was created at the Bourges Experimental Festival in 2003; the second version, Gymel II, was realized during my residency at the ICST in Zurich in July 2015. The present version of the piece, ยซ Gymel III ยป (2024), again is being finalized at the ICST. โ Horacio Vaggione, February 2024","cast":"","abstract":"Herzstรผck des Portraitkonzertes von Horacio Vaggione wird die Urauffรผhrung von โGymel IIIโ fรผr acht Lautsprecher sein. Die Komposition entstand 2015, als Vaggione Artist in Residence am ICST war, und wurde letztes Jahr umfassend รผberarbeitet. 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und zeitgenรถssische Auffรผhrungspraxis","title_en":"Historical and contemporary performance practice","contents":{"title_en":["Historical Performance Practice","Contemporary Music"],"text_en":["In questions of performance practice, the modern-day music business has ceased to recognise any distinction between โoldโ and โmodernโ music; they are relevant in the entire repertoire up to the beginning of the 20th century and have become a matter of course. Even the instruments used are no longer an argument for asking these questions, or not. Consequently, historical performance practice no longer concerns only โearlyโ music, but all music of past eras. Accordingly, the curriculum at a modern higher-education music institution is constantly concerned with the subject in almost every area.\r\nParallel to this, the content of performance practice has changed. The practical examination on the basis of a wide variety of sources still plays a central role, but beyond this, far more comprehensive questions arise: the relationship of music to other art forms (especially at a modern university of the arts) is just as crucial as the preoccupation with the intellectual-historical background in general, the social context of an era and its political classification.\r\nAt ZHdK, an attempt is made to do justice to this thematic complexity with the widest possible range of subjects. Semester courses, ateliers, concerts, workshops and master classes are offered on changing thematic focal points in addition to the main and variant subject lessons (regardless of on modern or historical instruments).\r\nโ Historical Performance Practice\r\n\r\n","Within ZHdK, the Contemporary Music Studio is one of the institutions with the most public events. Many questions that recur in scores of older music can be posed and negotiated directly in contemporary music. Precisely because the study of music tends to focus heavily on music of past centuries, and current issues can slip out of view unnoticed, performance and discussion in the engagement with musical present and thus the spirit of the times brings to life the whole of musical thought and activity.\r\nOne of the core aspects of the programme, which is aimed at the entire music-interested public, is formed by regular portraits of influential composers from all over the world. Their music is presented in concerts, workshops, discussion events, educational offers, master classes and free formats. This can give all those involved the opportunity of intensive contact with todayโs music, which is essential for professional life โ and give the audience the experience, which is as appealing as it is important, that dealing with music can be much more than simply turning to familiar idioms.\r\nโ Contemporary Music"],"title_de":["Historische Auffรผhrungspraxis ","Zeitgenรถssische Musik "],"text_de":["In auffรผhrungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen ยซalterยป und ยซmodernerยป Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverstรคndlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Auffรผhrungspraxis nicht mehr nur die ยซalteยป Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschรคftigt.\r\nParallel dazu haben sich auch die Inhalte der Auffรผhrungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darรผber hinaus weitaus umfassendere Fragen: das Verhรคltnis der Musik zu den anderen Kรผnsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschรคftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.\r\nAn der ZHdK wird versucht, dieser thematischen Komplexitรคt mit einer mรถglichst grossen Bandbreite an Gefรคssen gerecht zu werden. Zu wechselnden Themenschwerpunkten werden ergรคnzend zum Haupt- und Variantfachunterricht (sei es auf dem modernen, als auch auf dem historischen Instrument) Semesterkurse, Ateliers, Konzerte, Werkstรคtte, Workshops und Meisterkurse angeboten.\r\nโ Historische Auffรผhrungspraxis ","Das Studio zeitgenรถssische Musik gehรถrt innerhalb der ZHdK zu den Institutionen mit den meisten รถffentlichen Veranstaltungen. Viele Fragen, die in Partituren รคlterer Musik immer wieder auftauchen, kรถnnen in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschรคftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen kรถnnen, erfรคhrt das Spiel und die Auseinandersetzung in der Beschรคftigung mit musikalischer Gegenwart und damit dem Zeitgeist eine Verlebendigung des gesamten musikalischen Denkens und Tuns.\r\nEinen der Kernaspekte des Programms, das sich an die gesamte musikinteressierte รffentlichkeit wendet, bilden regelmรคssige Portrรคts prรคgender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprรคchsveranstaltungen, pรคdagogischen Angeboten, Meisterkursen und freien Formaten vorgestellt. Dies kann allen Beteiligten die fรผrs Berufsleben essenzielle Gelegenheit einer intensiven Berรผhrung mit heutiger Musik geben โ und dem Publikum die ebenso reizvolle wie wichtige Erfahrung vermitteln, dass die Beschรคftigung mit Musik weit mehr sein kann als blosse Hinwendung zu bekannten Idiomen.\r\nโ Zeitgenรถssische Musik"]}},"relationships":{"contents":{"data":[{"type":"content","id":125403,"attributes":{"uid":125403,"pid":21413,"tstamp":123,"hidden":0,"sorting":128,"CType":"standard_content","header":"Historical Performance Practice","bodytext":"In questions of performance practice, the modern-day music business has ceased to recognise any distinction between โoldโ and โmodernโ music; they are relevant in the entire repertoire up to the beginning of the 20th century and have become a matter of course. Even the instruments used are no longer an argument for asking these questions, or not. Consequently, historical performance practice no longer concerns only โearlyโ music, but all music of past eras. Accordingly, the curriculum at a modern higher-education music institution is constantly concerned with the subject in almost every area.
\r\nParallel to this, the content of performance practice has changed. The practical examination on the basis of a wide variety of sources still plays a central role, but beyond this, far more comprehensive questions arise: the relationship of music to other art forms (especially at a modern university of the arts) is just as crucial as the preoccupation with the intellectual-historical background in general, the social context of an era and its political classification.
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\r\nโ Historical Performance Practice
\r\n\r\n","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":125405,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"In questions of performance practice, the modern-day music business has ceased to recognise any distinction between โoldโ and โmodernโ music; they are relevant in the entire repertoire up to the beginning of the 20th century and have become a matter of course. Even the instruments used are no longer an argument for asking these questions, or not. Consequently, historical performance practice no longer concerns only โearlyโ music, but all music of past eras. Accordingly, the curriculum at a modern higher-education music institution is constantly concerned with the subject in almost every area.\r\nParallel to this, the content of performance practice has changed. The practical examination on the basis of a wide variety of sources still plays a central role, but beyond this, far more comprehensive questions arise: the relationship of music to other art forms (especially at a modern university of the arts) is just as crucial as the preoccupation with the intellectual-historical background in general, the social context of an era and its political classification.\r\nAt ZHdK, an attempt is made to do justice to this thematic complexity with the widest possible range of subjects. Semester courses, ateliers, concerts, workshops and master classes are offered on changing thematic focal points in addition to the main and variant subject lessons (regardless of on modern or historical instruments).\r\nโ Historical Performance Practice\r\n\r\n"}},{"type":"content","id":125404,"attributes":{"uid":125404,"pid":21413,"tstamp":123,"hidden":0,"sorting":192,"CType":"standard_content","header":"Contemporary Music","bodytext":"Within ZHdK, the Contemporary Music Studio is one of the institutions with the most public events. Many questions that recur in scores of older music can be posed and negotiated directly in contemporary music. Precisely because the study of music tends to focus heavily on music of past centuries, and current issues can slip out of view unnoticed, performance and discussion in the engagement with musical present and thus the spirit of the times brings to life the whole of musical thought and activity.
\r\nOne of the core aspects of the programme, which is aimed at the entire music-interested public, is formed by regular portraits of influential composers from all over the world. Their music is presented in concerts, workshops, discussion events, educational offers, master classes and free formats. This can give all those involved the opportunity of intensive contact with todayโs music, which is essential for professional life โ and give the audience the experience, which is as appealing as it is important, that dealing with music can be much more than simply turning to familiar idioms.
\r\n","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":125406,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Within ZHdK, the Contemporary Music Studio is one of the institutions with the most public events. Many questions that recur in scores of older music can be posed and negotiated directly in contemporary music. Precisely because the study of music tends to focus heavily on music of past centuries, and current issues can slip out of view unnoticed, performance and discussion in the engagement with musical present and thus the spirit of the times brings to life the whole of musical thought and activity.\r\nOne of the core aspects of the programme, which is aimed at the entire music-interested public, is formed by regular portraits of influential composers from all over the world. Their music is presented in concerts, workshops, discussion events, educational offers, master classes and free formats. This can give all those involved the opportunity of intensive contact with todayโs music, which is essential for professional life โ and give the audience the experience, which is as appealing as it is important, that dealing with music can be much more than simply turning to familiar idioms.\r\nโ Contemporary Music"}},{"type":"content","id":125405,"attributes":{"uid":125405,"pid":21413,"tstamp":125,"hidden":0,"sorting":256,"CType":"standard_content","header":"Historische Auffรผhrungspraxis ","bodytext":"In auffรผhrungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen ยซalterยป und ยซmodernerยป Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverstรคndlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Auffรผhrungspraxis nicht mehr nur die ยซalteยป Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschรคftigt.
\r\nParallel dazu haben sich auch die Inhalte der Auffรผhrungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darรผber hinaus weitaus umfassendere Fragen: das Verhรคltnis der Musik zu den anderen Kรผnsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschรคftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.
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\r\nโ Historische Auffรผhrungspraxis
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"In auffรผhrungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen ยซalterยป und ยซmodernerยป Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverstรคndlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Auffรผhrungspraxis nicht mehr nur die ยซalteยป Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschรคftigt.\r\nParallel dazu haben sich auch die Inhalte der Auffรผhrungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darรผber hinaus weitaus umfassendere Fragen: das Verhรคltnis der Musik zu den anderen Kรผnsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschรคftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.\r\nAn der ZHdK wird versucht, dieser thematischen Komplexitรคt mit einer mรถglichst grossen Bandbreite an Gefรคssen gerecht zu werden. Zu wechselnden Themenschwerpunkten werden ergรคnzend zum Haupt- und Variantfachunterricht (sei es auf dem modernen, als auch auf dem historischen Instrument) Semesterkurse, Ateliers, Konzerte, Werkstรคtte, Workshops und Meisterkurse angeboten.\r\nโ Historische Auffรผhrungspraxis "}},{"type":"content","id":125406,"attributes":{"uid":125406,"pid":21413,"tstamp":125,"hidden":0,"sorting":512,"CType":"standard_content","header":"Zeitgenรถssische Musik ","bodytext":"Das Studio zeitgenรถssische Musik gehรถrt innerhalb der ZHdK zu den Institutionen mit den meisten รถffentlichen Veranstaltungen. Viele Fragen, die in Partituren รคlterer Musik immer wieder auftauchen, kรถnnen in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschรคftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen kรถnnen, erfรคhrt das Spiel und die Auseinandersetzung in der Beschรคftigung mit musikalischer Gegenwart und damit dem Zeitgeist eine Verlebendigung des gesamten musikalischen Denkens und Tuns.
\r\nEinen der Kernaspekte des Programms, das sich an die gesamte musikinteressierte รffentlichkeit wendet, bilden regelmรคssige Portrรคts prรคgender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprรคchsveranstaltungen, pรคdagogischen Angeboten, Meisterkursen und freien Formaten vorgestellt. Dies kann allen Beteiligten die fรผrs Berufsleben essenzielle Gelegenheit einer intensiven Berรผhrung mit heutiger Musik geben โ und dem Publikum die ebenso reizvolle wie wichtige Erfahrung vermitteln, dass die Beschรคftigung mit Musik weit mehr sein kann als blosse Hinwendung zu bekannten Idiomen.
\r\n","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Das Studio zeitgenรถssische Musik gehรถrt innerhalb der ZHdK zu den Institutionen mit den meisten รถffentlichen Veranstaltungen. Viele Fragen, die in Partituren รคlterer Musik immer wieder auftauchen, kรถnnen in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschรคftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen kรถnnen, erfรคhrt das Spiel und die Auseinandersetzung in der Beschรคftigung mit musikalischer Gegenwart und damit dem Zeitgeist eine Verlebendigung des gesamten musikalischen Denkens und Tuns.\r\nEinen der Kernaspekte des Programms, das sich an die gesamte musikinteressierte รffentlichkeit wendet, bilden regelmรคssige Portrรคts prรคgender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprรคchsveranstaltungen, pรคdagogischen Angeboten, Meisterkursen und freien Formaten vorgestellt. Dies kann allen Beteiligten die fรผrs Berufsleben essenzielle Gelegenheit einer intensiven Berรผhrung mit heutiger Musik geben โ und dem Publikum die ebenso reizvolle wie wichtige Erfahrung vermitteln, dass die Beschรคftigung mit Musik weit mehr sein kann als blosse Hinwendung zu bekannten Idiomen.\r\nโ Zeitgenรถssische Musik"}}]},"media":[],"twitter_image":[],"og_image":[],"teaser_image":[],"translations":{"data":[{"type":"pageTranslation","id":"21414","attributes":{"uid":21414,"pid":11993,"t3ver_oid":0,"t3ver_id":0,"t3ver_wsid":0,"t3ver_label":"","t3ver_state":0,"t3ver_stage":0,"t3ver_count":0,"t3ver_tstamp":0,"t3ver_move_id":0,"t3_origuid":0,"tstamp":123,"sorting":320,"deleted":0,"perms_userid":44,"perms_groupid":9,"perms_user":31,"perms_group":31,"perms_everybody":1,"editlock":0,"crdate":1692285379,"cruser_id":44,"hidden":0,"title":"Historical and contemporary performance 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ZHdK","Bachelor-Semesterchor","Bachelor-Projektchor"],"text_de":[" Der Kammermusikunterricht hat einen zentralen Stellenwert in den instrumentalen Vertiefungen der Studiengรคnge BA Musik Klassik, MA Performance und MA Specialized Performance. Im Unterricht soll die Arbeitstechnik des Ensemblespiels gelernt, vertieftes Studium der komplexen Partituren angeregt und der Konzertauftritt geprobt werden. Die Werkwahl ist dem spieltechnischen Stand und der Erfahrung der Studierenden angepasst und wird deshalb von Studierenden und Dozierenden in vorgรคngiger Absprache gemeinsam festgelegt. "," Die Begegnung mit herausragenden Dirigierpersรถnlichkeiten, das Einstudieren und die Auffรผhrung von Orchesterliteratur vom Barock bis zur zeitgenรถssischen Musik sowie die Zusammenarbeit mit Berufsorchestern bildet die Studierenden im Orchesterspiel aus und bereitet sie auf die kรผnftige Berufspraxis vor. In den letzten Jahren wurden bedeutende Orchesterwerke wie die Alpensinfonie und Till Eulenspiegel von Richard Strauss, Bruckners und Mahlers 7. Sinfonie, der Sacre du printemps von Strawinsky, das Konzert fรผr Orchester von Bartรณk oder Olivier Messiaens Turangalรฎla-Sinfonie erarbeitet und aufgefรผhrt. Namhafte Dirigenten wie Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert und David Zinman haben das Sinfonieorchester der ZHdK geleitet.\r\nIm Bereich der Neuen Musik hat das Ensemble Arc-en-Ciel (15 bis 17 Musiker/-innen) mit Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel oder Johannes Schรถllhorn gearbeitet und u. a. die Komponistenportrรคts mit Henri Pousseur, Isabel Mundry, Wolfgang Rihm und Jonathan Harvey mitgestaltet. Barocke Orchestermusik erarbeiten diejenigen Studierenden, die ein historisches Variantfach belegen. Diese Projekte wurden von Elizabeth Wallfisch, Werner Erhardt u. a. geleitet. In Zusammenarbeit mit dem Fachbereich Forschung gelangten zum Teil unverรถffentlichte Werke von Heinichen, Pisendel u. a. zur Auffรผhrung. \r\nWebsite Orchester"," Das VocalEnsemble ZHdK ist besteht aus 24 jungen Vokalsolistinnen und -solisten der Gesangsabteilung.\r\nSchwerpunkte der Ensemblearbeit sind:Erarbeitung anspruchsvoller A-cappella-LiteraturStilgerechte Ausfรผhrung von Chormusik verschiedener EpochenArbeit an ausgewogenem EnsembleklangBreites RepertoireZusammenarbeit mit anerkannten Institutionen (Tonhalle Zรผrich, Musikkollegium Winterthur u.a.m.) CD-Einspielungen, Konzertreisen\r\nDas Ensemble tritt jedes Semester mindestens einmal im Rahmen der Hochschulkonzerte auf. Jedes zweite Jahr wird eine Masterclass-Session durchgefรผhrt unter der Leitung eines international anerkannten Dirigenten der Chormusikszene. Ausserdem kooperiert das VocalEnsemble mit anderen Formationen und Institutionen. Die kรผnstlerische Leitung liegt bei Prof. Markus Utz.","Im Bachelor-Semesterchor singen Klassik-Studierende, die nicht Gesang als Hauptfach belegen. Die wรถchentlichen Proben werden von Prof. Beat Schรคfer und Prof. Markus Utz geleitet, assistiert von Studierenden der Vertiefung Chorleitung. Ein Konzert schliesst die Semesterarbeit ab. Die Literatur reicht von frรผhbarocken Meistern รผber die Klassik bis hin zur Mitgestaltung von Urauffรผhrungen. Der Bachelor-Semesterchor musiziert je nach Programmgestaltung zusammen mit Instrumentalistinnen oder Instrumentalisten, bzw. Gesangstudierenden der ZHdK. Jedes 2. Jahr findet die Auffรผhrung eines Oratoriums im Gesamtverband aller vokalen Ensembles zusammen mit Solisten der Musikhochschule und dem Orchester der Zรผrcher Hochschule der Kรผnste statt. ","Im Bachelor-Projektchor singen alle Klassik-Studierende im 3. Semester, die nicht Gesang als Hauptfach belegen. Jene Studierenden-Jahrgรคnge, die bereits bei einer oratorischen Auffรผhrung im Rahmen des Semesterchores mitgewirkt haben, erarbeiten in einer solchen Projektwoche ein anspruchsvolleres A-cappella-Programm (2009 "Great Britten" mit "Hymn to St. Cecilia"; "Hymn to Virgin", "Rejoice in the Lamb" u. a. m.). Das Bachelor-Chorprojekt wird in der Regel von Prof. Markus Utz geleitet. Jene Studierenden-Jahrgรคnge, die wรคhrend ihrer Semesterchorpflicht ausschliesslich A-cappella-, bzw. kammermusikalische Chorwerke einstudiert haben, erarbeiten in ihrer Chor-Projektwoche ein Oratorium im Gesamtverband mit allen vokalen Ensembles, welches dann mit Solisten und dem Orchester der Zรผrcher Hochschule der Kรผnste aufgefรผhrt wird. "],"title_en":["Chamber music","Orchestra","VocalEnsemble ZHdK","Bachelor's Semester Choir","Bachelor's Project Choir"],"text_en":[" Chamber music tuition is critically important in terms of the instrumental specializations associated with the Bachelor of Arts in Music (Classical), Master of Arts in Music Performance and Master of Arts in Specialized Music Performance degree programmes.The tuition is intended to teach the techniques involved in ensemble play, encourage in-depth study of complex scores and give people a chance to rehearse for concert appearances. The choice of works is tailored to the students' standard of playing and experience and is therefore discussed and determined by students and lecturers in advance.","The chance to meet outstanding conductors, to study and perform orchestral literature from the Baroque through to contemporary music, and to work with professional orchestras gives students some training in orchestral play and prepares them for their future professional life. Recent years have seen various major orchestral works worked on and performed, such as An Alpine Symphony and Till Eulenspiegel by Richard Strauss, Bruckner's and Mahler's 7th symphonies, Stravinsky's The Rite of Spring, Bartรณk's Concerto for Orchestra, and Olivier Messiaen's Turangalรฎla Symphony. Notable conductors such as Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert, and David Zinman have conducted ZHdK's Symphony Orchestra.\r\nIn terms of new music, the Arc-en-Ciel ensemble (made up of 15 to 17 musicians) has worked with Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel and Johannes Schรถllhorn, as well as working on portraits of composers, among other things, with Henri Pousseur, Isabel Mundry, Wolfgang Rihm and Jonathan Harvey.Students taking a historical option work on Baroque orchestral music. These projects were led by Elizabeth Wallfisch, Werner Erhardt, and others. In collaboration with the Research area, some partly unpublished works by Heinichen, Pisendel, and others were also performed.","The VocalEnsemble ZHdK consists of 24 young vocal soloists studying in the Voice department. The ensemble specializes in:\r\n \tDemanding a cappella literature \tAuthentic performances of choral music from different periods \tProducing a balanced ensemble sound \tA wide repertoire \tCollaboration with high-profile institutions (Tonhalle Zรผrich, Musikkollegium Winterthur, etc.) \tCD recordings, concert tours \r\nThe ensemble gives at least one performance every semester in the university concert series. Every other year, a masterclass session is held under an internationally recognized choral director. The VocalEnsemble ZHdK also collaborates with other formations and institutions."," Students taking classical music courses with main subjects other than Voice sing in the Bachelor's Semester Choir. Weekly rehearsals are conducted by Prof. Beat Schรคfer and Prof. Markus Utz, assisted by students in the Choral Conducting specialization. Each semester ends with a concert. The literature ranges from masters of the early Baroque and Classical periods through to premieres of new works. Depending on the works in the programme, the Bachelor's Semester Choir performs with ZHdK instrumentalists or vocal students. Every other year, all the vocal ensembles come together to perform an oratorio, together with soloists from the School of Music and the ZHdK orchestra. ","The Bachelor's Project Choir is an ensemble for all classical music students in their third semester who are not taking Voice as their main subject. Those year groups who have already worked on an oratorio performance as part of the Semester Choir will spend this project week on a demanding a cappella programme (2009 was 'Great Britten', featuring 'Hymn to St. Cecilia'; 'Hymn to Virgin', 'Rejoice in the Lamb', etc.). The Bachelor's Project Choir is generally directed by Prof. Markus Utz. Those years groups who have only studied a cappella or chamber music choral works during their compulsory participation in the Semester Choir will spend their choral project week working on an oratorio in combination with all the vocal ensembles, which is then performed with soloists and the ZHdK orchestra."]}},"relationships":{"contents":{"data":[{"type":"content","id":2134,"attributes":{"uid":2134,"pid":1112,"tstamp":125,"hidden":0,"sorting":64,"CType":"standard_content","header":"Kammermusik","bodytext":" Der Kammermusikunterricht hat einen zentralen Stellenwert in den instrumentalen Vertiefungen der Studiengรคnge BA Musik Klassik, MA Performance und MA Specialized Performance. Im Unterricht soll die Arbeitstechnik des Ensemblespiels gelernt, vertieftes Studium der komplexen Partituren angeregt und der Konzertauftritt geprobt werden. Die Werkwahl ist dem spieltechnischen Stand und der Erfahrung der Studierenden angepasst und wird deshalb von Studierenden und Dozierenden in vorgรคngiger Absprache gemeinsam festgelegt. ","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Der Kammermusikunterricht hat einen zentralen Stellenwert in den instrumentalen Vertiefungen der Studiengรคnge BA Musik Klassik, MA Performance und MA Specialized Performance. Im Unterricht soll die Arbeitstechnik des Ensemblespiels gelernt, vertieftes Studium der komplexen Partituren angeregt und der Konzertauftritt geprobt werden. Die Werkwahl ist dem spieltechnischen Stand und der Erfahrung der Studierenden angepasst und wird deshalb von Studierenden und Dozierenden in vorgรคngiger Absprache gemeinsam festgelegt. "}},{"type":"content","id":13872,"attributes":{"uid":13872,"pid":1112,"tstamp":123,"hidden":0,"sorting":96,"CType":"standard_content","header":"Chamber music","bodytext":" Chamber music tuition is critically important in terms of the instrumental specializations associated with the Bachelor of Arts in Music (Classical), Master of Arts in Music Performance and Master of Arts in Specialized Music Performance degree programmes.The tuition is intended to teach the techniques involved in ensemble play, encourage in-depth study of complex scores and give people a chance to rehearse for concert appearances. The choice of works is tailored to the students' standard of playing and experience and is therefore discussed and determined by students and lecturers in advance.","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":2134,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Chamber music tuition is critically important in terms of the instrumental specializations associated with the Bachelor of Arts in Music (Classical), Master of Arts in Music Performance and Master of Arts in Specialized Music Performance degree programmes.The tuition is intended to teach the techniques involved in ensemble play, encourage in-depth study of complex scores and give people a chance to rehearse for concert appearances. The choice of works is tailored to the students' standard of playing and experience and is therefore discussed and determined by students and lecturers in advance."}},{"type":"content","id":13873,"attributes":{"uid":13873,"pid":1112,"tstamp":123,"hidden":0,"sorting":112,"CType":"standard_content","header":"Orchestra","bodytext":"The chance to meet outstanding conductors, to study and perform orchestral literature from the Baroque through to contemporary music, and to work with professional orchestras gives students some training in orchestral play and prepares them for their future professional life. Recent years have seen various major orchestral works worked on and performed, such as An Alpine Symphony and Till Eulenspiegel by Richard Strauss, Bruckner's and Mahler's 7th symphonies, Stravinsky's The Rite of Spring, Bartรณk's Concerto for Orchestra, and Olivier Messiaen's Turangalรฎla Symphony. Notable conductors such as Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert, and David Zinman have conducted ZHdK's Symphony Orchestra.\r\nIn terms of new music, the Arc-en-Ciel ensemble (made up of 15 to 17 musicians) has worked with Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel and Johannes Schรถllhorn, as well as working on portraits of composers, among other things, with Henri Pousseur, Isabel Mundry, Wolfgang Rihm and Jonathan Harvey.
Students taking a historical option work on Baroque orchestral music. These projects were led by Elizabeth Wallfisch, Werner Erhardt, and others. In collaboration with the Research area, some partly unpublished works by Heinichen, Pisendel, and others were also performed.","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":2133,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The chance to meet outstanding conductors, to study and perform orchestral literature from the Baroque through to contemporary music, and to work with professional orchestras gives students some training in orchestral play and prepares them for their future professional life. Recent years have seen various major orchestral works worked on and performed, such as An Alpine Symphony and Till Eulenspiegel by Richard Strauss, Bruckner's and Mahler's 7th symphonies, Stravinsky's The Rite of Spring, Bartรณk's Concerto for Orchestra, and Olivier Messiaen's Turangalรฎla Symphony. Notable conductors such as Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert, and David Zinman have conducted ZHdK's Symphony Orchestra.\r\nIn terms of new music, the Arc-en-Ciel ensemble (made up of 15 to 17 musicians) has worked with Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel and Johannes Schรถllhorn, as well as working on portraits of composers, among other things, with Henri Pousseur, Isabel Mundry, Wolfgang Rihm and Jonathan Harvey.Students taking a historical option work on Baroque orchestral music. These projects were led by Elizabeth Wallfisch, Werner Erhardt, and others. In collaboration with the Research area, some partly unpublished works by Heinichen, Pisendel, and others were also performed."}},{"type":"content","id":13874,"attributes":{"uid":13874,"pid":1112,"tstamp":123,"hidden":0,"sorting":120,"CType":"standard_content","header":"VocalEnsemble ZHdK","bodytext":"
The VocalEnsemble ZHdK consists of 24 young vocal soloists studying in the Voice department. The ensemble specializes in:
\r\n- \t
- Demanding a cappella literature \t
- Authentic performances of choral music from different periods \t
- Producing a balanced ensemble sound \t
- A wide repertoire \t
- Collaboration with high-profile institutions (Tonhalle Zรผrich, Musikkollegium Winterthur, etc.) \t
- CD recordings, concert tours
The ensemble gives at least one performance every semester in the university concert series. Every other year, a masterclass session is held under an internationally recognized choral director. The VocalEnsemble ZHdK also collaborates with other formations and institutions.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":5305,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The VocalEnsemble ZHdK consists of 24 young vocal soloists studying in the Voice department. The ensemble specializes in:\r\n \tDemanding a cappella literature \tAuthentic performances of choral music from different periods \tProducing a balanced ensemble sound \tA wide repertoire \tCollaboration with high-profile institutions (Tonhalle Zรผrich, Musikkollegium Winterthur, etc.) \tCD recordings, concert tours \r\nThe ensemble gives at least one performance every semester in the university concert series. Every other year, a masterclass session is held under an internationally recognized choral director. The VocalEnsemble ZHdK also collaborates with other formations and institutions."}},{"type":"content","id":13875,"attributes":{"uid":13875,"pid":1112,"tstamp":123,"hidden":0,"sorting":124,"CType":"standard_content","header":"Bachelor's Semester Choir","bodytext":" Students taking classical music courses with main subjects other than Voice sing in the Bachelor's Semester Choir. Weekly rehearsals are conducted by Prof. Beat Schรคfer and Prof. Markus Utz, assisted by students in the Choral Conducting specialization. Each semester ends with a concert. The literature ranges from masters of the early Baroque and Classical periods through to premieres of new works. Depending on the works in the programme, the Bachelor's Semester Choir performs with ZHdK instrumentalists or vocal students. Every other year, all the vocal ensembles come together to perform an oratorio, together with soloists from the School of Music and the ZHdK orchestra. ","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":5306,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Students taking classical music courses with main subjects other than Voice sing in the Bachelor's Semester Choir. Weekly rehearsals are conducted by Prof. Beat Schรคfer and Prof. Markus Utz, assisted by students in the Choral Conducting specialization. Each semester ends with a concert. The literature ranges from masters of the early Baroque and Classical periods through to premieres of new works. Depending on the works in the programme, the Bachelor's Semester Choir performs with ZHdK instrumentalists or vocal students. Every other year, all the vocal ensembles come together to perform an oratorio, together with soloists from the School of Music and the ZHdK orchestra. "}},{"type":"content","id":13876,"attributes":{"uid":13876,"pid":1112,"tstamp":123,"hidden":0,"sorting":126,"CType":"standard_content","header":"Bachelor's Project Choir","bodytext":"The Bachelor's Project Choir is an ensemble for all classical music students in their third semester who are not taking Voice as their main subject. Those year groups who have already worked on an oratorio performance as part of the Semester Choir will spend this project week on a demanding a cappella programme (2009 was 'Great Britten', featuring 'Hymn to St. Cecilia'; 'Hymn to Virgin', 'Rejoice in the Lamb', etc.). The Bachelor's Project Choir is generally directed by Prof. Markus Utz. Those years groups who have only studied a cappella or chamber music choral works during their compulsory participation in the Semester Choir will spend their choral project week working on an oratorio in combination with all the vocal ensembles, which is then performed with soloists and the ZHdK orchestra.","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":5307,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The Bachelor's Project Choir is an ensemble for all classical music students in their third semester who are not taking Voice as their main subject. Those year groups who have already worked on an oratorio performance as part of the Semester Choir will spend this project week on a demanding a cappella programme (2009 was 'Great Britten', featuring 'Hymn to St. Cecilia'; 'Hymn to Virgin', 'Rejoice in the Lamb', etc.). The Bachelor's Project Choir is generally directed by Prof. Markus Utz. Those years groups who have only studied a cappella or chamber music choral works during their compulsory participation in the Semester Choir will spend their choral project week working on an oratorio in combination with all the vocal ensembles, which is then performed with soloists and the ZHdK orchestra."}},{"type":"content","id":2133,"attributes":{"uid":2133,"pid":1112,"tstamp":125,"hidden":0,"sorting":128,"CType":"standard_content","header":"Orchester","bodytext":" Die Begegnung mit herausragenden Dirigierpersรถnlichkeiten, das Einstudieren und die Auffรผhrung von Orchesterliteratur vom Barock bis zur zeitgenรถssischen Musik sowie die Zusammenarbeit mit Berufsorchestern bildet die Studierenden im Orchesterspiel aus und bereitet sie auf die kรผnftige Berufspraxis vor. In den letzten Jahren wurden bedeutende Orchesterwerke wie die Alpensinfonie und Till Eulenspiegel von Richard Strauss, Bruckners und Mahlers 7. Sinfonie, der Sacre du printemps von Strawinsky, das Konzert fรผr Orchester von Bartรณk oder Olivier Messiaens Turangalรฎla-Sinfonie erarbeitet und aufgefรผhrt. Namhafte Dirigenten wie Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert und David Zinman haben das Sinfonieorchester der ZHdK geleitet.\r\nIm Bereich der Neuen Musik hat das Ensemble Arc-en-Ciel (15 bis 17 Musiker/-innen) mit Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel oder Johannes Schรถllhorn gearbeitet und u. a. die Komponistenportrรคts mit Henri Pousseur, Isabel Mundry, Wolfgang Rihm und Jonathan Harvey mitgestaltet. Barocke Orchestermusik erarbeiten diejenigen Studierenden, die ein historisches Variantfach belegen. Diese Projekte wurden von Elizabeth Wallfisch, Werner Erhardt u. a. geleitet. In Zusammenarbeit mit dem Fachbereich Forschung gelangten zum Teil unverรถffentlichte Werke von Heinichen, Pisendel u. a. zur Auffรผhrung. \r\nWebsite Orchester","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Die Begegnung mit herausragenden Dirigierpersรถnlichkeiten, das Einstudieren und die Auffรผhrung von Orchesterliteratur vom Barock bis zur zeitgenรถssischen Musik sowie die Zusammenarbeit mit Berufsorchestern bildet die Studierenden im Orchesterspiel aus und bereitet sie auf die kรผnftige Berufspraxis vor. In den letzten Jahren wurden bedeutende Orchesterwerke wie die Alpensinfonie und Till Eulenspiegel von Richard Strauss, Bruckners und Mahlers 7. Sinfonie, der Sacre du printemps von Strawinsky, das Konzert fรผr Orchester von Bartรณk oder Olivier Messiaens Turangalรฎla-Sinfonie erarbeitet und aufgefรผhrt. Namhafte Dirigenten wie Stefan Asbury, Johannes Schlaefli, Marc Kissรณczy, Andreas Delfs, Howard Griffiths, Vladimir Fedoseyev, Bernhard Klee, Heinz Wallberg, Ralf Weikert und David Zinman haben das Sinfonieorchester der ZHdK geleitet.\r\nIm Bereich der Neuen Musik hat das Ensemble Arc-en-Ciel (15 bis 17 Musiker/-innen) mit Gerald Bennett, Olivier Cuendet, Peter Eรถtvรถs, Jรผrg Henneberger, Peter Hirsch, Vรฉronique Lacroix, Alain Monot, Peter Rundel oder Johannes Schรถllhorn gearbeitet und u. a. die Komponistenportrรคts mit Henri Pousseur, Isabel Mundry, Wolfgang Rihm und Jonathan Harvey mitgestaltet. Barocke Orchestermusik erarbeiten diejenigen Studierenden, die ein historisches Variantfach belegen. Diese Projekte wurden von Elizabeth Wallfisch, Werner Erhardt u. a. geleitet. In Zusammenarbeit mit dem Fachbereich Forschung gelangten zum Teil unverรถffentlichte Werke von Heinichen, Pisendel u. a. zur Auffรผhrung. \r\nWebsite Orchester"}},{"type":"content","id":5305,"attributes":{"uid":5305,"pid":1112,"tstamp":125,"hidden":0,"sorting":192,"CType":"standard_content","header":"VocalEnsemble ZHdK","bodytext":" Das VocalEnsemble ZHdK ist besteht aus 24 jungen Vokalsolistinnen und -solisten der Gesangsabteilung.\r\n- Schwerpunkte der Ensemblearbeit sind:
- Erarbeitung anspruchsvoller A-cappella-Literatur
- Stilgerechte Ausfรผhrung von Chormusik verschiedener Epochen
- Arbeit an ausgewogenem Ensembleklang
- Breites Repertoire
- Zusammenarbeit mit anerkannten Institutionen (Tonhalle Zรผrich, Musikkollegium Winterthur u.a.m.) CD-Einspielungen, Konzertreisen
The Career Center Music offers ZHdK music students a whole host of career-related content, enabling them to embark upon their professional life with success. It acts as the interface between study and career.
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Head of programme, Head Profile Composition / Theory / Sound Engineering
+41 43 446 51 50
E-Mail
Felix Baumann
Leitung Studiengang, Leitung Profil Komposition / Theorie / Tonmeister:in
+41 43 446 51 50
E-Mail
Ursula Ramsbacher
Irregular attendance, please contact by email
Ursula Ramsbacher
Unregelmรคssige Anwesenheit, Kontaktaufnahme bitte per E-Mail
Zรผrcher Hochschule der Kรผnste
Komposition / Theorie / Tonmeister:in
Pfingstweidstrasse 96
Postfach
CH-8031 Zรผrich
Zรผrcher Hochschule der Kรผnste
Komposition / Theorie / Tonmeister:in
Pfingstweidstrasse 96
Postfach
CH-8031 Zรผrich