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.
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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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.\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)","hidden":0,"CType":"standard_content","bodytext":"Inhalte
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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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)","hidden":0,"CType":"standard_content","bodytext":"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. 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) als auch im Register-Gruppenunterricht und Ensemblekontext. 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)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
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) als auch im Register-Gruppenunterricht und Ensemblekontext. 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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In the โProducing Music โ advancedโ minor, students with advanced artistic knowledge in pop music or jazz production hone their skills. This also includes networking with other professionals and preparing for the realities of working life. Consolidate and individualize your genre-specific work and creative techniques in the fields of songwriting, producing, arranging, sound design and mixing โ in seminars, workshops and in independently organized projects and internships. The minor, offered by the Jazz and Pop profile, is taught in German and English. It is aimed at Bachelorโs and Masterโs students. Skills acquired in the course. Students develop working techniques to realize audio productions in marketable quality in the field of pop and/or jazz. This also includes confident use of technical infrastructure as well as the development of an artistic imagination. Moreover, they create and publish their own productions and network medially in the national and international environment. Admissions requirements. The minor is aimed at motivated students with relevant musical communication strengths and production skills. You enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have the requisite innovation potential, communication and social skills. Benefits of studying at ZHdK. ZHdK has long-standing experience in pop- and jazz-specific producing and songwriting. With this minor, it offers students all over Switzerland the unique opportunity to gain a qualification in an optional programme in the professional field of producing. Time structure. Usually takes place in 2 semesters. There will be some preparatory block dates during the major weeks. The intensive Producing/Writing phase will take place during the minor weeks. The completed projects can be submitted by June 1. โ More information about this minor (PDF download)","hidden":0,"CType":"standard_content","bodytext":"Course content.
In the โProducing Music โ advancedโ minor, students with advanced artistic knowledge in pop music or jazz production hone their skills. This also includes networking with other professionals and preparing for the realities of working life. Consolidate and individualize your genre-specific work and creative techniques in the fields of songwriting, producing, arranging, sound design and mixing โ in seminars, workshops and in independently organized projects and internships.
The minor, offered by the Jazz and Pop profile, is taught in German and English. It is aimed at Bachelorโs and Masterโs students.
Skills acquired in the course.
Students develop working techniques to realize audio productions in marketable quality in the field of pop and/or jazz. This also includes confident use of technical infrastructure as well as the development of an artistic imagination. Moreover, they create and publish their own productions and network medially in the national and international environment.
Admissions requirements.
The minor is aimed at motivated students with relevant musical communication strengths and production skills. You enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have the requisite innovation potential, communication and social skills.
Benefits of studying at ZHdK.
ZHdK has long-standing experience in pop- and jazz-specific producing and songwriting. With this minor, it offers students all over Switzerland the unique opportunity to gain a qualification in an optional programme in the professional field of producing.
Time structure.
Usually takes place in 2 semesters.
There will be some preparatory block dates during the major weeks.
The intensive Producing/Writing phase will take place during the minor weeks.
The completed projects can be submitted by June 1.
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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Im Minor ยซProducing Music โ advancedยป professionalisieren sich kรผnstlerisch fortgeschrittene Studierende in der musikalischen Pop- oder Jazz-Produktion. Dazu gehรถrt auch die Vernetzung mit der Arbeitswelt und die Vorbereitung auf berufliche Realitรคten. Vertiefe und individualisiere deine genrespezifischen Arbeits- und Kreativtechniken in den Feldern Songwriting, Producing, Arranging, Sounddesign und Mixing โ in Seminaren, Workshops und in selbstรคndig organisierten Projekten und Praktika.
Der Minor in Deutsch und Englisch wird vom Profil Jazz und Pop angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Studierende erarbeiten Arbeitstechniken, um in markttauglicher Qualitรคt Audio-Produktionen im Bereich Pop und/oder Jazz zu realisieren. Dazu gehรถrt der souverรคne Umgang mit technischer Infrastruktur ebenso wie die Entwicklung kรผnstlerischer Vorstellungskraft. Sie kreieren und verรถffentlichen eigene Produktionen und vernetzen sich medial im nationalen und internationalen Umfeld.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an motivierte Studierende mit relevanter musikalischer Mitteilungskraft und produzentischen Fรคhigkeiten. Du arbeitest gerne selbststรคndig und eigenverantwortlich, bist reflexionsfรคhig, kannst dich selbst einschรคtzen und verfรผgst รผber Innovationspotenzial, Kommunikations- und soziale Fรคhigkeiten.
Von diesen Besonderheiten profitierst du.
Die ZHdK verfรผgt im pop- und jazzspezifischen Producing & Songwriting รผber langjรคhrige Erfahrung. Sie bietet mit diesem Minor schweizweit einzigartig die Gelegenheit, sich in einem frei wรคhlbaren Programm fรผr die berufliche Tรคtigkeit des Producing zu qualifizieren.
Zeitstruktur.
Findet in der Regel in 2 Semestern statt.
Es wird einige vorbereitende Blockdaten wรคrend der Majorwochen geben.
Die Intensiv-Phase Producing/Writing wird jeweils in den Minorwochen stattfinden.
Die fertig produzierten Projektabschlรผsse kรถnnen bis zum 1. Juni eingereicht werden.
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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Sie bietet mit diesem Minor schweizweit einzigartig die Gelegenheit, sich in einem frei wรคhlbaren Programm berufsrelevante Produktionsfรคhigkeiten anzueignen. Zeitstruktur. Findet in der Regel in 2-4 Semestern statt. Es wird einige vorbereitende Blockdaten wรคrend der Majorwochen geben. Die Intensiv-Phase Producing/Writing wird jeweils in den Minorwochen stattfinden. Die fertig produzierten Projektabschlรผsse kรถnnen bis zum 1. Juni eingereicht werden. โ Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","",""],"text_en":["","Course content. Artistic music production is a key element in the professional field of pop and jazz musicians: from recording their own performance, to producing a new album, through to working as a producer. It takes considerable skill to promote your own artistic work, not least in social media, with creative content and at a high standard. The โProducing Music โ basicโ minor builds on the following: in seminars and independent work, students learn genre-specific techniques in composing, arranging, songwriting and producing (recording, audio processing and mixing). The minor, offered by the BA Music, is taught in German and English and is aimed at Bachelorโs and Masterโs students. Skills acquired in the course. Students learn basic working techniques to realize marketable quality music-artistic audio productions in the area of pop and/or jazz. They create and put on their own productions, and have the opportunity to network with other professionals in their field in medial terms. Admissions requirements. The minor is aimed at motivated students with relevant musical communication strengths and production skills who enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have an artistic imagination, technical flair and good communication skills. Benefits of studying at ZHdK. 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The minor, offered by the BA Music, is taught in German and English and is aimed at Bachelorโs and Masterโs students.
Skills acquired in the course.
Students learn basic working techniques to realize marketable quality music-artistic audio productions in the area of pop and/or jazz. They create and put on their own productions, and have the opportunity to network with other professionals in their field in medial terms.
Admissions requirements.
The minor is aimed at motivated students with relevant musical communication strengths and production skills who enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have an artistic imagination, technical flair and good communication skills.
Benefits of studying at ZHdK.
ZHdK has long-standing experience in pop- and jazz-specific producing and songwriting. With this minor, it offers students all over Switzerland the unique opportunity to acquire production skills in an optional programme that are relevant to their profession.
Time structure.
Takes place in 2-4 semesters.
There will be some preparatory block dates during the major weeks.
The intensive Producing/Writing phase will take place during the minor weeks.
The completed projects can be submitted by June 1.
โ More information about this minor (PDF download)
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Die kรผnstlerische Produktion von Musik ist ein zentrales Element im Berufsfeld der Musiker:innen im Bereich Pop und Jazz: von Aufnahmen der eigenen Performance รผber die Produktion eines neuen Albums bis hin zur beruflichen Tรคtigkeit als Produzent:in. Die Vermarktung des eigenen kรผnstlerischen Daseins โ nicht zuletzt in den sozialen Medien โ stellt hohe Ansprรผche an kreative Inhalte und deren qualitative Umsetzung. Darauf baut der Minor ยซProducing Music โ basicยป auf: In Seminaren und selbstรคndiger Arbeit lernen die Studierenden genrespezifische Techniken in Composing, Arranging, Songwriting und Producing (Recording, Audiobearbeitung, Mixing).
Der Minor in Deutsch und Englisch wird vom Profil Jazz und Pop angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Studierende erarbeiten in diesem Minor grundlegende Arbeitstechniken, um in markttauglicher Qualitรคt musikalisch-kรผnstlerische Audio-Produktionen im Bereich Pop und/oder Jazz zu realisieren. Sie kreieren und verรถffentlichen eigene Produktionen und finden die Gelegenheit, sich medial mit der Arbeitswelt zu vernetzen.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an motivierte Studierende mit relevanter musikalischer Mitteilungskraft und produzentischen Fรคhigkeiten. Du arbeitest gerne selbstรคndig und eigenverantwortlich, bist reflexionsfรคhig, kannst dich selbst einschรคtzen und verfรผgst รผber kรผnstlerische Vorstellungskraft, technisches Flair und gute Kommunikationsfรคhigkeiten.
Von diesen Besonderheiten profitierst du.
Die ZHdK verfรผgt im pop- und jazzspezifischen Producing & Songwriting รผber langjรคhrige Erfahrung. Sie bietet mit diesem Minor schweizweit einzigartig die Gelegenheit, sich in einem frei wรคhlbaren Programm berufsrelevante Produktionsfรคhigkeiten anzueignen.
Zeitstruktur.
Findet in der Regel in 2-4 Semestern statt.
Es wird einige vorbereitende Blockdaten wรคrend der Majorwochen geben.
Die Intensiv-Phase Producing/Writing wird jeweils in den Minorwochen stattfinden.
Die fertig produzierten Projektabschlรผsse kรถnnen bis zum 1. Juni eingereicht werden.
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","",""],"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. 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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)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
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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Would you like employ art-related approaches to intervene in cultural, political, social and ecological contexts? In the โSocial Art Practicesโ minor, students explore how they can play a part in shaping such contexts as artists in the analogue and digital spaces. They acquire a contemporary understanding of the social domain, which includes ecology, and how this can be incorporated into their own artistic practice. By connecting art historical and art theoretical knowledge with cultural and social-theoretical approaches, they learn to explore the history and discourses of Social Art Practices in this minor. Moreover, they acquire an understanding of the practices of artistic (field) research. In an independent project that extends over the four semesters, they explore social groups, organizations and institutions inside and outside the art field and develop collaborations or interventions in the process. Skills acquired in the course. Students learn ... โ about the discourses of Social Arts Practices from art historical, social-theoretical and cultural-theoretical perspectives and how to incorporate them into their artistic practice; โ how to use practices of artistic (field)research in a targeted manner to investigate social fields and processes and create new knowledge in this area; โ how to use their dialogical skills to communicate and work together with actors from different social, cultural and disciplinary backgrounds; โ how to plan, implement and communicate their own or a project. Admissions requirements. You are extremely interested in sociopolitical and ecological issues. You enjoy process-oriented artistic work and working together with people from different social and cultural backgrounds. You already have initial experience in artistic project work and have outstanding social and communicative skills as well as basic art historical and art theoretical knowledge. Benefits of studying at ZHdK. The โSocial Art Practicesโ minor encourages students to explore cultural, social, political and ecological issues from an artistic and theoretical perspective. The minor programme is project-based. They also have the opportunity to discuss the status of their project with others in a colloquium on a regular basis. The modules are offered in English, which also enables them to improve their skills in the language. โ More about this minor (PDF download)","hidden":0,"CType":"standard_content","bodytext":"Course content.
Would you like employ art-related approaches to intervene in cultural, political, social and ecological contexts? In the โSocial Art Practicesโ minor, students explore how they can play a part in shaping such contexts as artists in the analogue and digital spaces. They acquire a contemporary understanding of the social domain, which includes ecology, and how this can be incorporated into their own artistic practice. By connecting art historical and art theoretical knowledge with cultural and social-theoretical approaches, they learn to explore the history and discourses of Social Art Practices in this minor. Moreover, they acquire an understanding of the practices of artistic (field) research. In an independent project that extends over the four semesters, they explore social groups, organizations and institutions inside and outside the art field and develop collaborations or interventions in the process.
Skills acquired in the course.
Students learn ...
โ about the discourses of Social Arts Practices from art historical, social-theoretical and cultural-theoretical perspectives and how to incorporate them into their artistic practice;
โ how to use practices of artistic (field)research in a targeted manner to investigate social fields and processes and create new knowledge in this area;
โ how to use their dialogical skills to communicate and work together with actors from different social, cultural and disciplinary backgrounds;
โ how to plan, implement and communicate their own or a project.
Admissions requirements.
You are extremely interested in sociopolitical and ecological issues. You enjoy process-oriented artistic work and working together with people from different social and cultural backgrounds. You already have initial experience in artistic project work and have outstanding social and communicative skills as well as basic art historical and art theoretical knowledge.
Benefits of studying at ZHdK.
The โSocial Art Practicesโ minor encourages students to explore cultural, social, political and ecological issues from an artistic and theoretical perspective. The minor programme is project-based. They also have the opportunity to discuss the status of their project with others in a colloquium on a regular basis. The modules are offered in English, which also enables them to improve their skills in the language.
โ More 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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Mรถchtest du mit Ansรคtzen der Kunst in kulturelle, politische, gesellschaftliche und รถkologische Zusammenhรคnge eingreifen? Im Minor ยซSocial Art Practicesยป erkundest du, wie du solche Zusammenhรคnge als Kรผnstler:in im analogen und digitalen Raum mitgestalten kannst. Du erwirbst ein zeitgenรถssisches Verstรคndnis des Sozialen, das die รkologie einbezieht, und lernst, wie du dieses mit deiner Kunstpraxis verbinden kannst. Ausserdem setzt du dich mit aktuellen und historischen Diskursen der Social Art Practices auseinander und erwirbst ein Verstรคndnis von Praktiken der kรผnstlerischen (Feld-)Forschung. In einem eigenen Projekt, das sich รผber die vier Semester erstreckt, setzt du dich mit sozialen Gruppen, Organisationen oder Institutionen innerhalb und ausserhalb des Kunstfeldes auseinander und entwickelst Kollaborationen oder Interventionen. Diese Kompetenzen erlernst du. Du lernst: โ die Diskurse der Social Arts Practice aus kunsthistorischer, gesellschafts- und kulturtheoretischer Perspektive kennen und wie du sie auf deine kรผnstlerische Praxis beziehen kannst; โ Praktiken der kรผnstlerischen (Feld-)Forschung gezielt einzusetzen, um soziale Felder und Prozesse zu untersuchen und neues Wissen darรผber zu produzieren; โ deine dialogischen Fรคhigkeiten einzusetzen, um mit Akteur:innen mit unterschiedlichen sozialen, kulturellen und disziplinรคren Hintergrรผnden zu kommunizieren und zusammenzuarbeiten; โ ein eigenes Projekt zu planen, umzusetzen und zu vermitteln. Diese Voraussetzungen bringst du mit. Du hast ein grosses Interesse an gesellschaftspolitischen und รถkologischen Fragestellungen. Du bist offen fรผr prozessorientiertes kรผnstlerisches Arbeiten und die Zusammenarbeit mit Menschen mit unterschiedlichen sozialen und kulturellen Hintergrรผnden. Du hast bereits erste Erfahrungen in der kรผnstlerischen Projektarbeit gesammelt und verfรผgst รผber ausgeprรคgte soziale und kommunikative Fรคhigkeiten sowie kunsthistorisches und -theoretisches Grundwissen. Von diesen Besonderheiten profitierst du. Der Minor ยซSocial Art Practicesยป fรถrdert deine kรผnstlerische und theoretische Auseinandersetzung mit kulturellen, gesellschaftlichen, politischen und รถkologischen Fragestellungen. Das Studienprogramm ist projektbasiert. In einem Kolloquium kannst du dich regelmรคssig รผber den Stand deines Projektes austauschen. Ausserdem fรถrdert das englischsprachige Studienprogramm deine Sprachkompetenzen. โ Mehr zu diesem Minor (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
Mรถchtest du mit Ansรคtzen der Kunst in kulturelle, politische, gesellschaftliche und รถkologische Zusammenhรคnge eingreifen? Im Minor ยซSocial Art Practicesยป erkundest du, wie du solche Zusammenhรคnge als Kรผnstler:in im analogen und digitalen Raum mitgestalten kannst. Du erwirbst ein zeitgenรถssisches Verstรคndnis des Sozialen, das die รkologie einbezieht, und lernst, wie du dieses mit deiner Kunstpraxis verbinden kannst. Ausserdem setzt du dich mit aktuellen und historischen Diskursen der Social Art Practices auseinander und erwirbst ein Verstรคndnis von Praktiken der kรผnstlerischen (Feld-)Forschung. In einem eigenen Projekt, das sich รผber die vier Semester erstreckt, setzt du dich mit sozialen Gruppen, Organisationen oder Institutionen innerhalb und ausserhalb des Kunstfeldes auseinander und entwickelst Kollaborationen oder Interventionen.
Diese Kompetenzen erlernst du.
Du lernst:
โ die Diskurse der Social Arts Practice aus kunsthistorischer, gesellschafts- und kulturtheoretischer Perspektive kennen und wie du sie auf deine kรผnstlerische Praxis beziehen kannst;
โ Praktiken der kรผnstlerischen (Feld-)Forschung gezielt einzusetzen, um soziale Felder und Prozesse zu untersuchen und neues Wissen darรผber zu produzieren;
โ deine dialogischen Fรคhigkeiten einzusetzen, um mit Akteur:innen mit unterschiedlichen sozialen, kulturellen und disziplinรคren Hintergrรผnden zu kommunizieren und zusammenzuarbeiten;
โ ein eigenes Projekt zu planen, umzusetzen und zu vermitteln.
Diese Voraussetzungen bringst du mit.
Du hast ein grosses Interesse an gesellschaftspolitischen und รถkologischen Fragestellungen. Du bist offen fรผr prozessorientiertes kรผnstlerisches Arbeiten und die Zusammenarbeit mit Menschen mit unterschiedlichen sozialen und kulturellen Hintergrรผnden. Du hast bereits erste Erfahrungen in der kรผnstlerischen Projektarbeit gesammelt und verfรผgst รผber ausgeprรคgte soziale und kommunikative Fรคhigkeiten sowie kunsthistorisches und -theoretisches Grundwissen.
Von diesen Besonderheiten profitierst du.
Der Minor ยซSocial Art Practicesยป fรถrdert deine kรผnstlerische und theoretische Auseinandersetzung mit kulturellen, gesellschaftlichen, politischen und รถkologischen Fragestellungen. Das Studienprogramm ist projektbasiert. In einem Kolloquium kannst du dich regelmรคssig รผber den Stand deines Projektes austauschen. Ausserdem fรถrdert das englischsprachige Studienprogramm deine Sprachkompetenzen.
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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Skills acquired in the course.
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Admissions requirements.
The minor is suitable for students with a genuine interest in researching transcultural issues, who are prepared to work in multidisciplinary and culturally diverse teams, and prepared to critically reflect on their work and thought process. The students have a good knowledge of English.
Benefits of studying this minor.
The minor is built on cooperation between 13 universities and partners in Asia and Europe, and helps students to develop an international network (Shared Campus). The different locations of the program provide the basis and sufficient space for collaborative experiments. An international team of lecturers from a wide range of disciplines supports the students on their developmental path. The accommodation costs during the three-week stay abroad are borne by ZHdK, the travel and living costs by the participants themselves (flight: CHF 800โ1000; living costs: CHF 300โ400).
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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Die vielschichtigen Probleme unserer Zeit erfordern eine Kreativitรคt, die รผber kulturelle und disziplinรคre Grenzen hinausreicht. Wenn sich die Kรผnste, das Design und die Vermittlung wirkungsvoll in globale Fragen und Diskurse einbringen wollen, erfordert dies von den Akteur:innen ein hohes Mass an transkultureller Kompetenz und kollaborativer Gewandtheit. Entsprechende Fรคhigkeiten eignest du dir im internationalen Minor ยซTranscultural Collaborationยป an. Im Rahmen deines Minor-Studiums beschรคftigst du dich mit kรผnstlerischer oder gestalterischer Zusammenarbeit in Teams, die sich durch kulturelle und fachliche Diversitรคt auszeichnen. Dies ermรถglicht dir eine intensive Zeit der Selbsterforschung und -reflexion โ nicht nur im Hinblick auf kreative Praktiken, sondern auch auf kulturelle Prรคgungen, erlernte รsthetiken und dein eigenes Selbst- und Weltverstรคndnis. Du entwickelst ein multiperspektivisches Mindset, testest Methoden der transdisziplinรคren Kollaboration und reflektierst dein Kunst- oder Designschaffen in einem dynamischen transnationalen Umfeld. Der Minor wird in Zusammenarbeit mit Shared Campus angeboten, einer weltweit einzigartigen Kooperationsplattform von Kunsthochschulen, an der die ZHdK massgeblich beteiligt ist. Der Minor findet teilweise in Zรผrich, teilweise online im Austausch mit externen Studierenden und Dozierenden und wรคhrend drei Wochen in Asien (Yogyakarta, Indonesien*) statt. Die Arbeiten werden am Ende des Programms in einem รถffentlichen Rahmen in Yogyakarta prรคsentiert. * Indonesien ist ein demokratischer Staat, das viertbevรถlkerungs-reichste Land der Welt mit der weltweit hรถchsten Anzahl an Muslimen. Indonesien verfรผgt รผber eine enorme kulturelle Diversitรคt und eine komplexe koloniale Geschichte. Yogyakarta (Java) gilt als eine der wichtigsten Zentren fรผr experimentelle Kunst in Asien und ist insbesondere fรผr sein hohe Anzahl an Kรผnstler:innenkollektiven bekannt, die sich in einem breiten (inter-)disziplinรคren Spektrum bewegen. Diese Kompetenzen erlernst du. Du lernst: โ mit Konflikten umzugehen und das Potential der Vielfalt in globalen Kulturen und Gesellschaften zu verstehen und zu verhandeln โ vielfรคltige, global relevante und miteinander in Beziehung stehende Themen und Fragen kritisch zu reflektieren und ein Bewusstsein fรผr eigene kulturelle Prรคgungen zu entwickeln โ verschiedene kollaborative Arbeitsmethoden und Ansรคtze in den Kรผnsten und im Design kennen und anzuwenden โ transdisziplinรคre Teams zusammenzustellen, um unterschiedliche kreative Aufgaben und Projekte zu realisieren. Diese Voraussetzungen bringst du mit. Der Minor empfiehlt sich fรผr Studierende, die ein genuines Interesse am Erforschen transkultureller Fragen haben, bereit sind, in kulturell und disziplinรคr gemischten Teams zu arbeiten und offen sind, ihr Schaffen und Denken kritisch zu reflektieren. Die Studierenden verfรผgen รผber gute Englischkenntnisse. Von diesen Besonderheiten profitierst du. Der Minor baut auf einer Kooperation zwischen 13 Kunsthochschulen und Partnern in Asien und Europa auf und hilft dir ein internationales Netzwerk zu entwickeln (Shared Campus). Die verschiedenen Standorte des Programms bilden die Basis sowie die Forschungs- und Spielrรคume fรผr kollaborative Experimente. Ein internationales Team von Dozierenden aus verschiedensten Disziplinen begleiten die Studierenden auf ihrem Entwicklungsweg. Die Unterkunftskosten wรคhrend des dreiwรถchigen Auslandaufenthalts werden von der ZHdK getragen, die Reise- und Lebenshaltungskosten gehen zu Lasten der Teilnehmenden (Flug: CHF 800โ1000; Lebenshaltungskosten: CHF 300โ400). โ Mehr zu diesem Minor (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
Die vielschichtigen Probleme unserer Zeit erfordern eine Kreativitรคt, die รผber kulturelle und disziplinรคre Grenzen hinausreicht. Wenn sich die Kรผnste, das Design und die Vermittlung wirkungsvoll in globale Fragen und Diskurse einbringen wollen, erfordert dies von den Akteur:innen ein hohes Mass an transkultureller Kompetenz und kollaborativer Gewandtheit. Entsprechende Fรคhigkeiten eignest du dir im internationalen Minor ยซTranscultural Collaborationยป an.
Im Rahmen deines Minor-Studiums beschรคftigst du dich mit kรผnstlerischer oder gestalterischer Zusammenarbeit in Teams, die sich durch kulturelle und fachliche Diversitรคt auszeichnen. Dies ermรถglicht dir eine intensive Zeit der Selbsterforschung und -reflexion โ nicht nur im Hinblick auf kreative Praktiken, sondern auch auf kulturelle Prรคgungen, erlernte รsthetiken und dein eigenes Selbst- und Weltverstรคndnis. Du entwickelst ein multiperspektivisches Mindset, testest Methoden der transdisziplinรคren Kollaboration und reflektierst dein Kunst- oder Designschaffen in einem dynamischen transnationalen Umfeld.
Der Minor wird in Zusammenarbeit mit Shared Campus angeboten, einer weltweit einzigartigen Kooperationsplattform von Kunsthochschulen, an der die ZHdK massgeblich beteiligt ist. Der Minor findet teilweise in Zรผrich, teilweise online im Austausch mit externen Studierenden und Dozierenden und wรคhrend drei Wochen in Asien (Yogyakarta, Indonesien*) statt. Die Arbeiten werden am Ende des Programms in einem รถffentlichen Rahmen in Yogyakarta prรคsentiert.
* Indonesien ist ein demokratischer Staat, das viertbevรถlkerungs-reichste Land der Welt mit der weltweit hรถchsten Anzahl an Muslimen. Indonesien verfรผgt รผber eine enorme kulturelle Diversitรคt und eine komplexe koloniale Geschichte. Yogyakarta (Java) gilt als eine der wichtigsten Zentren fรผr experimentelle Kunst in Asien und ist insbesondere fรผr sein hohe Anzahl an Kรผnstler:innenkollektiven bekannt, die sich in einem breiten (inter-)disziplinรคren Spektrum bewegen.
Diese Kompetenzen erlernst du.
Du lernst:
โ mit Konflikten umzugehen und das Potential der Vielfalt in globalen Kulturen und Gesellschaften zu verstehen und zu verhandeln
โ vielfรคltige, global relevante und miteinander in Beziehung stehende Themen und Fragen kritisch zu reflektieren und ein Bewusstsein fรผr eigene kulturelle Prรคgungen zu entwickeln
โ verschiedene kollaborative Arbeitsmethoden und Ansรคtze in den Kรผnsten und im Design kennen und anzuwenden
โ transdisziplinรคre Teams zusammenzustellen, um unterschiedliche kreative Aufgaben und Projekte zu realisieren.
Diese Voraussetzungen bringst du mit.
Der Minor empfiehlt sich fรผr Studierende, die ein genuines Interesse am Erforschen transkultureller Fragen haben, bereit sind, in kulturell und disziplinรคr gemischten Teams zu arbeiten und offen sind, ihr Schaffen und Denken kritisch zu reflektieren. Die Studierenden verfรผgen รผber gute Englischkenntnisse.
Von diesen Besonderheiten profitierst du.
Der Minor baut auf einer Kooperation zwischen 13 Kunsthochschulen und Partnern in Asien und Europa auf und hilft dir ein internationales Netzwerk zu entwickeln (Shared Campus). Die verschiedenen Standorte des Programms bilden die Basis sowie die Forschungs- und Spielrรคume fรผr kollaborative Experimente. Ein internationales Team von Dozierenden aus verschiedensten Disziplinen begleiten die Studierenden auf ihrem Entwicklungsweg. Die Unterkunftskosten wรคhrend des dreiwรถchigen Auslandaufenthalts werden von der ZHdK getragen, die Reise- und Lebenshaltungskosten gehen zu Lasten der Teilnehmenden (Flug: CHF 800โ1000; Lebenshaltungskosten: CHF 300โ400).
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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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.
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He is the co-founder and co-director of the Sound Design master's program at Zurich University of the Arts, and an international lecturer in Sound Studies and Sound Design. With his practice-based and interdisciplinary research, Hug has had a significant impact on the field of sonic interaction design (SID) and integrated music education (IME). As member of the steering committee of the Audio Mostly conference and founder of the sound design and consultancy company โHear Me Interact!โ, he connects academia and business. His current interests include sound design for health tech and exercise, sound design methodology and participatory sound design processes.","publication":" Buchkapitel und ZeitschriftartikelMisdariis, N., Hug, D.: Sound Design Methodologies: between Artistic Inspiration and Academic Perspiration. In: Bull, M., Cobussen, M. (eds.), Bloomsbury Handbook of Sonic Methodologies - Case Studies in Academia / Sound Design (2020)
Hug, D., Pfaff, S.: Bringing Sound to Interaction Design - Challenges, Opportunities, Inspirations. In: Filimowicz, M. (ed.), Foundations in Sound Design for Embedded Media โ A Multidisciplinary Approach, Routledge, 2020 (2019)
Hug, D: Auf zu Neuen Ufern! Klangliche Grenzรผberschreitungen auf dem Weg zu interaktiven Klangidentitรคten. In Weiss, P. (ed.), Wenn Design die Materie Verlรคsst. Books on Demand, Norderstedt, 2015
Hug, D., Kemper, M.: From Foley to Function: A Pedagogical Approach to Sound Design for Novel Interactions. In Journal of Sonic Studies, Vol. 6 Nr. 1, 2014
Hug,D.: Barking Wallets and Poetic Flasks-Exploring Sound Design for Interactive Commodities. In: Franinovic, K., Serafin, S. (ed.), Sonic Interaction Design, MIT Press, 2013
Hug, D.: New Wine in New Skins: Sketching the Future of Game Sound. In: Grimshaw, M. (ed.), Game Sound Technology and Player Interaction, IGI Global, 2011
Hug, D.: Investigating Narrative and Performative Sound Design Strategies for Interactive Commodities. In: Ystad, S. et al., (eds.): Auditory Display - 6th International Symposium, CMMR/ICAD 2009, Revised Papers. Volume 5954, Springer, 2010
Hug, D.: Ton ab, und Action! Narrative Klanggestaltung interaktiver Objekte. In: Georg Spehr (ed.), Funktionale Klรคnge โ Hรถrbare Daten, klingende Gerรคte und gestaltete Hรถrerfahrungen, Transcript, Bielefeld, 2009
Hug, D.: Shopping in the Cybrid City. In: Philipp Rheinauer, bionicprocess, Bionik als Vorbild fรผr die Gestaltung von Organisationsprozessen, VDM Verlag, Saarbrรผcken, 2008
Hug, D.: Hear Me Interact, in: Gerhard Buurman (Hrsg.), Total Interaction, Birkhรคuser, Basel, 2005
Full Conference Papers (peer reviewed)
Hug, D. (2023). Sound Design for the PluriverseโA Design Exploration of Sonic Hermeneutic Affordances of Interactive Things. Proceedings of the 10th Convention of the European Acoustics Association Forum Acusticum. Forum Acusticum 2023, Torino, IT.
Jรคrvelรคinen, H., Hug, D., & Papetti, S. (2023). Assessing Power In Punching Sounds From Mainstream Films And Video Games. Proceedings of the 28th International Conference on Auditory Display. International Conference on Auditory Display, Norrkรถping, Sweden. https://hdl.handle.net/1853/72884
Hug, D., Iten, A., Spielmann, M., & Walthard, C.: Just listen! Soundscape as a Designable Common Good. In M. Botta & S. Junginger (Eds.), Proceedings of Swiss Design Network Conference โDesign as Common Good Framing Design through Pluralism and Social Valuesโ (pp. 1142โ1153). SUPSI, HSLU, swissdesignnetwork, 2021
Hug, D. (2020). How do you sound design? An exploratory investigation of sound design process visualizations. Proceedings of the 15th International Conference on Audio Mostly, 114โ121. https://doi.org/10.1145/3411109.3411144
Repenning, A., Zurmรผhle, J., Lamprou, A., & Hug, D.: Computational Music Thinking Patterns: Connecting Music Education with Computer Science Education through the Design of Interactive Notations. Proceedings of CSEDU 2020 - 12th International Conference on Computer Supported Education, 2020
Hug, D., Petralito, S., Hauser, S., Lamprou, A., Repenning, A., Bertschinger, D., Stรผber, N., Cslovjecsek, M.: Exploring Computational Music Thinking in a Workshop Setting with Primary and Secondary School Children, In: Proceedings of Audio Mostly 2017 - 12th Conference on Interaction with Sound, London, UK, 2017
Hug, D., Kemper, M., Panitz, K., Franinovic, K.: Sonic Playgrounds - Exploring Principles and tools for Outdoor Sonic Interaction, In: Proceedings of Audio Mostly 2016 - 11th Conference on Interaction with Sound, Norrkรถping, Sweden, 2016
Seibert, G., Hug, D., Cslovjecsek, M.: Towards an Enactive Swimming Sonification: Exploring Multisensory Design and Musical Interpretation, In: Proceedings of Audiomostly 2015, - 10th Conference on Interaction with Sound, Thessaloniki, ACM Press, S. 1โ8. 2015
Hug, D., Misdariis, N.: Towards a Conceptual Framework to Integrate Designerly and Scientific Sound Design Methods, In: Proceedings of Audio Mostly 2011 - 6th Conference on Interaction with Sound, Coimbra, Portugal, 2011
Hug, D.: Performativity in Design and Evaluation of Sounding Interactive Commodities, In: Proceedings of Audio Mostly 2010 - 5th Conference on Interaction with Sound, Pitea, Sweden, 2010
Delle Monache, S., Hug, D., Erkut, C.: Basic Exploration of Narration and Performativity for Sounding Interactive Commodities, In: Proceedings of 5th International Workshop on Haptic and Audio Interaction Design, Kopenhagen, Denmark, 2010
Pauletto, S., Hug, D., Barras, S., Luckhurst, M.: Integrating Theatrical Strategies into Sonic Interaction Design. In: Proceedings of Audiomostly 2009 - 4th Conference on Interaction with Sound, Glasgow, 2009
Hug, D.: Using a Systematic Design Process to Investigate Narrative Sound Design Strategies for Interactive Commodities. In: Proceedings of the 15th international Conference on Auditory Display, Copenhagen, Denmark, 2009
Hug, D.: Genie in a Bottle โ Object-Sound Reconfigurations for Interactive Commodities. In: Proceedings of Audio Mostly 2008 โ 3rd Conference on Interaction with Sound, Pitea, 2008
Hug, D.: Towards a Hermeneutics and Typology of Sound for Interactive Commodities. In: Proceedings of the CHI 2008 Workshop on Sonic Interaction Design, Florence, 2008
Franinovic, K., Hug, D., Visell, Y.: Sound Embodied: Explorations of Sonic Interaction Design for Everyday Objects in a Workshop Setting. In: Proceedings of the 13th International Conference on Auditory Display, Montreal, 2007
Short Conference Papers and Abstracts (peer reviewed)
Hug, D., Stรผber, N., Repenning, A., Cslovjecsek, M., Hauser, S., Agotai, D., Miyazaki, S., Escherle, N., Assaf, D.: Computational Music Thinking - Using End-User Programming to Explore Musical Creation in an STEAM-oriented Integrated Music Education Setting. In: Proceedings of ISME 2016, Glasgow, UK, 2016
Hug, D., Cslovjecsek, M.: A Critical, Design Driven Approach to New Interfaces for Music Education. In: Proceedings of RIME 2015, The 9th International Conference for Research in Music Education. Exeter, UK, 2015
Hug, D., Cslovjecsek, M.: CreaEduTool: Using a Multisensory Teaching Material to Facilitate Integrated Music Education Practices. In: Proceedings of the 31st World Conference of Music Education, Porto Alegre, 2014
Hug, D.: CreaEduTool: Entwicklung eines multisensorischen Lehr- und Lernmaterials fรผr den fรคcherรผbergreifenden Unterricht fรผr Kindergarten und Volksschule. Prรคsentiert am Forschungstag PH FHNW, Basel, 29.11.2013
Hug, D., Cslovjecsek, M., Kristiansen, P.M., Lungershausen, J., Lรผscher, B., Naef, G., Steiner, L.: CreaEduTool: Developing a Low-Tech, Interdisciplinary, Multisensory Teaching Material for Kindergarten and Elementary School. Poster, Prรคsentiert am Swiss Inter- and Transdisciplinary Day, Bern, 2013
Hug, D., Kemper, M.: From Foley to Function: A Sound-Driven, Explorative Design Process for Novel Interactions. Prรคsentiert an der ESSA 2013, 1st International Conference of the European Sound Studies Association, Berlin, 2013
Seibert, G., Hug, D.: Bringing Musicality to Movement Sonification. In: Proceedings of Audio Mostly 2013 โ 8th Conference on Interaction with Sound, Pitea, 2013
Hug, D., Cslovjecsek, M., Kristiansen, P. M., Lรผscher, B., Naef, G.: CreaEduTool: Developing a Low-Tech, Interdisciplinary, Multisensory Teaching Material for Kindergarten and Elementary School. In: Proceedings of RIME 2013: The 8th International Conference for Research in Music Education, Exeter, 2013
Hug, D.: Novel Touchscreen-Based Sound and Music Interfaces for Music Education: Exploring the Apps \"Karneval der Tiere\" and \"soundOscope\". In: Proceedings of the 21st EAS Conference, ISME European Regional Conference, Leuven, 2013
Hug, D, Cslovjecsek, M.: A Multisensory Interactive Storybook to Investigate Language Learning and Integrated Music Education. In: Proceedings of the 30th World Conference of Music Education, Thessaloniki, 2012
Hug, D.: Game Sound Education at ZHdK โ Between Research Laboratory and Experimental Education. In: Proceedings of Audio Mostly 2007 โ 2nd Conference on Interaction with Sound, Ilmenau, 2007","subtype":"tutor","canonicalPath":"dr-phil-daniel-hug-10329","photo":[{"type":"file","id":"e21fe5447469bbdcb56a42da6e3d9463e7f56041","attributes":{"id":"e21fe5447469bbdcb56a42da6e3d9463e7f56041","filename":"10329.jpg","mime_type":"image/jpeg","path":"live/e2/e21fe5447469bbdcb56a42da6e3d9463e7f56041","path_file":"live/e2/e21fe5447469bbdcb56a42da6e3d9463e7f56041/10329.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=10329","height":2874,"width":2299,"title":"Daniel Hug","alternativeText":"Daniel Hug","description":"Daniel Hug","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 > Tonmeister > Departement Musik","area":"Departement Musik","sub_areas":["Tonmeister"],"position":"Dozent"}}],"studies":[]},{"id":169722,"last_name":"Gerber","first_name":"Manuel","title":null,"affiliation":["tutor"],"teaching_summary":["Lehrt Linear Sound, Sound Design im Profil Tonmeister und in der Disziplin Film"],"music_subject":[{"name":"Linear Sound","qualification":null,"is_major_subject":false},{"name":"Sound Design","qualification":null,"is_major_subject":false}],"sex":"M","email":"znahry.treore@muqx.pu","website":"http://www.tonschliff.com","biography":"Manu Gerber ist Komponist, Sound Designer und Mischtonmeister fรผr Film, Theater und interaktive Medien. Er hat an der Hochschule fรผr Musik Basel Komposition, Orchestration und Elektroakustische Musik studiert und 2005 den Studiengang AUDIO DESIGN abgeschlossen.
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Daneben hat er รผber 3000 Werbespots fรผr TV und Kino vertont. 2015 gewann er den Edi.15 Award fรผr den Werbespot IHRE GRรNE STIMME, bei dem er fรผr Konzept, Musik, Schnitt und Regie verantwortlich zeichnete.
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Jakobs Ross (Katalin Gรถdrรถs, CH 2023)
Early Birds (Michael Steiner, CH 2023)
Becoming Giulia (Laura Kaehr, CH 2022)
Die goldenen Jahre (Barbara Kulcsar, CH 2022)
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Soul of a Beast (Lorenz Merz, CH 2021)
Moskau einfach! (Micha Lewinsky, CH 2020)
Wanda, mein Wunder (Bettina Oberli, CH 2020)
Die fruchtbaren Jahre sind vorbei (Natascha Beller, CH 2019)
Schรคcher (Flurin Giger, CH 2018)
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Blue My Mind (Lisa Brรผhlmann, Tellfilm, CH 2017)
Zwiespalt (Barbara Kulcsar, Plan B, CH 2017)
En La Boca (Matteo Gariglio, CH 2016)
Ruah (Flurin Giger, CH 2016)
Stille Reserven (Valentin Hitz, Freibeuterfilm, Dschoint Ventschr, D, CH 2016)
Clones (Rafael Bolliger, CH 2015)
Heimatland (Michael Krummenacher u.a., Contrast Film, CH 2015)
Stung (Benni Dietz, Rat Pack Filmproduktion, D 2014)
Architektur einer Familie (Maurizius Staerkle, Lichtblick Film, D, CH 2014)
Die Formel (Katrin Frey, CH 2014)
Twist (Peter Luisi, Patrick Karpiczenko, CH 2013)
Und morgen Mittag bin ich tot (Frederik Steiner, Heilrath Productions, D 2013)
Das Missen-Massaker (Michael Steiner, Constantin Film, CH 2012)
Dรฉposer les Enfants (Bettina Oberli, CH 2012)
Un Oncle dโAmรฉrique (Anna Luif, CH 2012)
Quartet (Dustin Hoffman, Headline Pictures, UK 2012)
Draussen ist Sommer (Friederike Jehn, ZGL, C-Films, D / CH 2012)
Moonstruck (Christoph Gabathuler, CH 2012)
Liebe und andere Unfรคlle (Tom Gerber, Langfilm AG, CH 2011)
Unknown (Jaume Collet-Serra, Dark Castle Entertainment, USA 2011)
Hanna (Joe Wright, Focus Features, USA 2011)
Silhouettes (Lars Knorrn, A Modern Love Productions, F 2011)
Zwischen Inseln (Maurzius Staerkle-Drux, MaxDrux, CH 2011)
Cargo (Ivan Engler, Atlantis Pictures, CH 2009)
Der letzte Schnee (Matthias Gรผnter, CH 2009)
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Die Musik von \"Translations\" folgt dem einzigartigen Stil und der Produktion des Komponisten. Sie bewegt sich flieรend zwischen akademischer Hochkultur und Underground-Klangpraktiken, wobei sie starre stilistische Grenzen ablehnt. Ihr persรถnlicher Ausdruck findet sich irgendwo zwischen zeitgenรถssischer Musik, Ambient, Filmmusik und elektronischem Minimalismus.Die Stรผcke von Translations schaffen unvollstรคndige, fragmentarische Landschaften, die durch das dynamische Zusammenspiel von akustischen und elektronischen Klรคngen entstehen. Der Klang der Instrumente wird durch elektronische Bearbeitung verstรคrkt und erweitert, wodurch die von den Musiker:innen bereitgestellte Klangpalette ergรคnzt wird und ambivalente Dialoge entstehen, in denen Echtzeitgesten und vorproduzierte aufgenommene Elemente zu neuen hybriden Formen verschmelzen. Der Klang wird wie ein formbares Material manipuliert und immer wieder neu gestaltet. Die Instrumentierung und das Arrangement des musikalischen Materials werden so behandelt, als wรคre das Ensemble die รbersetzung einer DAW-Session. Die Musiker:innen verhandeln ihren individuellen Ausdruck mit Materialien, die wie digitale Dateien konzipiert sind: Mechanische Wiederholungen, instabile oder statische Drones und stรคndige Verรคnderungen prรคgen die musikalischen Narrative der Stรผcke. Die Klangwelt, die dabei entsteht, ist ein stรคndiger รbersetzungsversuch zwischen diesen verschiedenen musikalischen Ausdrucksweisen. Er schliesst Unvollkommenheit, Widersprรผche und zufรคllige Entdeckungen mit ein und lรคsst sich dabei eher von elektronischen Musikproduktionstechniken als von traditioneller Instrumentalkomposition inspirieren.
Biographien:
Joan Jordi Oliver (Mallorca, 1994) ist ein spanischer Saxophonist, Komponist, Elektroniker und Kurator, der in Zรผrich lebt. Seine vielseitige musikalische Praxis verbindet Performance, Komposition, Improvisation und elektroakustische Elemente zu einem eklektischen und individuellen Ausdruck. Er erforscht stรคndig die Mรถglichkeiten seines Instruments und kombiniert akustische Elemente mit Synthesizerklรคngen und digitalen Prozessen. Seine Musik lehnt stilistische Grenzen ab und bewegt sich zwischen Ambient, Minimalismus, freier Improvisation, zeitgenรถssischer klassischer Musik und experimenteller Elektronik.
Oliver spielte in renommierten Konzertsรคlen wie der Elbphilharmonie in Hamburg und der Victoria Hall in Genf sowie in Underground-Locations wie dem ISSUE Project Room in New York und dem SuperDeluxe in Tokio. Er ist an mehreren Kollaborationen im Bereich der neuen und experimentellen Musik beteiligt und tritt hรคufig als Gastmusiker auf. Er arbeitet mit verschiedenen Ensembles an Projekten in der Schweiz und im Ausland. Als Produzent hat er zwei Alben mit elektronischer Ambientmusik verรถffentlicht: \"Enlaire\" (2021) und \"Transit\" (2022).
Er arbeitet international als freischaffender Musiker und unterrichtet elektronische Musik an verschiedenen Musikschulen. Diese pรคdagogische Tรคtigkeit profitiert von seiner Forschungstรคtigkeit am Institut for Computer Music and Sound Technology an der Zรผrcher Hochschule der Kรผnste. Ab 2024 รผbernimmt er die kรผnstlerische Leitung des Ensemble TaG in Winterthur.
Das Ensemble TaG Winterthur , 1992 gegrรผndet, engagiert sich von seinem Heimatort aus, dem Theater am Gleis in Winterthur, fรผr die Auftragsvergabe und Vermittlung von neuer Musik. Es kuratiert spannende Projekte, die die zahlreichen und sehr unterschiedlichen Facetten des zeitgenรถssischen Schaffens reprรคsentieren, und gestaltet Konzerterlebnisse, die attraktiv sind, die kรผnstlerischen Strรถmungen der internationalen Szene berรผcksichtigen und mit der lokalen und nationalen Gemeinschaft in Verbindung stehen. Es versucht, neue musikalische Ideen und kรผnstlerische Praktiken, die manchmal riskant oder herausfordernd sein kรถnnen, einem breiteren Publikum nรคher zu bringen und eine Brรผcke zwischen den Kunstschaffenden unserer Zeit und den Zuhรถrern zu schaffen.
Diese Mission wird nicht nur in Form von Konzerten, sondern auch in Format von Prรคsentationen, Gesprรคchen und gemeinsamen Projekten mit verschiedenen Institutionen umgesetzt, die dazu beitragen, sich der neuen Musik aus verschiedenen Perspektiven zu nรคhern. Das Ensemble TaG organisiert Veranstaltungen, die sich speziell an Kinder und Jugendliche richten, und arbeitet regelmรคssig mit Institutionen wie dem Konservatorium Winterthur oder der Zรผrcher Hochschule der Kรผnste zusammen, um die Ausbildung der jungen Generation von Komponist:innen unserer Gemeinde zu unterstรผtzen. Die Erkundung alternativer Konzertformate und die Zusammenarbeit mit Kรผnstler:innen aus verschiedenen Bereichen schaffen einzigartige Konstellationen, die รผber stilistische Grenzen und kรผnstlerische Disziplinen hinausgehen.
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Nuriya Khasenova, Flรถte
Antony Burkhard, Bassklarinette
รsak Rรญkharรฐsson, Violine
David Schnee, Viola
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Rafael Rรผtti, Klavier
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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. 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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"},"relationships":{"sticky_news":[]}},{"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"},"relationships":{"sticky_news":[]}},{"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.
\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
","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 "},"relationships":{"sticky_news":[]}},{"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. 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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. "},"relationships":{"sticky_news":[]}},{"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."},"relationships":{"sticky_news":[]}},{"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."},"relationships":{"sticky_news":[]}},{"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."},"relationships":{"sticky_news":[]}},{"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. 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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."},"relationships":{"sticky_news":[]}},{"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. 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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"},"relationships":{"sticky_news":[]}},{"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:
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- Stilgerechte Ausfรผhrung von Chormusik verschiedener Epochen
- Arbeit an ausgewogenem Ensembleklang
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- 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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Zรผrich"]}},"relationships":{"contents":{"data":[{"type":"content","id":103394,"attributes":{"uid":103394,"pid":11818,"tstamp":123,"hidden":0,"sorting":2,"CType":"standard_content","header":"Head of programme","bodytext":"Felix Baumann
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