Music Physiology courses

Compulsory courses in the Bachelor’s degree

In consultation with the lecturers and depending on group size, all compulsory courses in the Bachelor’s degree can also be attended by Master’s students who have not completed their Bachelor’s degree in Zurich.
The compulsory Music Physiology subjects of Learning Strategies and Brain Physiology and Body Awareness as well as Body Training for Singers (basic courses and Dispokinesis, pelvic floor training, fascia training, psychophysiological audition training) for students enrolled in the Singing programme are also an established part of the study curriculum.

    • Perception training to better understand your own physical behaviour on the instrument and in everyday life and develop dynamic body alignment from head to toe
    • Acquisition of basic anatomical knowledge
    • Early detection of instrument-specific complaints and prevention of overload symptoms with exercises
    • Ergonomics on the instrument and in the workplace (computer, orchestra) in a seated and standing position
    • Development of an individually tailored exercise programme for stability, flexibility, coordination, condition and strength

  • The fundamentals of brain physiology most essential to learning in the music profession are developed. The aspects selected are related to the practical concerns of practising and performing, and reflect the current state of research on learning, memory, and presentation to an audience. Motor learning, mental training forms and various concentration techniques play a key role. The interaction of sensory and psychomotor skills with posture, breathing, movement, and coordination is first explored from a developmental neurological perspective, and then followed up with practical exercises suitable for the daily realities of your profession. The effectiveness of this form of teaching was positively evaluated in a scientific study in 2003.

  • Continuous group teaching over six Bachelor of Arts semesters. Perception training and basic work on breathing and breathing mechanics, posture and movement, coordination, and flexibility of body structures in relation to voice and singing requirements. The basics of Dispokinesis, pelvic floor training, fascia training and psychophysiological audition training are also taught within this framework. (In consultation with the teaching team and the Head of the Bachelor of Arts programme, it may be possible to participate as a guest).

Elective courses in the Bachelor’s and Master’s degree programmes

All semester courses can be attended by all Bachelor’s and Master’s students or are accessible through one of the minors, for example Music Physiology – basic.

  • This course provides an overview of the uses of mental training for music students at all performance levels. Mental training has become increasingly important in instrumental and vocal teaching. In addition to simple techniques for consolidating and clarifying musical-technical processes, exercises are taught for perceiving and perfecting motor, emotional and cognitive resources. The skilled control of attention plays a key role and helps musicians to deal with stage situations constructively. The course is recommended as preparation for and as a supplement to the course in psychophysiological audition training with Horst Hildebrandt.

  • Important current aspects from science and medicine are taught in easy-to-understand language for musical-artistic and educational work. This includes a clear introduction to functional anatomy and physiology as well as ergonomics and the different forms of therapy for musicians. In the second hour of each course, instrumental and stage-related exercises from independently applicable forms of teaching and therapy such as Dispokinesis are developed. These include posture, movement, breathing, coordination, flow concepts, learning and stage skills.
    In the second semesters of each course, the influences of verbal and non-verbal communication patterns on sensory and psychomotor functions are explored. During the development of physiologically based instruction styles, the focus is on the quality characteristics of (self-)instruction with regards to new action patterns to be learned or corrected. The effectiveness of both parts of the teaching offering for lecturers and their students has been positively evaluated in scientific studies at ZHdK.

  • In an explicitly constructive atmosphere, we build up a repertoire of solutions to the problems that may arise in an audition situation. This includes dealing with stage fright and its consequences, such as difficulty expressing yourself, trembling, sweating, breathing blocks, stress, blackouts, etc. Psychophysiology-based stage directions and exercises which have proven successful in concerts, exams and auditions are worked through directly on the respective instrument. In this way, competent stage behaviour and realistic self-assessment (with video if required) are learned during practice performances with applause and bowing, etc. Particular focus is placed on various learning techniques such as mental training and flow concepts. You may also bring along semi-rehearsed pieces, individual passages, audition pieces and chamber music works to the course.

  • Preparation for all orchestral instrumentalists for auditions and their simulation – with a focus on a constructive mental attitude, an appropriate body disposition and breathing. Solution-oriented elements of embodiment-based coaching and stress management as well as mental training are applied in the context of psychophysiological audition training (H. Hildebrandt and the Music Physiology team). Accompaniment is available and video feedback can be used if required.

  • Building on the compulsory first-year Bachelor of Arts course Learning Strategies and Brain Physiology 1, this course will be offered as an elective semester course for all degree programmes from the 2024/2025 academic year. It will enable practical application of the range of rehearsal techniques currently recommended by research, which can only be presented in overview form in the first academic year, in instrument and voice-specific small groups. The practice techniques can be grouped into the following categories: distributive/varied practice vs. blocked/massed practice, random practice and success on the first attempt, rehearsing with rotating attention, differential practice techniques, semi-mental training techniques, full mental training techniques, high-intensity training and interval training, use of learning enhancements, “desirable difficulties”, context interference principles, automation techniques, memorization and memory training techniques. This will result in more than 100 practice variations, which will be developed by students in variable groups and supervised via video recordings and in small group teams.

  • Building on the compulsory first-year Bachelor of Arts Body Awareness and Education 1 course, this course will be offered as an elective semester course for all degree programmes from the 2024/2025 academic year. It will provide summary updates on the areas of: perception training, warm-up and cool-down/slow-down, recovery after stress, dynamic body alignment from head to toe, building up and using the breathing and support muscles, shoulder, arm and hand coordination, alignment in space in “indoor spaces-outdoor spaces”, and basic anatomical knowledge related to an individually appropriate playing or singing positions.

  • In the Bachelor’s and Master’s degree programmes, a minor in Music Physiology is also possible with one of the music physiology lecturers after consultation with the Head of Programme.

Further elective courses in the Bachelor’s and Master’s degree programmes

All semester courses can be attended by all Bachelor’s and Master’s students or are accessible through one of the minors. There are a range of body-oriented courses available in the elective section under the heading Music Physiology/Body Training/Body Awareness and Health Promotion, which are designed to improve awareness of the finely controlled movement and breathing processes and the health aspects of the profession. Depending on the subject and particular music education focus of the lecturers, a connection can be made to the individual instrumental or singing technique.

Members of the Body Training and Health Promotion Working Group:

The following brief descriptions of the available courses have been compiled from the original texts of the respective course descriptions in the course catalogue.

  • Sensitivity training for the body in which we learn about our movement habits and explore/find alternatives so that our movements (including on the instrument) become lighter, more supple, and more powerful to compensate for those parts of the body which are under heavy strain (during practice). The idea is to move from “doing” towards “feeling”, which trains our sensory system. A sense of physical calmness and inner alertness develops, allowing us to feel the internal impulses for action again. Sound, i.e. its oscillations and vibration, can be experienced more deeply this way as well. The course is intended for anyone who wants to discover new ways to move, find it easier to sit and stand, and feel comfortable with what they are doing. It provides an insight into the method (there is also the option to take a single 30-minute lesson) and is a good introduction for those who would like to take Feldenkrais as a minor.

  • Strengthening, flexibility, concentration, and posture. Nineteen-step form by Chen Xiao Wang of the Chen family. Preparatory qigong breathing and movement exercises and learning a form of this ancient Chinese healing art refine our perception of movement processes, tension and relaxation, breathing and energy flow, space and presence. They support our specialized, challenging work and enable inner calm when things are difficult. Master Chen Xiao Wang and his son, Chen Jun, visit Switzerland two to four times a year. It is possible to continue learning these and other forms of the Chen style with his students.

  • Alexander Technique with influences of the GYROTONIC® method for musicians. What makes us present when we perform, make music, practise, and teach? How can we perceive ourselves and at the same time reach an audience? How do we achieve a basic tone in our body which makes us capable of action and reaction? How do we deepen our breathing? How do we use our body efficiently? How do we prevent bad posture and injuries? This course is intended for all musicians who like to move or would like to discover the joy of movement. Based on the Alexander Technique and the GYROTONIC® method, this course offers:

    • Perception training at a physical and mental level to increase presence and efficiency when performing and practising
    • Movement sequences to achieve balanced body tension
    • The most important anatomical basics for making music and singing, made tangible in practical exercises (function and mobility of the spine, the extremities and their joints, breathing)
    • Training in body awareness, coordination, body alignment and spatial perception

  • The Spiraldynamik® concept is a “3D instruction manual for the body”. Body awareness and movement learning, concentration and movement, flowing and differentiating as well as a playful, efficient teaching approach help musicians to use their body according to its blueprint. This course focuses on optimally preparing the whole body to move, become coordinated, stronger and more resilient when playing an instrument or singing. With this movement concept, we learn to use our body harmoniously, precisely and purposefully in everyday life when singing or playing. In the process, we will train our “body’s eye” to find the weak points in our bodies and intensively loosen, stretch or strengthen them using Spiraldynamik® as needed. Easy movement sequences will also be used later to offset one-sided practising.

  • Qigong is a collective term for varied, holistic exercise methods and groups with simple, calm movement sequences that have been developed and practised in China for thousands of years. Qigong facilitates a nuanced perception and the ability to control your body with various groups of exercises: morning and waking exercises, Emei stretching exercises, the Wu Ji stance/posture (stand, breathe, focus), Zhan Zhuang, standing/sitting with your instrument and flowing movements derived from this; from the second half of the course, we practise the eight brocade exercises, the traditional Baduanjin. All the exercises are learnt relatively quickly in a few weeks. The external, muscular and relaxing effects are immediately apparent. The quality of the internal energetic effect of the exercises intensifies after a few months. Qigong effects and promotes calm and full deep breathing, relaxes the shoulder and neck area, and strengthens the leg and pelvic region. The exercises make it possible to develop meaningful body tension and elasticity between the core, legs and arms. The subtle, dynamic uprightness in the perpendicular stimulates the sense of balance. Qigong activates the body circulation, harmonizes the meridians, and nurtures and increases vital energy (Qi). It teaches you how to achieve a sense of alert, relaxed concentration, and deepens your perception of your internal body map. Moreover, qigong offers interesting, individualized approaches to solve playing and sound problems. The qigong course can also be attended over several spring semesters. In fine, warm weather, it is held on the roof terrace.

  • Minor-level individual tuition is possible in the subjects outlined here in the Bachelor’s and Master’s programmes by arrangement with the Head of Programme.

ASVZ – Academic Sports Association Zurich

In terms of health promotion, students are still recommended to use the fitness training and diverse sports and exercise courses offered by the ASVZ. The following are currently available in the university building (Toni Campus): yoga, Pilates, Stretch & Relax and seven different fitness courses. In the Zurich area, a total of around 120 sport and exercise courses are available through the ASVZ.