Course content.
In this minor, you take part in collaborative projects offered by the department – or you apply with your own project idea, the core idea of which is collaboration. Styles and formats are basically free, but integration into the possibilities of the department must be guaranteed. You will work on the project in intensive rehearsals, mentoring sessions and regular lessons. The results lead to independent presentations or to participation in ZHdK projects, in concerts by ZHdK partners or in Open Chamber Music Sessions.
The minor in German and English is offered by the profile Interpretation & Performance. It is aimed at the Bachelor’s and Master’s degree levels.
In 2024 you can choose between four different profiles within the minor: 1. individual project, 2. chamber music, 3. contemporary ensemble and 4. music theatre.
Skills acquired in the course.
Project and repertoire planning, efficient rehearsal work, conceptualisation, reflection, creative interaction, collaborative creation, teamwork, social and communicative aspects of collaborative work – spurred on by the demands of a convincing artistic result.
Admissions requirements.
The minor is aimed at individual musicians or ensembles who would like to specialize in musical collaboration to complement the major programme.
Social competence, critical faculties, the ability to work under pressure and enjoyment of playing together are essential for completing the programme.
Benefits of studying at ZHdK.
Studying at an integrated university of the arts offers numerous opportunities for musical cooperation. The faculty of the ZHdK has excellent and experienced personalities in the areas of orchestral conducting, accompaniment, role study and chamber music. Regular supervision and many opportunities to make music together with the faculty create an environment that can also be understood as collaborative in itself. The high calibre of the numerous fellow students in a wide range of instrumental and vocal majors provides ideal, sustainable networking opportunities.
Time structure.
The Minor in Collaborative Music Practice uses different time structures depending on the profile.
— Project: The project follows its own logic and is not bound to general time structures.
— Chamber music: Chamber music lessons take place continuously during the semester, depending on repertoire development and objectives. During the minor weeks, there are also masterclasses, open chamber music sessions with lecturers and recital evenings.
— Contemporary ensemble: All three ensembles of the minor (Ensemble for New Music, Improvisation Ensemble and Studio Ensemble) work during the semester in coordination with the majors Contemporary Music and Composition for Film, Theatre and Media. The Ensemble for New Music and the Improvisation Ensemble also meet during the block weeks of the minor to present themselves to the public.
— Music theatre: As part of the modules \"Werkstatt Musiktheater\", \"Gesang und Darstellung\", \"Szenischer Liederabend\" (only for the year 2024/2025) and \"Musiktheaterkreation mit Kompositionsstudierenden\" (only for the year 2024/2025), the basics are developed during the semester. During the semester, students can also choose the courses of the Music Drama Basic Training module (Practice acting-singing, Practice singing-acting, workshops as part of Practice moving) individually as basic courses. Various performances (Scenic song recital, Music theatre creation with composition students and possibly a smaller music theatre production) are planned during the minor block weeks and in the spring semester.
→ 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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In diesem Minor nimmst du teil an gemeinschaftlichen Projekten, die das Departement anbietet – oder du bewirbst dich mit einer eigenen Projektidee, zu deren Kerngedanke die Kollaboration gehört. Stile und Formate sind grundsätzlich frei, die Einbindung in die Möglichkeiten des Departements muss gewährleistet sein. Gearbeitet wird projektadäquat in Intensivproben, Mentoraten und in regelmässigem Unterricht. Die Ergebnisse führen zu eigenständigen Präsentationen oder zur Mitwirkung bei ZHdK-Projekten, bei Konzerten von ZHdK-Partner:innen oder bei Open Chamber Music Sessions. Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master. 2024 hast du die Wahl zwischen vier unterschiedliche Profilierungen innerhalb des Minors: 1. Individuelles Projekt, 2. Kammermusik, 3. Zeitgenössisches Ensemble sowie 4. Musiktheater. Diese Kompetenzen erlernst du. Projekt- und Repertoireplanung, effiziente Probenarbeit, Konzipierung, Reflexion, kreative Interaktion, kollaborative Kreation, Teamarbeit, soziale und kommunikative Aspekte der kollaborativen Arbeit – angespornt durch die Ansprüche an ein überzeugendes künstlerisches Resultat. Diese Voraussetzungen bringst du mit. Der Minor richtet sich an Einzelmusiker:innen oder feste Ensembles, die sich in Ergänzung zum Major-Programm in der musikalischen Zusammenarbeit spezialisieren möchten. Soziale Kompetenz, Kritikfähigkeit, Belastbarkeit und Freude am Zusammenspiel sind essenziell, um das Programm absolvieren zu können. Von diesen Besonderheiten profitierst du. Das Studium an einer integrierten Kunsthochschule bietet zahlreiche Möglichkeiten musikalischer Kooperation. Der Lehrkörper der ZHdK verfügt in den Bereichen Orchesterleitung, Korrepetition, Partienstudium und Kammermusik über ausgezeichnete und erfahrene Persönlichkeiten. Regelmässige Betreuung und mannigfaltige Gelegenheiten, zusammen mit dem Lehrkörper zu musizieren, schaffen ein Umfeld, das an sich auch kollaborativ zu verstehen ist. Das hohe Niveau der zahlreichen Mitstudierenden in einem breiten Spektrum der instrumentalen und vokalen Majors bietet ideale, nachhaltige Vernetzungsmöglichkeiten. Zeitstruktur. Der Minor in Collaborative Music Practice beansprucht je nach Profil unterschiedliche Zeitstrukturen: — Projekt: Das Projekt folgt einer eigenen Logik und ist zeitlich nicht an allgemeine Zeitstrukturen gebunden. — Kammermusik: Der Kammermusikunterricht findet kontinuierlich während des Semesters statt, je nach Repertoireaufbau und Zielsetzung. In den Minorwochen finden zusätzlich Meisterkurse, Offene Kammermusik mit Dozierenden sowie Vortragsabende statt. — Zeitgenössisches Ensemble: Alle drei Ensembles des Minors (Ensemble für Neue Musik, Improvisationsensemble und Studioensemble) arbeiten während des Semesters in Abstimmung mit den Majors Contemporary Music und Komposition für Film, Theater und Medien. Das Ensemble für Neue Musik und das Improvisationsensemble treffen sich zusätzlich in den Blockwochen des Minors, um sich der Öffentlichkeit zu präsentieren. — Musiktheater: Im Rahmen der Module \"Werkstatt Musiktheater\", \"Gesang und Darstellung\", \"Szenischer Liederabend\" (nur HS24) und \"Musiktheaterkreation mit Kompositionsstudierenden\" (nur HS24) werden während dem Semester Grundlagen erarbeitet. Studierenden können zudem während dem Semester die Lehrveranstaltungen des Moduls Musikdramatische Grundausbildung (Practice acting-singing, Practice singing-acting, Workshops im Rahmen von Practice moving) einzeln als Grundlagenkurse wählen. In den Minor Blockwochen sowie im Frühlingssemester sind verschieden Aufführungen (\"Szenischer Liederabend\", \"Musiktheaterkreation mit Kompositionsstudierenden\" sowie allenfalls eine kleinere Musiktheaterproduktion) geplant. → Mehr zu diesem Minor (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
In diesem Minor nimmst du teil an gemeinschaftlichen Projekten, die das Departement anbietet – oder du bewirbst dich mit einer eigenen Projektidee, zu deren Kerngedanke die Kollaboration gehört. Stile und Formate sind grundsätzlich frei, die Einbindung in die Möglichkeiten des Departements muss gewährleistet sein. Gearbeitet wird projektadäquat in Intensivproben, Mentoraten und in regelmässigem Unterricht. Die Ergebnisse führen zu eigenständigen Präsentationen oder zur Mitwirkung bei ZHdK-Projekten, bei Konzerten von ZHdK-Partner:innen oder bei Open Chamber Music Sessions.
Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
2024 hast du die Wahl zwischen vier unterschiedliche Profilierungen innerhalb des Minors: 1. Individuelles Projekt, 2. Kammermusik, 3. Zeitgenössisches Ensemble sowie 4. Musiktheater.
Diese Kompetenzen erlernst du.
Projekt- und Repertoireplanung, effiziente Probenarbeit, Konzipierung, Reflexion, kreative Interaktion, kollaborative Kreation, Teamarbeit, soziale und kommunikative Aspekte der kollaborativen Arbeit – angespornt durch die Ansprüche an ein überzeugendes künstlerisches Resultat.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an Einzelmusiker:innen oder feste Ensembles, die sich in Ergänzung zum Major-Programm in der musikalischen Zusammenarbeit spezialisieren möchten.
Soziale Kompetenz, Kritikfähigkeit, Belastbarkeit und Freude am Zusammenspiel sind essenziell, um das Programm absolvieren zu können.
Von diesen Besonderheiten profitierst du.
Das Studium an einer integrierten Kunsthochschule bietet zahlreiche Möglichkeiten musikalischer Kooperation. Der Lehrkörper der ZHdK verfügt in den Bereichen Orchesterleitung, Korrepetition, Partienstudium und Kammermusik über ausgezeichnete und erfahrene Persönlichkeiten. Regelmässige Betreuung und mannigfaltige Gelegenheiten, zusammen mit dem Lehrkörper zu musizieren, schaffen ein Umfeld, das an sich auch kollaborativ zu verstehen ist. Das hohe Niveau der zahlreichen Mitstudierenden in einem breiten Spektrum der instrumentalen und vokalen Majors bietet ideale, nachhaltige Vernetzungsmöglichkeiten.
Zeitstruktur.
Der Minor in Collaborative Music Practice beansprucht je nach Profil unterschiedliche Zeitstrukturen:
— Projekt: Das Projekt folgt einer eigenen Logik und ist zeitlich nicht an allgemeine Zeitstrukturen gebunden.
— Kammermusik: Der Kammermusikunterricht findet kontinuierlich während des Semesters statt, je nach Repertoireaufbau und Zielsetzung. In den Minorwochen finden zusätzlich Meisterkurse, Offene Kammermusik mit Dozierenden sowie Vortragsabende statt.
— Zeitgenössisches Ensemble: Alle drei Ensembles des Minors (Ensemble für Neue Musik, Improvisationsensemble und Studioensemble) arbeiten während des Semesters in Abstimmung mit den Majors Contemporary Music und Komposition für Film, Theater und Medien. Das Ensemble für Neue Musik und das Improvisationsensemble treffen sich zusätzlich in den Blockwochen des Minors, um sich der Öffentlichkeit zu präsentieren.
— Musiktheater: Im Rahmen der Module \"Werkstatt Musiktheater\", \"Gesang und Darstellung\", \"Szenischer Liederabend\" (nur HS24) und \"Musiktheaterkreation mit Kompositionsstudierenden\" (nur HS24) werden während dem Semester Grundlagen erarbeitet. Studierenden können zudem während dem Semester die Lehrveranstaltungen des Moduls Musikdramatische Grundausbildung (Practice acting-singing, Practice singing-acting, Workshops im Rahmen von Practice moving) einzeln als Grundlagenkurse wählen. In den Minor Blockwochen sowie im Frühlingssemester sind verschieden Aufführungen (\"Szenischer Liederabend\", \"Musiktheaterkreation mit Kompositionsstudierenden\" sowie allenfalls eine kleinere Musiktheaterproduktion) geplant.
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Der Minor «Historical Performance Practice» vertieft die aus dem Major stammenden Grundlagen der Interpretation historischer Musik auf historischen Instrumenten bzw. im Gesang. Dabei spielen Aspekte wie Artikulation, Phrasierung und Verzierung genauso eine Rolle wie die stilistische Differenzierung nach Periode und Region. Studierende erhalten Einzelunterricht auf Variantinstrumenten oder in Gesang, Grundlagenkurse zu den Aspekten der historisch fundierten Interpretation und Aufführung von Musik (ab Barock bis Romantik) sowie Ensemblepraxis. Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Absolvent:innen verfügen über die wichtigsten Kenntnisse zu spezifischen historischen Quellen, unterschiedlichen Stilen und Spielpraktiken und können diese in der Praxis anwenden. Durch die Beschäftigung mit den Grundlagen der historischen Aufführungspraxis können sie selbstständig interpretatorische Entscheidungen treffen. Sie sind in der Lage, sich im Solo- und Ensemblerepertoire des 17. bis 19. Jahrhunderts historisch informiert und differenziert auszudrücken. Diese Voraussetzungen bringst du mit. «Historical Performance Practice» empfiehlt sich für Studierende mit einem praktischen Bezug zur Musik vor 1900 und einem spezifisch theoretisch-historischen Interesse. Die vorgängige Beherrschung eines historischen Instrumentes ist nicht zwangsläufig notwendig, das Interesse daran wird aber erwartet. Der Minor empfiehlt sich für Studierende mit einem Major aus den Fachgruppen Blechblasinstrumente, Gesang, Holzblasinstrumente, Saiteninstrumente sowie Tasteninstrumente und aus den Studiengängen Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Von diesen Besonderheiten profitierst du. Die ZHdK deckt im Bereich der Historischen Aufführungspraxis mit zahlreichen Instrumental- und Gesangspezialist:innen, Musiktheoretiker:innen und Forscher:innen ein grosses inhaltliches Spektrum ab. Die Beschäftigung mit alter Musik spielt sich in einem modernen künstlerischen Umfeld ab und führt zu einem erweiterten interdisziplinären Verständnis. Zeitstruktur. Der Minor beansprucht verschiedene Zeitstrukturen: — Einzelunterricht (historisches Instrument): ist nicht an allgemeine Zeitstrukturen gebunden. — Praktikum Ensemble / Praktikum Kammermusik / Workshop / Meisterkurse: Die Praktika finden kontinuierlich während des Semesters und/oder während der Minorwochen je nach Repertoireaufbau, Projekt und Zielsetzung statt. In den Minorwochen finden zusätzlich Meisterkurse, Workshops, Praktika mit Dozierenden statt. Vortragsabende finden im Semester und in den Minorwochen statt. — Historische Aufführungspraxis: Die im Major angesiedelten Lektionen finden voraussichtlich am Montagvormittag statt. — Verzierungslehre, Historische Improvisation, Harmonielehre/Generalbass, instrumentenspezifische Quellenkunde, Werkstätten: finden kursorisch und zu den Minorzeiten, an Abenden und Freitagnachmittagen statt. → Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","",""],"text_en":["","Course content. The Minor “Historical Performance Practice” deepens the fundamentals of the interpretation of historical music on historical instruments or in singing that originate from the Major. Aspects such as articulation, phrasing and ornamentation play just as important a role as stylistic differentiation by period and region. Students receive individual lessons on variant instruments or in singing, basic courses on the aspects of historically informed interpretation and performance of music (from Baroque to Romantic) as well as ensemble practice. The minor in German and English is offered by the profile Interpretation & Performance. It is aimed at the Bachelor’s and Master’s degree levels. Skills acquired in the course. Graduates are well versed in specific historical sources, different styles and playing practices and can apply these in practice. By dealing with the basics of historical performance practice, they are able to make independent interpretative decisions. They are able to express themselves in a historically informed and differentiated manner on the solo and ensemble repertoire of the 17th to 19th centuries. Admissions requirements. “Historical Performance Practice” is recommended for students with a practical connection to music before 1900 and a specific theoretical-historical interest. Prior mastery of a historical instrument is not necessarily required, but interest in it is expected. The minor is recommended for students with a major in brass instruments, voice, woodwind instruments, string instruments and keyboard instruments and from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master Specialized Music Performance degree programmes. Benefits of studying at ZHdK. With its numerous instrumental and vocal specialists, music theorists and researchers, the ZHdK covers a broad spectrum in the field of historical performance practice. The study of early music takes place in a modern artistic environment and leads to a broader interdisciplinary understanding. Time structure. The Minor requires different time structures: — Individual lessons (historical instrument): are not bound to general time structures. — Ensemble internship / chamber music internship / workshop / masterclasses: The ensemble/chamber music internship takes place continuously during the semester and/or during the minor weeks, depending on the repertoire structure, project and objectives. During the minor weeks, master classes, workshops and practical ensemble/chamber music courses are also held with lecturers. 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They are able to express themselves in a historically informed and differentiated manner on the solo and ensemble repertoire of the 17th to 19th centuries. Admissions requirements. “Historical Performance Practice” is recommended for students with a practical connection to music before 1900 and a specific theoretical-historical interest. Prior mastery of a historical instrument is not necessarily required, but interest in it is expected. The minor is recommended for students with a major in brass instruments, voice, woodwind instruments, string instruments and keyboard instruments and from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master Specialized Music Performance degree programmes. Benefits of studying at ZHdK. With its numerous instrumental and vocal specialists, music theorists and researchers, the ZHdK covers a broad spectrum in the field of historical performance practice. The study of early music takes place in a modern artistic environment and leads to a broader interdisciplinary understanding. Time structure. The Minor requires different time structures: — Individual lessons (historical instrument): are not bound to general time structures. — Ensemble internship / chamber music internship / workshop / masterclasses: The ensemble/chamber music internship takes place continuously during the semester and/or during the minor weeks, depending on the repertoire structure, project and objectives. During the minor weeks, master classes, workshops and practical ensemble/chamber music courses are also held with lecturers. Recital evenings take place during the semester and in the minor weeks. — Historical performance practice: The lesson is a part of the major and is expected to take place on Monday mornings. — Ornamentation theory, historical improvisation, harmony theory/general bass, instrument-specific source studies, workshops: take place cursorily and during the minor periods, evenings and Friday afternoons. → More information about this minor (PDF download)","hidden":0,"CType":"standard_content","bodytext":"Course content.
The Minor “Historical Performance Practice” deepens the fundamentals of the interpretation of historical music on historical instruments or in singing that originate from the Major. Aspects such as articulation, phrasing and ornamentation play just as important a role as stylistic differentiation by period and region. Students receive individual lessons on variant instruments or in singing, basic courses on the aspects of historically informed interpretation and performance of music (from Baroque to Romantic) as well as ensemble practice.
The minor in German and English is offered by the profile Interpretation & Performance. It is aimed at the Bachelor’s and Master’s degree levels.
Skills acquired in the course.
Graduates are well versed in specific historical sources, different styles and playing practices and can apply these in practice.
By dealing with the basics of historical performance practice, they are able to make independent interpretative decisions. They are able to express themselves in a historically informed and differentiated manner on the solo and ensemble repertoire of the 17th to 19th centuries.
Admissions requirements.
“Historical Performance Practice” is recommended for students with a practical connection to music before 1900 and a specific theoretical-historical interest. Prior mastery of a historical instrument is not necessarily required, but interest in it is expected. The minor is recommended for students with a major in brass instruments, voice, woodwind instruments, string instruments and keyboard instruments and from the Bachelor Music, Master Music Pedagogy, Master Music Performance and Master Specialized Music Performance degree programmes.
Benefits of studying at ZHdK.
With its numerous instrumental and vocal specialists, music theorists and researchers, the ZHdK covers a broad spectrum in the field of historical performance practice. The study of early music takes place in a modern artistic environment and leads to a broader interdisciplinary understanding.
Time structure.
The Minor requires different time structures:
— Individual lessons (historical instrument):
are not bound to general time structures.
— Ensemble internship / chamber music internship / workshop / masterclasses:
The ensemble/chamber music internship takes place continuously during the semester and/or during the minor weeks, depending on the repertoire structure, project and objectives. During the minor weeks, master classes, workshops and practical ensemble/chamber music courses are also held with lecturers. Recital evenings take place during the semester and in the minor weeks.
— Historical performance practice:
The lesson is a part of the major and is expected to take place on Monday mornings.
— Ornamentation theory, historical improvisation, harmony theory/general bass, instrument-specific source studies, workshops:
take place cursorily and during the minor periods, evenings and Friday afternoons.
→ 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 «Historical Performance Practice» vertieft die aus dem Major stammenden Grundlagen der Interpretation historischer Musik auf historischen Instrumenten bzw. im Gesang. Dabei spielen Aspekte wie Artikulation, Phrasierung und Verzierung genauso eine Rolle wie die stilistische Differenzierung nach Periode und Region. Studierende erhalten Einzelunterricht auf Variantinstrumenten oder in Gesang, Grundlagenkurse zu den Aspekten der historisch fundierten Interpretation und Aufführung von Musik (ab Barock bis Romantik) sowie Ensemblepraxis. Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Absolvent:innen verfügen über die wichtigsten Kenntnisse zu spezifischen historischen Quellen, unterschiedlichen Stilen und Spielpraktiken und können diese in der Praxis anwenden. Durch die Beschäftigung mit den Grundlagen der historischen Aufführungspraxis können sie selbstständig interpretatorische Entscheidungen treffen. Sie sind in der Lage, sich im Solo- und Ensemblerepertoire des 17. bis 19. Jahrhunderts historisch informiert und differenziert auszudrücken. Diese Voraussetzungen bringst du mit. «Historical Performance Practice» empfiehlt sich für Studierende mit einem praktischen Bezug zur Musik vor 1900 und einem spezifisch theoretisch-historischen Interesse. Die vorgängige Beherrschung eines historischen Instrumentes ist nicht zwangsläufig notwendig, das Interesse daran wird aber erwartet. Der Minor empfiehlt sich für Studierende mit einem Major aus den Fachgruppen Blechblasinstrumente, Gesang, Holzblasinstrumente, Saiteninstrumente sowie Tasteninstrumente und aus den Studiengängen Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Von diesen Besonderheiten profitierst du. Die ZHdK deckt im Bereich der Historischen Aufführungspraxis mit zahlreichen Instrumental- und Gesangspezialist:innen, Musiktheoretiker:innen und Forscher:innen ein grosses inhaltliches Spektrum ab. Die Beschäftigung mit alter Musik spielt sich in einem modernen künstlerischen Umfeld ab und führt zu einem erweiterten interdisziplinären Verständnis. Zeitstruktur. Der Minor beansprucht verschiedene Zeitstrukturen: — Einzelunterricht (historisches Instrument): ist nicht an allgemeine Zeitstrukturen gebunden. — Praktikum Ensemble / Praktikum Kammermusik / Workshop / Meisterkurse: Die Praktika finden kontinuierlich während des Semesters und/oder während der Minorwochen je nach Repertoireaufbau, Projekt und Zielsetzung statt. In den Minorwochen finden zusätzlich Meisterkurse, Workshops, Praktika mit Dozierenden statt. Vortragsabende finden im Semester und in den Minorwochen statt. — Historische Aufführungspraxis: Die im Major angesiedelten Lektionen finden voraussichtlich am Montagvormittag statt. — Verzierungslehre, Historische Improvisation, Harmonielehre/Generalbass, instrumentenspezifische Quellenkunde, Werkstätten: finden kursorisch und zu den Minorzeiten, an Abenden und Freitagnachmittagen statt. → Mehr zu diesem Minor (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
Der Minor «Historical Performance Practice» vertieft die aus dem Major stammenden Grundlagen der Interpretation historischer Musik auf historischen Instrumenten bzw. im Gesang. Dabei spielen Aspekte wie Artikulation, Phrasierung und Verzierung genauso eine Rolle wie die stilistische Differenzierung nach Periode und Region. Studierende erhalten Einzelunterricht auf Variantinstrumenten oder in Gesang, Grundlagenkurse zu den Aspekten der historisch fundierten Interpretation und Aufführung von Musik (ab Barock bis Romantik) sowie Ensemblepraxis.
Der Minor in Deutsch und Englisch wird vom Profil Interpretation and Performance angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Absolvent:innen verfügen über die wichtigsten Kenntnisse zu spezifischen historischen Quellen, unterschiedlichen Stilen und Spielpraktiken und können diese in der Praxis anwenden.
Durch die Beschäftigung mit den Grundlagen der historischen Aufführungspraxis können sie selbstständig interpretatorische Entscheidungen treffen. Sie sind in der Lage, sich im Solo- und Ensemblerepertoire des 17. bis 19. Jahrhunderts historisch informiert und differenziert auszudrücken.
Diese Voraussetzungen bringst du mit.
«Historical Performance Practice» empfiehlt sich für Studierende mit einem praktischen Bezug zur Musik vor 1900 und einem spezifisch theoretisch-historischen Interesse. Die vorgängige Beherrschung eines historischen Instrumentes ist nicht zwangsläufig notwendig, das Interesse daran wird aber erwartet. Der Minor empfiehlt sich für Studierende mit einem Major aus den Fachgruppen Blechblasinstrumente, Gesang, Holzblasinstrumente, Saiteninstrumente sowie Tasteninstrumente und aus den Studiengängen Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance.
Von diesen Besonderheiten profitierst du.
Die ZHdK deckt im Bereich der Historischen Aufführungspraxis mit zahlreichen Instrumental- und Gesangspezialist:innen, Musiktheoretiker:innen und Forscher:innen ein grosses inhaltliches Spektrum ab. Die Beschäftigung mit alter Musik spielt sich in einem modernen künstlerischen Umfeld ab und führt zu einem erweiterten interdisziplinären Verständnis.
Zeitstruktur.
Der Minor beansprucht verschiedene Zeitstrukturen:
— Einzelunterricht (historisches Instrument):
ist nicht an allgemeine Zeitstrukturen gebunden.
— Praktikum Ensemble / Praktikum Kammermusik / Workshop / Meisterkurse:
Die Praktika finden kontinuierlich während des Semesters und/oder während der Minorwochen je nach Repertoireaufbau, Projekt und Zielsetzung statt. In den Minorwochen finden zusätzlich Meisterkurse, Workshops, Praktika mit Dozierenden statt. Vortragsabende finden im Semester und in den Minorwochen statt.
— Historische Aufführungspraxis:
Die im Major angesiedelten Lektionen finden voraussichtlich am Montagvormittag statt.
— Verzierungslehre, Historische Improvisation, Harmonielehre/Generalbass, instrumentenspezifische Quellenkunde, Werkstätten:
finden kursorisch und zu den Minorzeiten, an Abenden und Freitagnachmittagen statt.
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Austauschformate und Feedbackrunden mit Akteur:innen der Zielkontexte unterstützen die Studierenden dabei, das eigene Profil weiterzuentwickeln und die Chancen auf Förderung und/oder Publikation zu erhöhen. Kompetenzen Die Studierenden bewegen sich in folgenden Kompetenzfeldern, wobei das Setzen individueller Schwerpunkte möglich und erwünscht 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 grundsätzlich allen Künsten. Schreiben/Kreation: Die Module drehen sich um das Schreiben als Handwerk, Technik und Strategie im Sinne einer «angewandten Poetik» in grundsätzlich allen Teilfeldern des Schreibens in den Künsten 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 Teilsphäre kultureller Öffentlichkeit an Leser:innen/Rezipient:innen wendet. Voraussetzungen Voraussetzung ist die Immatrikulation in einem Masterstudiengang der ZHdK und überdies eine hohe Sensibilität für Sprache und Text in mindestens einem Teilfeld des Schreibens in den Künsten. Diese bezieht sich einerseits auf die Leseerfahrung und Analysekompetenz; andererseits wird ein nachgewiesenes Potenzial in der Kreation anspruchsvoller Texte vorausgesetzt. Eine Eignungsprüfung entscheidet über die Aufnahme in den Minor. Besonderheiten Der Minor «Kreatives Schreiben» ist der Idee eines dialogischen und tätigen Lernens verpflichtet, worin jederzeit «Lernende» zu «Lehrenden» (und umgekehrt) werden können. 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 ermöglicht, individuell innerhalb einer breiten Kursauswahl zu navigieren und sich so einen massgeschneiderten Lernweg zusammenzustellen. Der Minor kann konsekutiv studiert werden. Im Minor «Kreatives Schreiben – basic» (15 Credits) wird das eigene Profil erarbeitet und gesetzt. Im Minor «Kreatives Schreiben – advanced» (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 – so auch namentlich dem CAS/DAS Schreiben in Kunst und Kultur geteilt.\r\nZeitstruktur Der Minor «Kreatives Schreiben» findet in den Minorwochen sowie am Freitagnachmittag statt.\r\nDozierende Lukas Bärfuss 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 Künstlerin und promovierte Philosophin. Sie unterrichtet seit 2012 im Master Transdisziplinarität (ZHdK). Sie schreibt/mentoriert in Französisch, Deutsch und Englisch. Stefan Jäger ist Regisseur, Drehbuchautor, Produzent. Als Dozent ist er verantwortlich für den Fachbereich Drehbuch der ZHdK. Christoph Keller ist Reporter, Autor, Mitbegründer 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 für den BA und MA Dramaturgie (ZHdK). Peter Kuntner ist Ausstellungsmacher, Experte für Buchhandel / Verlag und Verwaltungsratspräsident 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 Übersetzerin. 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 für 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, Französisch, Englisch und Spanisch. → Mehr zum Minor Kreatives Schreiben – basic (PDF-Download) → Mehr zum Minor Kreatives Schreiben – advanced (PDF-Download)","Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Ruedi Widmer den Minor «Kreatives Schreiben» vorgestellt:","",""],"title_en":["","Course","",""],"text_en":["","Course content The Minor in “Creative Writing” is aimed at Master’s 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 students’ 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 “applied poetics” 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 Master’s 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 “Creative Writing” is committed to the idea of dialogue-based, active learning in which “learners” can become “teachers” (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 “Creative writing – basic” minor (15 credits), students develop and define their own profile. In the “Creative writing – advanced” 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 – including, specifically, the CAS/DAS Writing in Art and Culture. Time structure The Minor «Creative Writing» takes place in the Minor Weeks and on Friday afternoons.\r\nLecturers Lukas Bärfuss 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 Master’s 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 Jäger 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. 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content The Minor in “Creative Writing” is aimed at Master’s 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 students’ 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 “applied poetics” 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 Master’s 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 “Creative Writing” is committed to the idea of dialogue-based, active learning in which “learners” can become “teachers” (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 “Creative writing – basic” minor (15 credits), students develop and define their own profile. In the “Creative writing – advanced” 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 – including, specifically, the CAS/DAS Writing in Art and Culture. Time structure The Minor «Creative Writing» takes place in the Minor Weeks and on Friday afternoons.\r\nLecturers Lukas Bärfuss 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 Master’s 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 Jäger 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. → More about the Minor Creative Writing – basic (PDF-Download) → More about the Minor Creative Writing – advanced (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Course content
The Minor in “Creative Writing” is aimed at Master’s 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 students’ 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 “applied poetics” 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 Master’s 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 “Creative Writing” is committed to the idea of dialogue-based, active learning in which “learners” can become “teachers” (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 “Creative writing – basic” minor (15 credits), students develop and define their own profile. In the “Creative writing – advanced” 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 – including, specifically, the CAS/DAS Writing in Art and Culture.
Time structure
The Minor «Creative Writing» takes place in the Minor Weeks and on Friday afternoons.
Lecturers
Lukas Bärfuss 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 Master’s 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 Jäger 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.
→ More about the Minor Creative Writing – basic (PDF-Download)
→ More about the Minor Creative Writing – 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-erzählerischen über szenische bis zu journalistischen Zugängen sowohl in klassischen Kontexten wie Kunst, Theater, Musik, Film und Design als auch in neuen hybriden Feldern zwischen Künsten und Medien. Zu den zentralen Kompetenzfeldern gehören 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. Stücke, die auf eine mögliche Veröffentlichung hin konzipiert sind. Austauschformate und Feedbackrunden mit Akteur:innen der Zielkontexte unterstützen die Studierenden dabei, das eigene Profil weiterzuentwickeln und die Chancen auf Förderung und/oder Publikation zu erhöhen. Kompetenzen Die Studierenden bewegen sich in folgenden Kompetenzfeldern, wobei das Setzen individueller Schwerpunkte möglich und erwünscht 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 grundsätzlich allen Künsten. Schreiben/Kreation: Die Module drehen sich um das Schreiben als Handwerk, Technik und Strategie im Sinne einer «angewandten Poetik» in grundsätzlich allen Teilfeldern des Schreibens in den Künsten 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 Teilsphäre kultureller Öffentlichkeit an Leser:innen/Rezipient:innen wendet. Voraussetzungen Voraussetzung ist die Immatrikulation in einem Masterstudiengang der ZHdK und überdies eine hohe Sensibilität für Sprache und Text in mindestens einem Teilfeld des Schreibens in den Künsten. Diese bezieht sich einerseits auf die Leseerfahrung und Analysekompetenz; andererseits wird ein nachgewiesenes Potenzial in der Kreation anspruchsvoller Texte vorausgesetzt. Eine Eignungsprüfung entscheidet über die Aufnahme in den Minor. Besonderheiten Der Minor «Kreatives Schreiben» ist der Idee eines dialogischen und tätigen Lernens verpflichtet, worin jederzeit «Lernende» zu «Lehrenden» (und umgekehrt) werden können. 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 ermöglicht, individuell innerhalb einer breiten Kursauswahl zu navigieren und sich so einen massgeschneiderten Lernweg zusammenzustellen. Der Minor kann konsekutiv studiert werden. Im Minor «Kreatives Schreiben – basic» (15 Credits) wird das eigene Profil erarbeitet und gesetzt. Im Minor «Kreatives Schreiben – advanced» (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 – so auch namentlich dem CAS/DAS Schreiben in Kunst und Kultur geteilt.\r\nZeitstruktur Der Minor «Kreatives Schreiben» findet in den Minorwochen sowie am Freitagnachmittag statt.\r\nDozierende Lukas Bärfuss 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 Künstlerin und promovierte Philosophin. Sie unterrichtet seit 2012 im Master Transdisziplinarität (ZHdK). Sie schreibt/mentoriert in Französisch, Deutsch und Englisch. Stefan Jäger ist Regisseur, Drehbuchautor, Produzent. Als Dozent ist er verantwortlich für den Fachbereich Drehbuch der ZHdK. Christoph Keller ist Reporter, Autor, Mitbegründer 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 für den BA und MA Dramaturgie (ZHdK). Peter Kuntner ist Ausstellungsmacher, Experte für Buchhandel / Verlag und Verwaltungsratspräsident 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 Übersetzerin. 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 für 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, Französisch, Englisch und Spanisch. → Mehr zum Minor Kreatives Schreiben – basic (PDF-Download) → Mehr zum Minor Kreatives Schreiben – advanced (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Inhalte
Der Minor «Kreatives Schreiben» richtet sich an Masterstudierende, für die das geschriebene Wort eine wesentliche Dimension ihres (anvisierten) professionellen Selbstverständnisses darstellt, und die diesbezüglich ihren Horizont erweitern und/oder besondere Bereiche des Schreibens vertiefen wollen. Das Spektrum reicht von literarisch-erzählerischen über szenische bis zu journalistischen Zugängen sowohl in klassischen Kontexten wie Kunst, Theater, Musik, Film und Design als auch in neuen hybriden Feldern zwischen Künsten und Medien.
Zu den zentralen Kompetenzfeldern gehören 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. Stücke, die auf eine mögliche Veröffentlichung hin konzipiert sind. Austauschformate und Feedbackrunden mit Akteur:innen der Zielkontexte unterstützen die Studierenden dabei, das eigene Profil weiterzuentwickeln und die Chancen auf Förderung und/oder Publikation zu erhöhen.
Kompetenzen
Die Studierenden bewegen sich in folgenden Kompetenzfeldern, wobei das Setzen individueller Schwerpunkte möglich und erwünscht 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 grundsätzlich allen Künsten.
Schreiben/Kreation: Die Module drehen sich um das Schreiben als Handwerk, Technik und Strategie im Sinne einer «angewandten Poetik» in grundsätzlich allen Teilfeldern des Schreibens in den Künsten 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 Teilsphäre kultureller Öffentlichkeit an Leser:innen/Rezipient:innen wendet.
Voraussetzungen
Voraussetzung ist die Immatrikulation in einem Masterstudiengang der ZHdK und überdies eine hohe Sensibilität für Sprache und Text in mindestens einem Teilfeld des Schreibens in den Künsten. Diese bezieht sich einerseits auf die Leseerfahrung und Analysekompetenz; andererseits wird ein nachgewiesenes Potenzial in der Kreation anspruchsvoller Texte vorausgesetzt. Eine Eignungsprüfung entscheidet über die Aufnahme in den Minor.
Besonderheiten
Der Minor «Kreatives Schreiben» ist der Idee eines dialogischen und tätigen Lernens verpflichtet, worin jederzeit «Lernende» zu «Lehrenden» (und umgekehrt) werden können. 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 ermöglicht, individuell innerhalb einer breiten Kursauswahl zu navigieren und sich so einen massgeschneiderten Lernweg zusammenzustellen.
Der Minor kann konsekutiv studiert werden. Im Minor «Kreatives Schreiben – basic» (15 Credits) wird das eigene Profil erarbeitet und gesetzt. Im Minor «Kreatives Schreiben – advanced» (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 – so auch namentlich dem CAS/DAS Schreiben in Kunst und Kultur geteilt.
Zeitstruktur
Der Minor «Kreatives Schreiben» findet in den Minorwochen sowie am Freitagnachmittag statt.
Dozierende
Lukas Bärfuss 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 Künstlerin und promovierte Philosophin. Sie unterrichtet seit 2012 im Master Transdisziplinarität (ZHdK). Sie schreibt/mentoriert in Französisch, Deutsch und Englisch.
Stefan Jäger ist Regisseur, Drehbuchautor, Produzent. Als Dozent ist er verantwortlich für den Fachbereich Drehbuch der ZHdK.
Christoph Keller ist Reporter, Autor, Mitbegründer 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 für den BA und MA Dramaturgie (ZHdK).
Peter Kuntner ist Ausstellungsmacher, Experte für Buchhandel / Verlag und Verwaltungsratspräsident 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 Übersetzerin. 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 für 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, Französisch, Englisch und Spanisch.
→ Mehr zum Minor Kreatives Schreiben – basic (PDF-Download)
→ Mehr zum Minor Kreatives Schreiben – advanced (PDF-Download)
Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Ruedi Widmer den Minor «Kreatives Schreiben» 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 – 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 Bachelor’s and Master’s degree levels. Skills acquired in the course. The Minor “Orchestral Studies” 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. “Orchestral Studies” 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). → 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 – 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 Bachelor’s and Master’s degree levels.
Skills acquired in the course.
The Minor “Orchestral Studies” 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.
“Orchestral Studies” 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).
→ 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 «Orchestral Studies» behandelt sinfonische Literatur und Opernliteratur exemplarisch – 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, Orchesterführung 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 «Orchestral Studies» bereitet auf Probespiele, den Einstieg ins Berufsleben und den Beruf als Orchestermusiker:in an sich vor. Dazu gehören neben dem instrumentalen Unterricht Aspekte der Probenarbeit, mentales Training, Gesundheitsprophylaxe, soziale Skills und die Vermittlung eines stilistisch breiten Repertoires. Diese Voraussetzungen bringst du mit. «Orchestral Studies» empfiehlt sich für fortgeschrittene Instrumentalist:innen mit Major Violine, Viola, Violoncello, Kontrabass, Harfe, Querflöte, Oboe, Klarinette, Fagott, Trompete, Posaune, Horn, Tuba, Schlagzeug oder Pauke der Studiengänge Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Die Zulassung erfolgt mit Prüfung der fachlichen Eingangskompetenzen. Von diesen Besonderheiten profitierst du. Dozierende des Minors sind beruflich in nationalen Spitzenorchestern wie dem Tonhalle Orchester Zürich, der Philharmonia Zürich, dem Orchester des Musikkollegiums Winterthur, dem Berner Sinfonieorchester oder dem Luzerner Sinfonieorchester tätig. Sie verfügen über langjährige Berufserfahrung in diesen oder vergleichbaren, internationalen Ensembles. Diese Expertise wird seit Jahrzehnten mit grossem Erfolg an der ZHdK vermittelt und nun via Minor allen Studiengängen zur Verfügung gestellt. Im Bereich der Musikmedizin ist die ZHdK führend und ermöglicht eine gründliche Unterstützung der Ausbildung in Gefässen wie psycho-physiologisches Vorspieltraining, mentales Training sowie Vorbeugung von Gesundheitsproblemen (Dispokinesis). → 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 «Orchestral Studies» behandelt sinfonische Literatur und Opernliteratur exemplarisch – 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, Orchesterführung 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 «Orchestral Studies» bereitet auf Probespiele, den Einstieg ins Berufsleben und den Beruf als Orchestermusiker:in an sich vor. Dazu gehören neben dem instrumentalen Unterricht Aspekte der Probenarbeit, mentales Training, Gesundheitsprophylaxe, soziale Skills und die Vermittlung eines stilistisch breiten Repertoires.
Diese Voraussetzungen bringst du mit.
«Orchestral Studies» empfiehlt sich für fortgeschrittene Instrumentalist:innen mit Major Violine, Viola, Violoncello, Kontrabass, Harfe, Querflöte, Oboe, Klarinette, Fagott, Trompete, Posaune, Horn, Tuba, Schlagzeug oder Pauke der Studiengänge Bachelor Musik, Master Music Pedagogy, Master Music Performance und Master Specialized Music Performance. Die Zulassung erfolgt mit Prüfung der fachlichen Eingangskompetenzen.
Von diesen Besonderheiten profitierst du.
Dozierende des Minors sind beruflich in nationalen Spitzenorchestern wie dem Tonhalle Orchester Zürich, der Philharmonia Zürich, dem Orchester des Musikkollegiums Winterthur, dem Berner Sinfonieorchester oder dem Luzerner Sinfonieorchester tätig. Sie verfügen über langjährige Berufserfahrung in diesen oder vergleichbaren, internationalen Ensembles. Diese Expertise wird seit Jahrzehnten mit grossem Erfolg an der ZHdK vermittelt und nun via Minor allen Studiengängen zur Verfügung gestellt. Im Bereich der Musikmedizin ist die ZHdK führend und ermöglicht eine gründliche Unterstützung der Ausbildung in Gefässen wie psycho-physiologisches Vorspieltraining, mentales Training sowie Vorbeugung von Gesundheitsproblemen (Dispokinesis).
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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The minor “Self Composed (Music)” 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 “Self Composed (Music)” focuses predominantly on students’ 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 Bachelor’s and Master’s students. Skills acquired in the course. The focus areas and the objectives of the “Self Composed (Music)” 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 “Self Composed (Music)” 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 “Self Composed (Music)” 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 students’ 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 “Self Composed (Music)” 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 “Self Composed (Music)” focuses predominantly on students’ 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 Bachelor’s and Master’s students.
Skills acquired in the course.
The focus areas and the objectives of the “Self Composed (Music)” 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 “Self Composed (Music)” 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 “Self Composed (Music)” 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 students’ 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.
→ 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 «Self Composed (Musik)» unterstützt die Studierenden darin, ein den eigenen Bedürfnissen entsprechendes Studienprogramm zu gestalten. Er ermöglicht ein Höchstmass an Wahlfreiheit und umfasst 15 Credits. In Absprache mit den Programmverantwortlichen kümmern sich die Studierenden semesterweise um die Planung der Inhalte und entwickeln ihr Studium zielgerichtet weiter. Meist fokussiert sich der «Self Composed (Musik)» Minor auf die künftige Berufspraxis und die Schärfung der eigenen Potenziale. Dieser Prozess kann begleitet erfolgen und führt in einem Abschlussmodul zu einer Präsentation der erworbenen Fähigkeiten. Der Minor in Deutsch und Englisch wird von allen Musik-Studiengängen angeboten und richtet sich an die Studienstufen Bachelor und Master. Diese Kompetenzen erlernst du. Die inhaltlichen Schwerpunkte und Ziele des «Self Composed (Musik)» Minors sind so vielfältig wie die Studierenden selbst. Neben den konkreten Inhalten fördert der Minor Eigenverantwortung, Selbstreflexion und Persönlichkeitsbildung. Die Studierenden entwickeln in Absprache mit den Programmverantwortlichen ihr eigenes Curriculum im Rahmen der gegebenen Möglichkeiten. Diese Voraussetzungen bringst du mit. Der Minor «Self Composed (Musik)» richtet sich an Studierende, die schon einen beträchtlichen künstlerischen 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 «Self Composed (Musik)» bietet die Gelegenheit, aus dem üppigen Lehrangebot der ZHdK ein eigenes Curriculum selbstständig zusammenzustellen und kontinuierlich anzupassen. Es gehört zum Lehr- und Lernkonzept, dass die Studierendenbedürfnisse sich im Laufe des Studienfortschritts aufgrund der gemachten Erfahrungen schrittweise ausdifferenzieren und entwickeln. Veränderungen des Themenfokus oder der Lehrformate sind ausdrücklich möglich und werden unterstützt. Zeitstruktur. Die Studierenden verantworten eigenständig die Inhalte und die Organisation des Self Composed Minor. Insofern kann die Durchführung parallel zum Majorsemester und/oder in den Minorwochen erfolgen. → Mehr zu diesem Minor (PDF-Download)","hidden":0,"CType":"standard_content","bodytext":"Diese Inhalte kommen auf dich zu.
Der Minor «Self Composed (Musik)» unterstützt die Studierenden darin, ein den eigenen Bedürfnissen entsprechendes Studienprogramm zu gestalten. Er ermöglicht ein Höchstmass an Wahlfreiheit und umfasst 15 Credits.
In Absprache mit den Programmverantwortlichen kümmern sich die Studierenden semesterweise um die Planung der Inhalte und entwickeln ihr Studium zielgerichtet weiter. Meist fokussiert sich der «Self Composed (Musik)» Minor auf die künftige Berufspraxis und die Schärfung der eigenen Potenziale. Dieser Prozess kann begleitet erfolgen und führt in einem Abschlussmodul zu einer Präsentation der erworbenen Fähigkeiten.
Der Minor in Deutsch und Englisch wird von allen Musik-Studiengängen angeboten und richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Die inhaltlichen Schwerpunkte und Ziele des «Self Composed (Musik)» Minors sind so vielfältig wie die Studierenden selbst. Neben den konkreten Inhalten fördert der Minor Eigenverantwortung, Selbstreflexion und Persönlichkeitsbildung. Die Studierenden entwickeln in Absprache mit den Programmverantwortlichen ihr eigenes Curriculum im Rahmen der gegebenen Möglichkeiten.
Diese Voraussetzungen bringst du mit.
Der Minor «Self Composed (Musik)» richtet sich an Studierende, die schon einen beträchtlichen künstlerischen 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 «Self Composed (Musik)» bietet die Gelegenheit, aus dem üppigen Lehrangebot der ZHdK ein eigenes Curriculum selbstständig zusammenzustellen und kontinuierlich anzupassen. Es gehört zum Lehr- und Lernkonzept, dass die Studierendenbedürfnisse sich im Laufe des Studienfortschritts aufgrund der gemachten Erfahrungen schrittweise ausdifferenzieren und entwickeln. Veränderungen des Themenfokus oder der Lehrformate sind ausdrücklich möglich und werden unterstützt.
Zeitstruktur.
Die Studierenden verantworten eigenständig die Inhalte und die Organisation des Self Composed Minor. Insofern kann die Durchführung parallel zum Majorsemester und/oder in den Minorwochen erfolgen.
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Technology"],"music_subject":[{"name":"Komposition","qualification":"Hauptfach","is_major_subject":true}],"sex":"M","email":"trezna.gbeb-crerm@muqx.pu","website":"http://www.toro-perez.com","biography":" EnglishBorn 1964 in Bogotá. First music theory studies at the Universidad de los Andes in Bogotá, composition studies and Master degree in arts at the University of Music and Performing Arts, Vienna. Conducting courses with Karl Österreicher and Dominique Rouits. Studies on electroacoustics and computer music in Vienna and at IRCAM in Paris.
His catalogue includes instrumental, electroacoustic and mixed compositions, as well as works in collaboration with graphic design, painting and experimental video.
Publications and texts on artistic research, composition theory and aesthetics of electroacoustic music as well as on history and identity of Latin American music.
He was director of the computer music course and guest professor of electroacoustic composition at the University of Music in Vienna. Since 2007 he is director of the ICST and professor for electroacoustic composition at the Zurich University of the Arts.
Deutsch
Geboren 1964 in Bogotá. Musiktheorie Ausbildung an der Anden Universität sowie Privatunterricht bei Luis Torres Zuleta und Sergio Mesa in Bogotá. Kompositionsstudium bei Erich Urbanner und Karl-Heinz Füssl an der Musikuniversität Wien. Danach ergänzende Studien in Dirigieren bei Karl Österreicher, Dominique Rouits und Peter Eötvos sowie in Elektroakustik bei Tamas Ungvary in Wien und am IRCAM in Paris.
Seine bisherige Arbeit besteht aus über 50 Werken, darunter Kompositionen für Orchester, Instrumentalensemble, Kammermusik mit und ohne Elektronik, elektroakustische Musik, Klangkunst sowie Arbeiten in Zusammenhang mit grafischem Design, Video und bildender Kunst. Manche seiner Arbeiten nehmen Bezug auf Künstler wie Mark Rothko, Adolf Wölfli, Italo Calvino, Fernando Pessoa, Jorge Luis Borges, Juan Rulfo und José María Arguedas.
Aufführungen in Europa, Korea, Nord- und Südamerika. Festivals u. a.: Wien Modern, Klangspuren Schwaz, Synthèse Bourges, Sonorities Belfast, WNMD Stuttgart. Zusammenarbeit mit Ensembles wie die Reihe Wien, Phace Wien, Mondrian Basel, New Century Players L.A., Mosaik Berlin und Klangforum Wien.
Mitbegründer des NewTonEnsembles.
Von 2002 bis 2006 Leiter des Lehrgangs für Computermusik und elektronische Medien, 2006/07 Gastprofessor für Elektroakustische Komposition an der Universität für Musik und darstellende Kunst, Wien. Ab Herbst 2007 Leiter des ICST - Institute for Computer Music and Sound Technology und Dozent für Elektroakustische Komposition an der Zürcher Hochschule der Künste.
www.toro-perez.com","publication":" Germán Toro Pérez
Werk- und Publikationsliste (Stand: June 2019)
Work and publication list (June 2019)
A. Kammermusik instrumental
Sechs Fragmente
für Flöte solo
1990, 10'
U.A. Gabriel Ahumada, Gesellschaft für Musik, Wien
Rastro
für Klarinette in B
1992, 13'
U.A. Georg Riedl, Stadtinitiative, Wien
...en continuo movimiento...
Drei Skizzen und ein Stück für Flöte (auch Altflöte) und Klavier1994, 9'.
U.A. Mathilde Hoursiangou, Gabriel Ahumada, Bösendorfer Saal, Wien
Arco
für zwei Klaviere im Abstand von 1/4 Ton
1995, 18' 30''
1. Preis (geteilt) beim Kompositionswettbewerb im Rahmen der IV. Tage der zeitgenössischen Klaviermusik, Hochschule für Musik und darstellende Kunst, Abteilung Musikpädagogik, Wien 1996.
U.A. Mathilde Hoursiangou, Florian Müller, Bösendorfer Saal, Wien
5 Studien nach Italo Calvino
für Flöte, Klarinette und Klavier
2001, 10'
Auftragswerk des Festivals \"Nuovi Spazi Musicali 2001\", Rom
UA: Österreichisches Kultur Institut / Rom, Nov. 2001, Ensemble On-Line
Rulfo / voces III: vacío el cielo azul
Version für Bratsche solo (Siehe auch D: \"Rulfo / voces / ecos\")
2004/05, 9'30 ca.
U.A. Petra Ackermann, Wittgenstein Haus, Wien, 11. Jänner 2005
Rulfo / voces II
für Violine solo (Siehe D: \"Rulfo / voces / ecos\")
2005/06, 9'
1. Preis beim Kompositionswettbewerb des Karajan Centrums, Wien
UA der Fassung 2005, Ivana Pristatova, Borealis Festival, Bergen/Norwegen 12. 3 2006. UA der Fassung 2006, Ivana Pristatova, Wien Modern / Ruprechtskirche Wien, 19. November 2006
Musique de Saxophone
für Saxophonquartett
1994, 13'
Auftragswerk des Wiener Saxophonquartetts.
U.A. Wiener Saxophon Quartett, Odeon, Wien
Memorial
für Fl., Klar., Trp., Schlagz., 2 Vl., Br., Vlc., und Kb.
1998, 12'
Auftragswerk des Ensemble Kreativ für das 20-jährige Jubiläum der IGNM-Kärnten. U.A. Ensemble Kreativ, ORF Landesstudio, Klagenfurt
Stadtplan von New York
Musik nach Adolf Wölfli
für 15 Instrumente (Fl., Ob., Kl., Sax., Trp., Pos., Akkord., Klav., Perc., 2 Vl., Br., 2 Vlc., Cb.)
2001, 12' ca.
Simeon Pironkoff gewidmet
Kompositionspreis der \"Erste Österreichsche Sparkasse\"
UA: Festival Wien Modern 3. 11. 2001, Ensemble On-Line, Dir. Simeon Pironkoff
Untitled 2002
Musik für 17 Blasinstrumente, Akkordeon und Schlagzeug
2 Fl. (1. auch Bassfl., 2. auch Picc), 2 Ob. (2. auch e. Horn), Klar in B (auch Kbkl), Basskl., Sopr.-Sax (a. Alt-Sax), Ten.-Sax, 2 Fg., 2 Hrn., 2 Trp. in B, 2 Pos., Tuba, Akk., 2 Schlagzeuger
2002, 15'
Auftragswerk des Festivals \"Klangspuren\", Schwaz für das Ensemble \"Windkraft Tirol\"
UA: 20. Sept. 2002, \"Klangspuren\" Schwaz 2002, \"Windkraft Tirol\"
Rulfo | voces
4 Studien nach Juan Rulfo
Klar in B (auch Basskl. Und Klar. picc. in Es), Fg. (auch Kfg.), Hrn., 2 Vl., Vla., Vlc. (auch hängendes Becken) und Kb.
2003, 23'
Auftragswerk des Festivals \"Klangspuren\", Schwaz für das Ensemble \"Super Acht\"
UA: 6. Sept. 2003, \"Klangspuren\" Schwaz
Zheng-Sextett
für Flöte, Klarinette, 2 Bratschen, Violoncello und Zheng
2005, 8'
Geschrieben auf Einladung von Music Lab, gefördert von Austromechana / SKE
Ordo
für Violine, Viola, Violoncello und Klavier
2006, 12 Min.
Geschrieben auf Einladung des Ensembles Archipiano, gefördert durch das österreichische Bundeskanzleramt
En vilo
für 2 Bassklarinetten in B
2008, 3'40
Petra Stump und Heinz-Peter Linshalm gewidmet
UA: Alte Schmiede, Wien, 2008, Petra Stump und Heinz-Peter Linshalm.
CD: ShortCuts, ein_klang records EKR 045/046, 2010
Leve
für Gitarre, Streichquartett und 2 Schlagzeuger
2008/09, 14 Min. ca.
Auftragswerk des ÖENM, Österreichisches Ensemble für Neue Musik
UA Mozarteum Salzburg, 1.11.2009, Kaspar de Roo, Gitarre, ÖENM, Johannes Kalitzke, Dir.
Akkordeon und Ensemble
Akkordeon solo, Klar. in B, (auch Bassklar.), Alt Sax (auch Ten. Sax), Posaune, 1 Schlagzeuger (Vibr., Zymb., 5 Metallobjekte, 5 Becken, Tamtam, Log drum, 2 kl. Tr., gr. Tr.), Viola, Violoncello und Kontrabass
2009, 17 Min.
Auftragswerk des Festivals \"Klangspuren Schwaz\" 2009 für das Ensemble On-Line, Wien
UA. 16.9.2009 ORF Landesstudio Innsbruck, Krassimir Sterev, Akkordeon, Ensemble On-Line, Simeon Pironkoff, Dir.
Cantos / toques
Hommage à Luigi Nono
für Bassklarinette und Schlagzeug
2010, 13 Min
für Carlos Gálvez und Enric Monfort
Angélica Castelló gewidmet
UA: 2.5.2010, Ruprechtskirche, Wien, Carlos Gálvez, Enric Monfort
A la sombra
für Viola und Klavier
2010/11 16' Min.
für Petra Ackermann und Philippe Meier. Gefördert durch das Präsidialdepartement der Stadt Zürich.
UA: 4.3.2011 Theater am Rigiblick
Fugaz
2013 3' Min.
für Ernst Kovacic und Mathilde Hoursiangou.
UA: 3.11.2013 Wien Modern, Konzerthaus Wien, Schubert Saal
Cuerdas
für Klavier
2018, 3'
für Mathilde Hoursiangou
B. Kammermusik mit Singstimme
La Luna
Lied für Sopran und Klavier, Gedicht von J. L. Borges, 1987.
U.A. Festival de Musica Contemporánea, Bogotá.
Drama em Gente
für 15 Spieler und 6 Solostimmen, nach Texten von Fernando Pessoa.
1992-93, 30'.
Bes.: Fl. in C (auch Picc. und G-Fl.), Ob. d'amore, Klar. in A (auch Basskl.), Ten.-Sax (auch alt.-Sax), Trp., Hrn., Pos., Perc. (3 Spieler), Git., Vl., Vla., Vlc., KB., Sop., 2 Ten., 2 Bar., Bass.
UA. Festival Hörgänge, 11. 3. 2002, Konzerthaus Wien
Domus Daedali
für Sopran, Klarinette in B (auch Bassklarinette), Harfe, Marimbaphon (auch Xyl.) Vl., Br. und Vlc. Nach dem Gedicht \"El laberinto\" von J. L. Borges
1997 15'.
U.A. Ensemble \"die Reihe\", Anna Maria Pammer, Sopran, ORF - Großer Sendesaal, 18. 5. 2000
C. Kammermusik mit Elektronik (1 bis 18 Spieler)
Ficciones
für Flöte, 9 Instrumente und Tonband
(Fl. solo (auch Picc, A-Fl.), B-Klar. (auch Bass-Klar.), A-Sax. (auch T-Sax), Pos., Schl. (1), 2 Git., Vl., Br., Vlc.)
1996/97, 15'.
U.A. Ensemble des XX JH, Sylvie Lacroix, Flöte, Festival Hörgänge 1999, Konzerthaus Wien
Inventario II
für Klavier und Tonband
1998-99/03/05, 18'
Auftragswerk des Institut de Musique Electroacoustique Bourges.
U.A. Erste Fassung: NewTonEnsemble, Richard Pfadenhauer, Klavier, Germán Toro-Pérez, Elektronik, Arnold Schönberg Center, Wien
U.A. d. Fassung 2005: NewTonEnsemble, Richard Pfadenhauer, Klavier, Germán Toro-Pérez, Elektronik, IEM Graz
CD: newton KLAVIER ELEKTRONIK ENSEMBLE, ostblock records OST 010, 2007
Inventario III
für Klavier, Harfe, Schlagzeug, 2 Vl., Br., 2 Vlc. und Tonband,
1999, 16'
Auftragswerk der Tage der zeitgemäßen Musik, Bludenz.
U.A. Szene Instrumental Graz, Tage zeitgemäßer Musik, Bludenz 1999
Rothko II
für Flöte (auch Picc. und Bassflöte), Oboe (auch E. Horn). B-Klarinette, Bassklarinette (auch Kontrabassklarinette), Alt-Saxophon (auch Tenor Sax.), B-Trompete und Live-Elektronik,
2000-2003, 20'
Auftragswerk der Musikalischen Jugend Österreichs und des ORF.
U.A. Ensemble CalArts New Century Players, 9. 3. 04, Redcat Auditorium, Los Angeles, USA.
Rothko II (Freiburger Fassung)
2000-2002
Live-Elektronik realisiert am Experimentalstudio der Heinrich-Strobel-Stiftung des SWR Freiburg
Nuper rosarum flores
Bearbeitung nach Guillaume Dufay für 2 B -Klarinetten, Alt-Saxophon, Fagott, Akkordeon und Live-Elektronik ad. lib.
2000, 8'
Auftragswerk der IGNM
U.A. Ensemble Wiener Collage, Arnold Schönberg Center, 28. 5. 2000
Rulfo / voces / ecos
Werkzyklus für Streichtrio und Live-Elektronik,
2004/06, 45 Min ca. (Einzelne Stücke sind auch einzeln aufführbar)
UA, Wien Modern / Ruprechtskirche, Trio EIS, Germán Toro-Pérez, Alfred Reiter, 19. November 2006
Rulfo / voces I
für Streichtrio und Live-Elektronik
2004, 5'30 ca.
Auftragswerk des Klangforum Wien
U.A. Klangforum Wien, Germán Toro-Pérez, Live-Elektronik.
Proberaum des Klangforum, 5, Diehlgasse, Wien, 3. September 2004
Rulfo / ecos I
für Violoncello und Live-Elektronik
2006, 9'15
U.A. Roland Schueler, Germán Toro-Pérez, Live-Elektronik.
Wien Modern / Ruprechtskirche, Wien, 19. November 2006
Rulfo / voces II
für Violine solo, 2005/06, 9'
Rulfo / voces III: vacío el cielo azul
für Bratsche und Live-Elektronik 2004, 9'30
U.A. Petra Ackermann, Bratsche, Germán Toro-Pérez, Live-Elektronik. Konzerthaus Wien, 25 April 2004
Rulfo / ecos II
für Streichtrio und Live-Elektronik
2006, 9'
U.A. Trio Eis, Germán Toro-Pérez, Live-Elektronik.
Wien Modern / Ruprechtskirche, Wien, 19. November 2006
Wespensterben (Inventario IV)
Homenaje a José María Arguedas
für großes Ensemble und Zuspielklänge
Fl. (auch Picc.), Oboe (auch Engl. Horn), Klar (auch Basskl. und KB-Klar.), Alt-Sax, FAG. (auch Kfg.), Hrn., Trip., Pos., Akk., 2 Schlgz., Hrf., Klv., 2 VL. Vla., Vlc., KB. Live Elektronik.
2007/2008, 22'
Auftragswerk des Klangforum Wien
UA. 9. 10. 2009, Musikprotokoll, Helmut List-Halle, Graz, Klangforum Wien / Rolf Gupta, Germán Toro Pérez
Ecos III / Mittersill
für Kontrabass solo, Streichtrio und Live-Elektronik
2010, 10'
Geschrieben im Rahmen des Komponistenforum Mittersill 2010.
UA. 18.9.2010 BORG Mittersill, Ensemble 'die Reihe', Rudolf Illavsky Kontrabass, Gottfried Rabl, Dir., G. Toro Pérez, L.E.
CD: Strom, ein_klang records EKR 047/048, 2011
Figuras y espejos
für Orgel und Elektronik
2011, 17'
für Andreas Jost. Auftragswerk des Internationalen Symposiums Orgel Orgue Organo Organ 2011, ZHdK, Zürich, 2011
UA. 8.9.2011, Grossmünster Orgel, Zürich, Andreas Jost, Orgel, G. Toro Pérez, Elektronik.
Signos Oscilantes
für Saxophon und Elektronik
2011/2012, 17' ca.
für das Duo Saxophonic, Lars Mlekusch / Florian Bogner.
UA Duo Saxophonics, 14.7.2012 World Saxophone Congress XVI 2012, St. Andrews, Scottland.
Trazos/Pliegues
für Klavierquartett und Elektronik
1018–9
Auftragswerk des Mondrian Ensemble, Basel
(In Vorbereitung)
D. Elektroakustische Kompositionen
Vocal 1
nach einem eigenen Text. Daniel Castro, Stimme. 2-Kanal
1990, 10'
U.A. Komponistenportrait, Sala Tayrona, Bogotá
Estudio de ruidos y campanas
8-Kanal, 1995, 11'30
U.A. Festival \"Absolute Musik\" Allensteig
Erster Preis beim III. Kompositionswettbewerb für elektroakustische Musik, Bogotá 1997.
Anerkennungspreis beim Internationalen Kompositionswettbewerb Bourges 1998.
CD: Onda electroacústica en Colombia, ACME, 1998
Aire
Zwei Stücke für Tonband, Stereo
1997/98, 9'30
I. Aliento
II. Humedad
U.A. Festival Synthèse Bourges 1998
Inventario I
Stereo, 1999 / Revidiert
2003, 8'30
Auftragswerk des Institut de Musique electroacoustique, Bourges.
U.A. Festival Synthèse Bourges 1999
U.A. der revidierten Fassung: 21. 6. 2003, Festival Musica Scienza 2003, Goethe-Institut, Rom
Tramas: Bogotá 2003
Musik zu \"El Nudo\"
Experimentalvideo über die Stadt Bogotá, Stereo
2004, 42' (siehe: Multimedia / Film)
Rothko IV
Version Stereo,
2008, 13'
UA: \"Neue Musik in der Ruprechtskirche\", Wien, 19. Okt. 2008
Version Ambisonics, 2010-11, 13' (in Vorbereitung)
Mikrostudien
Generative Kompositionsumgebung
2013
Ascending/dissolving
Generative Komposition für 33 Lautsprecher
UA: KUG / MUMUTH, Ligeti Hall, Im Rahmen des Symposiums \"Mind the Gap!\", Graz, 8.3.2013.
E. Musik für Jugendensembles
Untitled, 2002/1
Musik für ein junges Ensemble
für Flöte, Klarinette, Klavier zu 4 Händen, präpariertes Pianino, 2 Violinen und Violoncello
2002, 8'
Geschrieben auf Einladung der \"Musikpalette Wien\", gefördert vom Kulturamt der Stadt Wien
UA: Klangpalette 2002, Musikschule Döbling, 3. Juli 2002, ein Schülerensemble, Leitung: Germán Toro-Pérez
Gravedad
Musik für ein junges Ensemble
für Violine, Viola da Gamba oder Violoncello, Gitarre, Vibraphon / Becken und Klavier
2006, 9 Min.
Auftragswerk der Musiklehranstalten der Stadt Wien
UA: ORF Sendesaal, Juni 2005
F. Chor / Vokalensemble und Elektronik
Cantos de Sombras
4 Fragmente nach Texten von Juan Rulfo
für Vokalensemble (8 Stimmen) und Elektronik (8 Lautsprecher)
2014, 23'
Peter Siegwart gewidmet.
U.A., Vokalensemble Zürich, 21.1. Matthäuskirche Luzern, 21. Januar 2014, Leitung Peter Siegwart, Technik ICST, Klangregie Germán Toro Pérez
Tambores del Magdalena
Mapalé für Chor a capella nach einem kolumbianischen Volkslied von Lucho Bermudez,
1985, 5'
U.A., La coral, Bogotá
G. Orchester
Earth, Light and Blue, Homenaje a Mark Rothko
für Streichorchester.
1990-91, 10'.
U.A. Orquesta Sinfónica de Colombia, Auditorio León de Greiff, Bogotá, 1992.
Azogue
für zwei Orchestergruppen,
1992, 15'
Untitled, 2001 (Rothko III)
für großes Orchester
2000 / 2001, 22'
Auftragswerk der \"Junge Philharmonie Wien\"
U.A. Junge Philharmonie Wien, Stift Göttweig, 13. 7. 2001
Verso
Miniatur für großes Orchester
2009, 1'
Geschrieben für das RSO Radio Symphonie Orchester Wien zum 40. Jubiläum.
UA 25.6.2010 Radiokulturhaus Wien, Radio Symphonieorchester Wien, Gottfried Rabl.
CD: 102 Masterpieces, ORF Vienna Radio Symphony Orchestra miniatures. ORF/Capricio 5051, 2010
Diálogos Inciertos
for Violine solo, Streichorchester und generative Klänge
2014, 15'
für Ernst Kovacic.
UA World Music Days 2014, Wroclaw. E. Kovacic violin und Leitung, G. Toro Pérez, Klangregie.
H. Multimedia / Video / Film
12 akustisch-visuelle Fragmente aus einer experimentellen Animation
Computeranimationen für Videoprojektor und 2-Kanal Tonanlage, 1999, 15'
Graphisches Konzept:\t Walter Bohatsch
Graphische Animationen: Walter Bohatsch, Andreas Niederer (Walter Bohatsch Graphic Design, Wien)
Klang:\t\t\t\t Germán Toro-Pérez
Dokumentation:\t\t Bernhard Günther
U.A. Wittgenstein Haus, 1999
Ulixes / Kassandra
Macht und Ohnmacht des Wortes
für zwei Schlagzeuger und zwei computergesteuerte Diaprojektoren
im Zusammenarbeit mit der Malerin Lisa Kunit
2000, 25' ca.
U.A. Berndt Thurner, Michael Kinn, polycollege Stöbergasse, 26. 1. 2001
El nudo
Experimentalvideo über die Stadt Bogotá
Bogotá / Wien 2004, 45' ca.
Alejandro Burgos\t\t\t\tText
Pablo Burgos\t\t\t\t\tKamera, Schnitt
Gonzalo Cano / Sebastián Duque\tArchitektur
Germán Toro-Pérez\t\t\t\tMusik
Eine Produktion von Post-office Cowboys und Germán Toro-Pérez
U.A. Konzerthaus Wien, 25. April 2004
Chocolate Girl
Spielfilm
Österreich 2006, 8'
Esther Jo Steiner\t\t\t\tBuch, Regie
Germán Toro-Pérez\t\t\t\tMusik
I. Klangkunst
Travelings / Bogotá 2003
Klanginstallation, 20033 CD-Player / Fotografien
U.A. New Media Festival, Daegu, Süd Korea 2003
Travelings / Bogotá 2003
Klanginstallation, 2003
Live-version für Computer / Max/MSP
U.A. Technotrain Wien / NÖ, Mai 2003
Blicklandschaften / Camera Obscura
Klanginstallation, 2010
In Zusammenarbeit mit Johannes Schütt und Nadine Schütz
für die Ausstellung Blicklandschaften
ETH Zürich, Polyterrasse, 15. - 29. Mai 2010
J. Musiktheater
Viaja a Comala
Musiktheater nach \"Pedro Páramo\" von Juan Rulfo
Für, 7 Schauspieler, Vokalensemble (8), Instrumental Ensemble (8) und Elektronik.
Libretto von Stefan Nolte nach Juan Rulfo
2017
UA: 16. Mai 2017, Theater der Künste, Bühne A, Zurich. VEZ Zurich, PHACE Contemporary Music, Vienna, S. Nolte, Regie, P. Siegwart Leitung, G. Toro Pérez & F. Bogner, Klangregie.
K. Kollektivkompositionen / Improvisationsprojekte
Stichworte
Improvisation für Bassklarinette und Live-Elektronik, 1996. CD. 10'.
U.A. Alte Schmiede, Wien 1996
Georg Riedl, Bassklarinette
Germán Toro-Pérez, Live-Elektronik
...quiet calling... (kollektiv)
Musik für 2 Kontrabassklarinetten und Elektronik von
Donna Wagner-Molinari, Kontrabassklarinette
Ernesto Molinari, Kontrabassklarinette
NewTonEnsemble:
Johannes Kretz, Elektronik
Jorge Sánchez-Chiong, Elektronik
Germán Toro-Pérez, Elektronik
Alfred Reiter, Klangregie
UA. Semperdepot, Wien, 16. Mai 2004
Free Chess (NewTonEnsemble)
Quartett für Klavier und Elektronik
NewTonEnsemble:
Richard Pfadenhauer, Klavier
Johannes Kretz, Elektronik
Jorge Sánchez-Chiong, Elektronik
Germán Toro-Pérez, Elektronik
UA. Schönberg Center, Wien, 18. Juni 2004
A.R.I.A. (NewTonEnsemble) nach einer Aktion von Richard Pfadenhauer
Quartett für Klavier und Elektronik
NewTonEnsemble:
Richard Pfadenhauer, Klavier
Johannes Kretz, Elektronik
Jorge Sánchez-Chiong, Turntables
Germán Toro-Pérez, Elektronik
UA. Amann Studios, Wien, Februar 2006, 18', CD
L. CD Veröffentlichungen / CD publications
-Toro Pérez, G. (composer). (2015). Signos Oscilantes for saxophone and live-electronics. Duo Saxophonic, Lars Mlekusch, saxophone, Florian Bogner, electronics. In Wrestling Samoa. Works for saxophone, ensemble, electronics. PHACE contemporary music, PHA 001.
-Toro Pérez, G. (Komponist). (2011). Ecos III / Mittersill for double bass, string trio and live-electronics. Ensemble Die Reihe / Gottfried Rabl / Germân Toro Pérez. In KoFuMi#15 Strom. Ein_klang records, EKR 045/046
-Toro Pérez, G. (composer). (2010). En Vilo, for two Bass Clarinets. In Short Cuts. Ein_klang records, EKR 045/046
-Toro Pérez, G. (composer). (2010). En Vilo, for two Bass Clarinets. In Short Cuts. Neue Zeitschrift für Musik, Issue 5/2010, CD-Supplement, Schott Edition\t
-Toro Pérez, G. (Komponist). (2010). veRSO, Miniatur für grosses Orchester, in 102 Masterpieces, Radio Symphonieorchester Wien. Capriccio 5051
-Toro Pérez, G. (Komponist). (2008). Beitrag zu Mathew Adkins, [60]Project. empreintes digitales.
-Toro Pérez, G. (Komponist, Performer). (2007). Inventario II, für Klavier und Elektronik, Richard Pfadenhauer, Klavier, Germán Toro-Pérez, Elektronik. In Newton / KlavierElektronikEnsemble. Ostblock records.
-Toro Pérez, G. (Komponist). (1998). Estudio de ruidos y campanas. On \"Electroacoustic wave in Colombia\". ACME (Colombian Society of Electroacoustic Music).
-Toro Pérez, G. (Komponist, Performer). (1996). Stichwörter. Improvisation für Bassklarinette und Live-Elektronik. In \"Elektronischer Frühling 1992-1996\". GEM (Österreichische Gesellschaft für Elektroakustische Musik).
M. Texte / Veröffentlichungen
1. Texte über GTP / Texts about GTP
-Kogler, Susann:e Sprachschöpfung und Weltbezug. Eine Annäherung an die Musik von Germán Toro Pérez. In: Haselböck, Lukas (Hrsg.), Klangperspektiven, S. 287-300. Wolke Verlag, Hofheim, 2011.
-Ender, Daniel: Sprache und Welt: Ankunft des Sisyphos. Germán Toro-Pérez. In Der Wert des Schöpferischen, Der Erste Bank Kompositionsauftrag 1989-2007, pp. 99-111. Sonderzahl Verlag, Wien, 2007
-Beier, Christian: \"Ficciones\", im Almanach \"Hörgänge 1999\", Konzerthaus Wien, 1999.
-Suchy, Irene: \"Germán Toro-Pérez, Visuelles als Inspiration\", Festschrift über die Kulturpreisträger des Landes Niederösterreich 1999, Hrsg.: Amt der Niederösterreichischen Landesregierung, St. Pölten 1999.
-Bernhard Günther, Hrsg., Lexikon-Artikel über Germán Toro-Pérez im \"Lexikon zeitgenössischer Musik aus Österreich\", Wien, mica - music information center austria, 1997.
2. Veröffentlichte Texte von GTP / Published texts by GTP
-Toro Pérez, G. and Bennett, L., ed. (2018): The Performance practice of Electroacoustic Music. The \"Studio di Fonologia\" years. Zurich: Peter Lang.
-Toro Pérez, G.; Bennett, L. (2018), \"Spatial concepts and performance practice. On the impact of evolving sound diffusion standards on electroacoustic music\" In EMS17 - Communication in/through Electroacoustic Music - Nagoya, Electroacoustic Music Studies Network: Nagoya pp. 1-11.
-Toro Pérez, G. (2018): \"Historically informed performance in electroacoustic music? The \"Studio di Fonologia\" years as a case study\". In: Toro Pérez, G., Bennett, L., ed.: The Performance practice of Electroacoustic Music. The \"Studio di Fonologia\" years. Zurich: Peter Lang, pp. 7–18.
-Toro Pérez, G. (2018): \"Auctorial Tradition and Contemporary Practice: Performing \"Musica su due dimensioni\" by Bruno Maderna \". In: Toro Pérez, G., Bennett, L., ed.: The Performance practice of Electroacoustic Music. The \"Studio di Fonologia\" years. Zurich: Peter Lang, pp. 91–110.
-Toro Pérez, G. (2017): \"Líneas de fuga: creación e investigación en las academias de arte\". In: Quaranta, Daniel, ed.: Creación musical, investigación y producción académica: desafíos para la música en la universidad. Morelia: CMMAS, pp. 87-107. ISBN: 978-85- 5512-310- 8. Ebook https://cmmas.org/store/products/product_detail/2043
-Toro Pérez, G., Mouritzen, Ken (2017): \"Über die Mannigfaltigkeit der Rinde. \"24 Variations\" von Horacio Vaggione im Kontext einer wahrnehmungsinformierten Analyse elektroakustischer Musik\". In: Lang, Benjamin (Hg.): Lost in Contemporary Music?. Regensburg: Con Brio, S. 173–227.
-Toro Pérez, G., Bennett, L., (2017). Performance Practice of Electroacoustic Music. Towards a practice-based exchange between musicology and performance. Proceedings of the International Computer Music Conference/EMW 2017, pp. 135-139.
-Ellberger E., Toro Pérez G., Cavaliero L., Schuett J., Zimmermann B., Zoia G., (2016). Taxonomy and Notation of Spatialization. In R. Hoadley, C. Nash, & D. Fober, eds. Proceedings of the International Conference on Technologies for Music Notation and Representation - TENOR2016. Cambridge, UK: Anglia Ruskin University, pp. 212–219.
-Ellberger E., Toro Pérez G., Schuett J., Zoia G., Cavaliero L., (2015). A Paradigm for Scoring Spatialization Notation. Proceedings of the 1st International Conference on Technologies for Music Notation and Representation TENOR-2015, pp.3–7.
-Badura J., Dubach S., Haarmann A., Mersch D., Rey A., Schenker Ch., & Toro Pérez G., ed. (2015): Künstlerische Forschung: ein Handbuch. Zürich-Berlin: Diaphanes.
-Komponieren. (2015). In: Badura J., Dubach S., Haarmann A., Mersch D., Rey A., Schenker Ch. and Toro Pérez G. (Ed.). Künstlerische Forschung. Ein Handbuch. Diaphanes, Zürich-Berlin.
-Rey, A. and Toro Pérez, G., ed. (2015): SubTexte 10. Disembodied Voice. Berlin: Alexander Verlag,.
-Nicht Effekte.Phänomene! Elektroakustische Technik und Stimme im Kontext künstlerischer Forschung (2015). In: Rey, Anton and Toro Pérez, German (Ed.) SubTexte 10. Disembodied Voice. Alexander Verlag, Berlin.
-Musik als Kunst des Ereignisses. Möglichkeiten künstlerischer Forschung und Praxis (2014). Reprint in: Darmstädter Beiträge zur Neuen Musik, Band 22. Schott Verlag, Mainz.
-Etre au-aedans. Un echange entre Architecture du paysage et musique. Nadine Schütz et Germán Toro Pérez (2014). In 'SONORITÉS 8'.
-Luc Ferrari revisited: Versuch einer Neueinschätzung von Luc Ferraris anekdotischer Kunst. (2014). In: 'Dissonance', Issue 125, p. 16-20.
-\"Comprenez-vous Stockhausen?\" Abstraction and Realiy in Contemporary Music. (2012). In: Christoph Brunner und Giaco Schiesser (Hrsg.): Praktiken des Experimentierens. Forschung und Lehre in den Künsten heute. Jahrbuch 4 Departement Kunst & Medien (ZHdK). Scheidegger & Spiess, Zürich.
-Sprachspuren. Anmerkungen zu Rulfo / voces: vacío el cielo azul (2011).
Nach einem Vortragstext zum Symposium Klangperspektiven, Wien, Universität für Musik und darstellende Kunst, 8. 10. Mai 2009. In: Haselböck, Lukas (Hg.), Klangperspektiven, Hofheim: Wolke Verlag, 2011.
-Composer and Researcher. The Link between Artistic and Scientific Practice in Electroacoustic Music (2011). Vortragstext zum Symposium Modes of Collaboration between the Arts and Sciences, Zürcher Hochschule der Künste, 29. April 2011. On-Line Veröffentlichung.
http://www.zhdk.ch/index.php?id=18865#perez (29.8.2011)
-Entfesselter Gesang (Hören ist innerlich singen). Zur Bestimmung des Melodischen in der (elektronischen) Musik von Luigi Nono (2010). Vortragstext zum Symposium Die Verlautbarung des Geistes. Beat-Stille-Pop, Klassik Stiftung Weimar, Kolleg Friedrich Nietzsche, Weimar, 19. - 21. März 2010,
Erschienen in der Zeitschrift Dissonance, Band 114, Basel, 2011, S. 6-13.
-On the Difference Between Artistic Research and Artistic Practice. In 'Zürcher Jahrbuch der Künste', Band 6, (2009). Corina Caduff, Fiona Siegenthaler und Tan Wälchli (Hrsg.), Verlag Scheidegger & Spiess, Zürich, S. 32-41.
-Stereo oder Zweikanal. Eine kompositionstechnische Anmerkung. Beitrag zum Symposium Musik im Raum, ZKM, Karlsruhe (2007). On-Line Veröffentlichung. http://on1.zkm.de/zkm/stories/storyReader$5820 (Zugriff: 9. Januar 2011)
-Juan Rulfo: Sprache, Einsamkeit und Erinnerung, Im Almanach Wien Modern 2006, (2006). Pfau Verlag, Saarbrücken.
-Carpentier und seine Bedeutung für die musikalische Moderne in Kuba In: Elena Ostleitner / Christian Glanz (Hg.), Alejo Carpentier, Jahrhundertgestalt der Moderne in Literatur, Kunst, Musik und Politik (2004). 4/4 Verlag, Wien.
-Sprache und Welt, Stichworte zu Adolf Wölfli, im Almanach Wien Modern 2001, (2001). Pfau Verlag, Saarbrücken. http://www.wienmodern.at/Home/GALERIE/KomponistInnen/Germ%C3%A1nToroP%C3%A9rez.aspx (Zugriff: 9. Januar 2011)
3. Andere publications / Other publications GTP
- Toro Pérez G, artistic direction. Les espaces électroacoustiques. Masterpieces in surround II (2019) SACD, 2 Disks, double layer 5.1 and stereo. Works by L. Nono, L. Berio, K.H. Stockhausen and G.M. Koenig. Col legno, Vienna (in print).
- Toro Pérez G, (ed.) Electroacoustic Performance Practice Database (2016). Main contributors: Bennett L., Bogner F., Di Gasbarro F., Hidalgo C. and Toro Pérez G. Additional contributions by Decroupet P., Bossis B. and Tazelaar K. Scientific advisers: De Benedictis A., Decroupet P., Izzo L., Petzold C., Schwoon K., Tazelaar K. and Vidolin A. http://ppeam.zhdk.ch
- Toro Pérez G, artistic direction. Les espaces électroacoustiques. Masterpieces in surround. (2016) SACD, 2 Disks, double layer 5.1 and stereo. Works by E. Varèse, G. Ligeti, B. Maderna, L. Berio, H. Lachenmann, J. Harvey, P. Boulez and B. Ferneyhough. Col legno, Vienna, WE 2SACD 40002, EAN 9 120031 341468.
4. Unveröffentlichte Texte von GTP / unpublished texts by GTP
-Comentario: Composición e identidad musical en Latinoamérica (2008).
Nachtrag zum Symposium Impresiones Sonoras, Berlin, UdK, Juli 2008.
-Elektroakustische Musik im XXI. Jh. Eine kritische Bestandsaufnahme (2004).
Vortragstext, Media Art Festival, Daegu, Südkorea, Sept. 2004.
-Edgard Varese und die Musik Lateinamerikas. Zur Frage des Einflusses der Musik von Amadeo Roldán und Heitor Villa-Lobos auf die Entstehung von 'Ionisation' (1997).
Magisterarbeit am Institut für Musikgeschichte der Universität für Musik und darstellende Kunst, Wien.
-Realismus in der elektroakustischen Musik am Beispiel von 'Hétérozygote' und 'Presque rien ou le lever du matin au bord de la mer' von Luc Ferrari (1996).
Abschlussarbeit, Institut für Elektroakustik, experimentelle und angewandte Musik an der Universität für Musik und darstellende Kunst, Wien.","subtype":"tutor","canonicalPath":"prof-german-toro-perez-151137","photo":[{"type":"file","id":"dac11897389828f403e585b791601f1946f2b0dd","attributes":{"id":"dac11897389828f403e585b791601f1946f2b0dd","filename":"151137.jpg","mime_type":"image/jpeg","path":"live/da/dac11897389828f403e585b791601f1946f2b0dd","path_file":"live/da/dac11897389828f403e585b791601f1946f2b0dd/151137.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=151137","height":800,"width":1200,"title":"Germán Toro-Pérez","alternativeText":"Germán Toro-Pérez","description":"Germán Toro-Pérez","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":"+41 43 446 55 01","work":"Leiter > Institute for Computer Music and Sound Technology > Forschung > Departement Musik","area":"Departement Musik","sub_areas":["Forschung","Institute for Computer Music and Sound Technology"],"position":"Leiter"}}],"studies":[]},{"id":151108,"last_name":"Kocher","first_name":"Philippe","title":"Prof. Dr.","affiliation":["midtier","tutor"],"teaching_summary":["Lehrt Computermusik, Komposition und Musiktheorie im Profil Interpretation und Performance und Theorie"],"music_subject":[{"name":"Computermusik","qualification":null,"is_major_subject":false},{"name":"Komposition","qualification":null,"is_major_subject":false},{"name":"Musiktheorie","qualification":null,"is_major_subject":false}],"sex":"M","email":"cuvyvccr.xbpure@muqx.pu","website":"http://www.philippekocher.ch","biography":"
Philippe Kocher (*1973)
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2005 Werkjahr für Komposition der Stadt Zürich.
2006 Composer-in-Residence beim Institut International de Musique Electroacoustique de Bourges, Frankreich.
2007 Förderpreis für Komposition des Kantons Graubünden.
2008 Auftragswerk des Lucerne Festival
2009 Auftragswerk der Ensemble Phoenix, Basel
2011 Stipendium des Aargauer Kuratorium für einen künstlerischen Aufenthalt in Berlin-Mitte
2012 Auftragswerk des Collegium Novum Zürich
2013 Auftragswerk des Ensemble Adapter Berlin
2014 Auslandatelier-Stipendium der Stadt Zürich für einen künstlerischen Aufenthalt in Berlin-Mitte
2014 Preis der FONDATION SUISA für Instrumentale/vokale Komposition und Elektronik
2016 Preisträger \"Kompositionswettbewerb des LUCERNE FESTIVAL 2016\"
2016 Arbeitsstipendium des Berliner Senats
2023 Preisträger des 36th Stuttgarter Film Winter Award 2023 - Festival for Expanded Media
2024 Arbeitsstipendium des Berliner Senats
1998 bis 2001 künstlerischer Leiter der Konzertreihe musica moderna in Wädenswil. Gründer und Mitglied des elektroakustischen Ensemble STROM und NOTSTROM. 2005 bis 2010 Gründer und künstlerischer Leiter der Konzertreihe generator für elektroakustische Musik und Neue Medien der Zürcher Hochschule der Künste.
2010 bis 2015 Gründer und künstlerischer Leiter des Ensemble soyuz21 – contemporary music ensemble zurich.
Gary Berger ist seit 2001 Dozent für elektroakustische Musik an der Zürcher Hochschule der Künste.
Gastvorlesungen über elektroakustische Komposition an der Hochschule für Musik Hanns Eisler in Berlin, Musikhochschule Franz Liszt in Weimar, an der Musikhochschule Luzern und an der Hochschule für Gestaltung und Kunst Luzern, an der Musikhochschule Lugano sowie am Landeskonservatorium Feldkirch.
Er war von 2012 - 2014 freier Mitarbeiter des Experimentalstudios des SWR und seit 2014 Mitglied des Ensemble Collegium Novum Zürich.
Gary Berger leitete von 2016 - 2022 das Studio für experimentelle und elektronische Musik der Hochschule für Musik Saarbrücken.
Das Werk von Gary Berger umfasst Kompositionen für Solo-Instrumente und Ensemblebesetzungen, beides mit und ohne Elektronik, sowie Tonbandwerke. Seine Kompositionen werden von der Schweizer Musik Edition vertrieben.
Seine Werke wurden an verschiedenen Festivals gespielt, so zum Beispiel am Lucerne Festival, Wien Modern, an den Nordic Music Days Stockholm, den Tagen für Neue Musik Zürich, am Festival Archipel Genf, an den World New Music Days, am Europäischen Musikmonat, am Göteborg Art Sound Festival, am Festival Musica Scienza Rom, Sound Field Festival Chicago, Festival Sinkro Spanien, Thailand International Composition Festival sowie an Festivals in Berlin, Stuttgart, Wien, Dresden, Weimar, Bourges, Sao Paulo, Luxembourg, Sofia, Krakau etc. und von zahlreichen Radiostationen aufgezeichnet und gesendet.
Er erhielt Kompositionsaufträge von der Schweizer Kulturstiftung Pro Helvetia, Tage für Neue Musik Zürich, des Lucerne Festivals, des Europäischen Musikmonats 2001 Basel, Festival für Neue Musik Rümlingen, Gruppe für Neue Musik Baden, der ISMC World New Music Days 2004, des IMEB Institut International de Musique Electroacoustique de Bourges – Frankreich, der Stadt Zürich, der Stadt Basel und anderen.
Seine Werke wurden u.a. aufgeführt durch das Collegum Novum Zürich, Ensemble Cattrall, Ensemble Phöenix, Ensemble Laboratorium, Ensemble Lucerne Festival Alumni, Ensemble Adapter Berlin, KammarensembleN, Ensemble B.E.A.M., Ensemble fonos 21, Color of Sound Ensemble, dem Arte Quartett, Ensembles United Instruments of Lucilin, Arion-Quintett, Duo Canto Battuto, Absolut Trio, Swiss-Australian Collectables, Wiener Saxophon-Quartett, Lucerne Festival Percussion Group usw.
Mehrere Portraitsendungen bei Schweizer Radio SRF 2, Radio Suisse Romande - Espace2, SWR2, Mitteldeutscher Rundfunk sowie dem Deutschlandfunk.
Er lebt als freischaffender Komponist in Berlin.","publication":null,"subtype":"tutor","canonicalPath":"gary-berger-150971","photo":[{"type":"file","id":"edf5a6b0b355bbb80d4f69526466af2995c263aa","attributes":{"id":"edf5a6b0b355bbb80d4f69526466af2995c263aa","filename":"150971.jpg","mime_type":"image/jpeg","path":"live/ed/edf5a6b0b355bbb80d4f69526466af2995c263aa","path_file":"live/ed/edf5a6b0b355bbb80d4f69526466af2995c263aa/150971.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=150971","height":4854,"width":3236,"title":"Gary Berger","alternativeText":"Gary Berger","description":"Gary Berger","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[],"studies":[]},{"id":159413,"last_name":"Gianini","first_name":"Leandro","title":null,"affiliation":["midtier","tutor"],"teaching_summary":["Profil Tonmeister"],"music_subject":[],"sex":"M","email":"yrnaqeb.tvnavav@muqx.pu","website":null,"biography":null,"publication":null,"subtype":"tutor","canonicalPath":"leandro-gianini-159413","photo":[{"type":"file","id":"ea3f0b2be1e4f037cf292a73e87486b0d0bf49c8","attributes":{"id":"ea3f0b2be1e4f037cf292a73e87486b0d0bf49c8","filename":"159413.jpg","mime_type":"image/jpeg","path":"live/ea/ea3f0b2be1e4f037cf292a73e87486b0d0bf49c8","path_file":"live/ea/ea3f0b2be1e4f037cf292a73e87486b0d0bf49c8/159413.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=159413","height":1057,"width":1600,"title":"Leandro Gianini","alternativeText":"Leandro Gianini","description":"Leandro Gianini","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":"Wissenschaftlicher Mitarbeiter > Institute for Computer Music and Sound Technology > Forschung > Departement Musik","area":"Departement Musik","sub_areas":["Forschung","Institute for Computer Music and Sound Technology"],"position":"Wissenschaftlicher Mitarbeiter"}}],"studies":[]},{"id":166228,"last_name":"Peter","first_name":"Thomas","title":null,"affiliation":["tutor"],"teaching_summary":["Lehrt im BA Art Education und in den Z-Modulen","Profil Theorie","Tätig am Institute for Computer Music and Sound Technology"],"music_subject":[],"sex":"M","email":"gubznf.crgre@muqx.pu","website":"http://www.tpeter.ch","biography":null,"publication":null,"subtype":"tutor","canonicalPath":"thomas-peter-166228","photo":[{"type":"file","id":"0c56255ae96e4aa785a92de3b9fec236d91eb7b5","attributes":{"id":"0c56255ae96e4aa785a92de3b9fec236d91eb7b5","filename":"166228.jpg","mime_type":"image/jpeg","path":"live/0c/0c56255ae96e4aa785a92de3b9fec236d91eb7b5","path_file":"live/0c/0c56255ae96e4aa785a92de3b9fec236d91eb7b5/166228.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=166228","height":4896,"width":3264,"title":"Thomas Peter","alternativeText":"Thomas Peter","description":"Thomas Peter","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":"Wissenschaftlicher Mitarbeiter > Institute for Computer Music and Sound Technology > Forschung > Departement Musik","area":"Departement Musik","sub_areas":["Forschung","Institute for Computer Music and Sound Technology"],"position":"Wissenschaftlicher Mitarbeiter"}}],"studies":[]},{"id":183801,"last_name":"Spindler","first_name":"Cedric","title":null,"affiliation":["tutor"],"teaching_summary":["Profil Tonmeister"],"music_subject":[],"sex":"M","email":"prqevp.fcvaqyre@muqx.pu","website":null,"biography":null,"publication":null,"subtype":"tutor","canonicalPath":"cedric-spindler-183801","photo":[{"type":"file","id":"2e82c87484e58f926a0b8a936e3b48bda2695baf","attributes":{"id":"2e82c87484e58f926a0b8a936e3b48bda2695baf","filename":"183801.jpg","mime_type":"image/jpeg","path":"live/2e/2e82c87484e58f926a0b8a936e3b48bda2695baf","path_file":"live/2e/2e82c87484e58f926a0b8a936e3b48bda2695baf/183801.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=183801","height":1023,"width":819,"title":"Cedric Spindler","alternativeText":"Cedric Spindler","description":"Cedric Spindler","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[],"studies":[]},{"id":151050,"last_name":"Schütt","first_name":"Johannes","title":null,"affiliation":["midtier"],"teaching_summary":[],"music_subject":[],"sex":"M","email":"wbunaarf.fpuhrgg@muqx.pu","website":"http://www.schuett.ch","biography":"Johannes Schütt (1962)
1984 Diplom als Klarinettist am Konservatorium Winterthur.
Konzerttätigkeiten, Einspielungen für Radio, Fernsehen und auf Tonträger.
Von 1984 - 2005 Lehrer für Klarinette an der Kantonsschule und am Konservatorium Schaffhausen.
Weiterbildung in Komposition bei Klaus Cornell, David Angel und für Computermusik bei Gerald Bennett an der Hochschule für Musik und Theater (HMT) Zürich.
Seit 1994 Mitglied des \"Komponisten-Forums\" des \"Schweizerischen Zentrums für Computermusik\"
Kompositionen für Instrumentalensembles, Theatermusik und Experimentalfilme, sowie Klanginstallationen, Kompositionen für Tonband und Live-Elektronik.
Publikation: \"Vietnam\" CD zum gleichnamigen Fotobuch.
www.schuett.ch/index.tpl?rubrik=4
Bibliographie: www.schuett.ch/index.tpl?rubrik=3
Spezialisierung auf Kompositionen im \"Ambisonic-3D-Raumklangverfahren\".
Arbeitet am ICST \"Institute for Computer Music and Sound Technology\" der ZHdK.","publication":"www.schuett.ch/index.tpl?rubrik=3","subtype":"employee","canonicalPath":"johannes-schuett-151050","photo":[{"type":"file","id":"7f4707057fd204128b09b41dd89a7e427768a4a8","attributes":{"id":"7f4707057fd204128b09b41dd89a7e427768a4a8","filename":"151050.jpg","mime_type":"image/jpeg","path":"live/7f/7f4707057fd204128b09b41dd89a7e427768a4a8","path_file":"live/7f/7f4707057fd204128b09b41dd89a7e427768a4a8/151050.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=151050","height":2953,"width":1965,"title":"Johannes Schütt","alternativeText":"Johannes Schütt","description":"Johannes Schütt","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":"Wissenschaftlicher Mitarbeiter > Institute for Computer Music and Sound Technology > Forschung > Departement Musik","area":"Departement Musik","sub_areas":["Forschung","Institute for Computer Music and Sound Technology"],"position":"Wissenschaftlicher Mitarbeiter"}}],"studies":[]}]},"teaser_organigramm_pages":{"data":[]}}},{"type":"content","id":124036,"attributes":{"uid":124036,"pid":3482,"tstamp":123,"hidden":0,"sorting":3104,"CType":"standard_content","header":"Contemporary Music","bodytext":"
The Studio Contemporary Music is one of the institutions within ZHdK with the most public events. Many questions that recur in scores of older music can be directly posed and negotiated in contemporary music.
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Biographien:
Joan Jordi Oliver (Mallorca, 1994) ist ein spanischer Saxophonist, Komponist, Elektroniker und Kurator, der in Zürich lebt. Seine vielseitige musikalische Praxis verbindet Performance, Komposition, Improvisation und elektroakustische Elemente zu einem eklektischen und individuellen Ausdruck. Er erforscht ständig die Möglichkeiten seines Instruments und kombiniert akustische Elemente mit Synthesizerklängen und digitalen Prozessen. Seine Musik lehnt stilistische Grenzen ab und bewegt sich zwischen Ambient, Minimalismus, freier Improvisation, zeitgenössischer klassischer Musik und experimenteller Elektronik.
Oliver spielte in renommierten Konzertsälen 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 häufig 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 veröffentlicht: \"Enlaire\" (2021) und \"Transit\" (2022).
Er arbeitet international als freischaffender Musiker und unterrichtet elektronische Musik an verschiedenen Musikschulen. Diese pädagogische Tätigkeit profitiert von seiner Forschungstätigkeit am Institut for Computer Music and Sound Technology an der Zürcher Hochschule der Künste. Ab 2024 übernimmt er die künstlerische Leitung des Ensemble TaG in Winterthur.
Das Ensemble TaG Winterthur , 1992 gegründet, engagiert sich von seinem Heimatort aus, dem Theater am Gleis in Winterthur, für die Auftragsvergabe und Vermittlung von neuer Musik. Es kuratiert spannende Projekte, die die zahlreichen und sehr unterschiedlichen Facetten des zeitgenössischen Schaffens repräsentieren, und gestaltet Konzerterlebnisse, die attraktiv sind, die künstlerischen Strömungen der internationalen Szene berücksichtigen und mit der lokalen und nationalen Gemeinschaft in Verbindung stehen. Es versucht, neue musikalische Ideen und künstlerische Praktiken, die manchmal riskant oder herausfordernd sein können, einem breiteren Publikum näher zu bringen und eine Brücke zwischen den Kunstschaffenden unserer Zeit und den Zuhörern zu schaffen.
Diese Mission wird nicht nur in Form von Konzerten, sondern auch in Format von Präsentationen, Gesprächen und gemeinsamen Projekten mit verschiedenen Institutionen umgesetzt, die dazu beitragen, sich der neuen Musik aus verschiedenen Perspektiven zu nähern. Das Ensemble TaG organisiert Veranstaltungen, die sich speziell an Kinder und Jugendliche richten, und arbeitet regelmässig mit Institutionen wie dem Konservatorium Winterthur oder der Zürcher Hochschule der Künste zusammen, um die Ausbildung der jungen Generation von Komponist:innen unserer Gemeinde zu unterstützen. Die Erkundung alternativer Konzertformate und die Zusammenarbeit mit Künstler:innen aus verschiedenen Bereichen schaffen einzigartige Konstellationen, die über stilistische Grenzen und künstlerische Disziplinen hinausgehen.
Die Kernmitglieder des Ensembles sind Tatiana Timonina (Flöte), Martin Flüge (Schlagzeug), Alex Jellici (Violoncello), Rafael Rütti (Klavier), Ísak Ríkhardsson (Violine), Joan Jordi Oliver (Elektronik, künstlerische Leitung) und Ursina Sprenger (Geschäftsleiterin). Diese Musiker:innen haben nicht nur eine starke Affinität zum Schaffen neuer Musik, sondern sind auch in einer Vielzahl von Szenen aktiv: Klassik, Barock, Neue Musik, Improvisation, Pop, Electronica... Diese Vielfalt an Perspektiven und unterschiedlichen Facetten tragen zur einzigartigen Vision des Ensembles bei und festigen eine Identität, die sensibel und verbunden mit den sehr unterschiedlichen ästhetischen Strömungen unserer Zeit ist.","cast":"Ensemble TaG:
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Antony Burkhard, Bassklarinette
Ísak Ríkharðsson, Violine
David Schnee, Viola
Alex Jellici, Violoncello
Rafael Rütti, 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 “early” 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\n→ 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 today’s music, which is essential for professional life – 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→ Contemporary Music"],"title_de":["Historische Aufführungspraxis ","Zeitgenössische Musik "],"text_de":["In aufführungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen «alter» und «moderner» Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverständlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Aufführungspraxis nicht mehr nur die «alte» Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschäftigt.\r\nParallel dazu haben sich auch die Inhalte der Aufführungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darüber hinaus weitaus umfassendere Fragen: das Verhältnis der Musik zu den anderen Künsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschäftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.\r\nAn der ZHdK wird versucht, dieser thematischen Komplexität mit einer möglichst grossen Bandbreite an Gefässen gerecht zu werden. Zu wechselnden Themenschwerpunkten werden ergänzend zum Haupt- und Variantfachunterricht (sei es auf dem modernen, als auch auf dem historischen Instrument) Semesterkurse, Ateliers, Konzerte, Werkstätte, Workshops und Meisterkurse angeboten.\r\n→ Historische Aufführungspraxis ","Das Studio zeitgenössische Musik gehört innerhalb der ZHdK zu den Institutionen mit den meisten öffentlichen Veranstaltungen. Viele Fragen, die in Partituren älterer Musik immer wieder auftauchen, können in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschäftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen können, erfährt das Spiel und die Auseinandersetzung in der Beschäftigung 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 Öffentlichkeit wendet, bilden regelmässige Porträts prägender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprächsveranstaltungen, pädagogischen Angeboten, Meisterkursen und freien Formaten vorgestellt. Dies kann allen Beteiligten die fürs Berufsleben essenzielle Gelegenheit einer intensiven Berührung mit heutiger Musik geben – und dem Publikum die ebenso reizvolle wie wichtige Erfahrung vermitteln, dass die Beschäftigung mit Musik weit mehr sein kann als blosse Hinwendung zu bekannten Idiomen.\r\n→ Zeitgenössische 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 “old” and “modern” 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 “early” 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\n→ 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 “old” and “modern” 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 “early” 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\n→ 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 today’s music, which is essential for professional life – 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 today’s music, which is essential for professional life – 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→ 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 Aufführungspraxis ","bodytext":"In aufführungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen «alter» und «moderner» Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverständlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Aufführungspraxis nicht mehr nur die «alte» Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschäftigt.
\r\nParallel dazu haben sich auch die Inhalte der Aufführungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darüber hinaus weitaus umfassendere Fragen: das Verhältnis der Musik zu den anderen Künsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschäftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.
\r\nAn der ZHdK wird versucht, dieser thematischen Komplexität mit einer möglichst grossen Bandbreite an Gefässen gerecht zu werden. Zu wechselnden Themenschwerpunkten werden ergänzend zum Haupt- und Variantfachunterricht (sei es auf dem modernen, als auch auf dem historischen Instrument) Semesterkurse, Ateliers, Konzerte, Werkstätte, Workshops und Meisterkurse angeboten.
\r\n→ Historische Aufführungspraxis
","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 aufführungspraktischen Fragen kennt der moderne Musikbetrieb schon lange keine Unterscheidung mehr zwischen «alter» und «moderner» Musik, sie sind im gesamten Repertoire bis zum Beginn des 20. Jahrhunderts angekommen und zur Selbstverständlichkeit geworden. Auch das benutzte Instrumentarium ist nicht mehr das Argument, um diese Fragen zu stellen, oder nicht. Folgerichtig betrifft die Historische Aufführungspraxis nicht mehr nur die «alte» Musik, sondern alle Musik vergangener Epochen. Entsprechend ist die Ausbildung an einer modernen Musikhochschule in fast jedem Bereich stetig mit der Thematik beschäftigt.\r\nParallel dazu haben sich auch die Inhalte der Aufführungspraxis gewandelt. Die praktische Auseinandersetzung anhand unterschiedlichster Quellen spielt nach wie vor eine zentrale Rolle, jedoch stellen sich darüber hinaus weitaus umfassendere Fragen: das Verhältnis der Musik zu den anderen Künsten (insbesondere an einer modernen Kunsthochschule) ist dabei genauso entscheidend, wie die Beschäftigung mit dem geistesgeschichtlichen Hintergrund im Allgemeinen, dem sozialen Kontext einer Epoche und dessen politischer Einordnung.\r\nAn der ZHdK wird versucht, dieser thematischen Komplexität mit einer möglichst grossen Bandbreite an Gefässen gerecht zu werden. Zu wechselnden Themenschwerpunkten werden ergänzend zum Haupt- und Variantfachunterricht (sei es auf dem modernen, als auch auf dem historischen Instrument) Semesterkurse, Ateliers, Konzerte, Werkstätte, Workshops und Meisterkurse angeboten.\r\n→ Historische Aufführungspraxis "},"relationships":{"sticky_news":[]}},{"type":"content","id":125406,"attributes":{"uid":125406,"pid":21413,"tstamp":125,"hidden":0,"sorting":512,"CType":"standard_content","header":"Zeitgenössische Musik ","bodytext":"Das Studio zeitgenössische Musik gehört innerhalb der ZHdK zu den Institutionen mit den meisten öffentlichen Veranstaltungen. Viele Fragen, die in Partituren älterer Musik immer wieder auftauchen, können in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschäftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen können, erfährt das Spiel und die Auseinandersetzung in der Beschäftigung 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 Öffentlichkeit wendet, bilden regelmässige Porträts prägender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprächsveranstaltungen, pädagogischen Angeboten, Meisterkursen und freien Formaten vorgestellt. Dies kann allen Beteiligten die fürs Berufsleben essenzielle Gelegenheit einer intensiven Berührung mit heutiger Musik geben – und dem Publikum die ebenso reizvolle wie wichtige Erfahrung vermitteln, dass die Beschäftigung 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 zeitgenössische Musik gehört innerhalb der ZHdK zu den Institutionen mit den meisten öffentlichen Veranstaltungen. Viele Fragen, die in Partituren älterer Musik immer wieder auftauchen, können in aktueller Musik unmittelbar gestellt und verhandelt werden. Gerade weil das Musikstudium die Tendenz hat, sich stark mit Musik vergangener Jahrhunderte zu beschäftigen und dabei aktuelle Fragestellungen unbemerkt aus dem Blickpunkt gelangen können, erfährt das Spiel und die Auseinandersetzung in der Beschäftigung 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 Öffentlichkeit wendet, bilden regelmässige Porträts prägender Komponist:innen aus aller Welt. Deren Musik wird in Konzerten, Workshops, Gesprächsveranstaltungen, pädagogischen 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 Studiengänge 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 vorgängiger Absprache gemeinsam festgelegt. "," Die Begegnung mit herausragenden Dirigierpersönlichkeiten, das Einstudieren und die Aufführung von Orchesterliteratur vom Barock bis zur zeitgenössischen Musik sowie die Zusammenarbeit mit Berufsorchestern bildet die Studierenden im Orchesterspiel aus und bereitet sie auf die künftige 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 für Orchester von Bartók oder Olivier Messiaens Turangalîla-Sinfonie erarbeitet und aufgeführt. Namhafte Dirigenten wie Stefan Asbury, Johannes Schlaefli, Marc Kissóczy, 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 Eötvös, Jürg Henneberger, Peter Hirsch, Véronique Lacroix, Alain Monot, Peter Rundel oder Johannes Schöllhorn gearbeitet und u. a. die Komponistenporträts 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 unveröffentlichte Werke von Heinichen, Pisendel u. a. zur Aufführung. \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 Ausführung von Chormusik verschiedener EpochenArbeit an ausgewogenem EnsembleklangBreites RepertoireZusammenarbeit mit anerkannten Institutionen (Tonhalle Zürich, 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 durchgeführt unter der Leitung eines international anerkannten Dirigenten der Chormusikszene. Ausserdem kooperiert das VocalEnsemble mit anderen Formationen und Institutionen. Die künstlerische Leitung liegt bei Prof. Markus Utz.","Im Bachelor-Semesterchor singen Klassik-Studierende, die nicht Gesang als Hauptfach belegen. Die wöchentlichen Proben werden von Prof. Beat Schäfer und Prof. Markus Utz geleitet, assistiert von Studierenden der Vertiefung Chorleitung. Ein Konzert schliesst die Semesterarbeit ab. Die Literatur reicht von frühbarocken Meistern über die Klassik bis hin zur Mitgestaltung von Uraufführungen. Der Bachelor-Semesterchor musiziert je nach Programmgestaltung zusammen mit Instrumentalistinnen oder Instrumentalisten, bzw. Gesangstudierenden der ZHdK. Jedes 2. Jahr findet die Aufführung eines Oratoriums im Gesamtverband aller vokalen Ensembles zusammen mit Solisten der Musikhochschule und dem Orchester der Zürcher Hochschule der Künste statt. ","Im Bachelor-Projektchor singen alle Klassik-Studierende im 3. Semester, die nicht Gesang als Hauptfach belegen. Jene Studierenden-Jahrgänge, die bereits bei einer oratorischen Aufführung 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-Jahrgänge, die während 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 Zürcher Hochschule der Künste aufgeführt 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, Bartók's Concerto for Orchestra, and Olivier Messiaen's Turangalîla Symphony. Notable conductors such as Stefan Asbury, Johannes Schlaefli, Marc Kissóczy, 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 Eötvös, Jürg Henneberger, Peter Hirsch, Véronique Lacroix, Alain Monot, Peter Rundel and Johannes Schöllhorn, 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 Zürich, 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 Schäfer 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 Studiengänge 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 vorgängiger Absprache gemeinsam festgelegt. 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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 vorgängiger 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, Bartók's Concerto for Orchestra, and Olivier Messiaen's Turangalîla Symphony. Notable conductors such as Stefan Asbury, Johannes Schlaefli, Marc Kissóczy, 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 Eötvös, Jürg Henneberger, Peter Hirsch, Véronique Lacroix, Alain Monot, Peter Rundel and Johannes Schöllhorn, as well as working on portraits of composers, among other things, with Henri Pousseur, Isabel Mundry, Wolfgang Rihm and Jonathan Harvey.
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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 Zürich, 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 Zürich, 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 Schäfer 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. 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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."},"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 Dirigierpersönlichkeiten, das Einstudieren und die Aufführung von Orchesterliteratur vom Barock bis zur zeitgenössischen Musik sowie die Zusammenarbeit mit Berufsorchestern bildet die Studierenden im Orchesterspiel aus und bereitet sie auf die künftige 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 für Orchester von Bartók oder Olivier Messiaens Turangalîla-Sinfonie erarbeitet und aufgeführt. Namhafte Dirigenten wie Stefan Asbury, Johannes Schlaefli, Marc Kissóczy, 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 Eötvös, Jürg Henneberger, Peter Hirsch, Véronique Lacroix, Alain Monot, Peter Rundel oder Johannes Schöllhorn gearbeitet und u. a. die Komponistenporträts 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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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 unveröffentlichte Werke von Heinichen, Pisendel u. a. zur Aufführung. \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 Ausführung von Chormusik verschiedener Epochen
- Arbeit an ausgewogenem Ensembleklang
- Breites Repertoire
- Zusammenarbeit mit anerkannten Institutionen (Tonhalle Zürich, Musikkollegium Winterthur u.a.m.) CD-Einspielungen, Konzertreisen
The Career Center Music offers ZHdK music students a whole host of career-related content, enabling them to embark upon their professional life with success. It acts as the interface between study and career.
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Head of programme, Head Profile Composition / Theory / Sound Engineering
+41 43 446 51 50
E-Mail
Felix Baumann
Leitung Studiengang, Leitung Profil Komposition / Theorie / Tonmeister:in
+41 43 446 51 50
E-Mail
Ursula Ramsbacher
Irregular attendance, please contact by email
Ursula Ramsbacher
Unregelmässige Anwesenheit, Kontaktaufnahme bitte per E-Mail
Zürcher Hochschule der Künste
Komposition / Theorie / Tonmeister:in
Pfingstweidstrasse 96
Postfach
CH-8031 Zürich
Zürcher Hochschule der Künste
Komposition / Theorie / Tonmeister:in
Pfingstweidstrasse 96
Postfach
CH-8031 Zürich