Course content.
Are you interested in art production, art conservation and art handling? Would you like to explore the definition of artwork in the field of tension of idea and material? The “Art Production and Handling” minor qualifies you to work in the fields of art production and art handling. Students examine the definitions of artwork in art production and art conservation, along with the practical aspects of dealing with art as well: Special characteristics of materials, audiovisual technologies, production and post-production as well as conservation of artworks are also part of the course content. Moreover, students acquire practical knowledge of the structures, processes and legal framework conditions in museums, galleries and trade fairs, which will stand them in good stead in the working world. They consolidate the skills that they have acquired in an individual or collaborative project.
Skills acquired in the course.
Students learn ...
– about art historical and art theoretical discourses related to the definition of artwork and their impact on art production and art conservation;
– how to deal with practical problems related to the production and handling of artworks from the artist’s perspective, and also to develop innovative solutions;
– how working processes function in different art institutions and the ins and outs of their respective framework conditions;
– to consolidate their knowledge of art production and art handling in one of their own projects in the art field.
Admissions requirements.
You know the principles of independent artistic practice, have basic knowledge of art history and art theory, and in-depth technical and social skills. Besides offering your artistic services, you would also like to work in a supportive capacity as an art handler for exhibitions and collections, or as an assistant for artists.
Benefits of studying at ZHdK.
The degree programme is one-of-a-kind in the Swiss and international fields of universities of the arts. You acquire theoretical and technical knowledge of the production, conservation and handling of artworks. You are prepared for the structural and legal working conditions in the art field. In addition, the English-language study programme increases your language skills.
→ More information about this minor (PDF download)
Minor Coordinator
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Interessierst du dich für die Produktion, die Konservierung und das Handling von Kunstwerken? Möchtest du dich mit dem Werkbegriff der Kunst im Spannungsfeld von Idee und Materie auseinandersetzen? Der Minor «Art Production and Handling» qualifiziert dich in diesen Bereichen. Wir bieten dir eine theoretische Auseinandersetzung mit Werkbegriffen in der Kunstproduktion und -konservierung. Aber auch die praktischen Aspekte im Umgang mit Kunst kommen nicht zu kurz: Eigenarten von Materialien, audiovisuellen Technologien, Produktion und Postproduktion sowie Konservierung von Kunstwerken gehören ebenso zum Studieninhalt. Mit Blick auf die Berufswelt erhältst du zudem praxisbezogenes Wissen über die Strukturen, Abläufe und juristischen Rahmenbedingungen in Museen, Galerien und Messen. In einem individuellen oder kollaborativen Abschlussprojekt vertiefst du deine erworbenen Fähigkeiten.
Diese Kompetenzen erlernst du.
Du lernst:
– kunsthistorische und -theoretische Diskurse um den Werkbegriff kennen und wie sie sich auf Kunstproduktion und -konservierung auswirken;
– wie du dich praktischen Problemstellungen in der Produktion und dem Handling von Kunstwerken aus Künstler:innenperspektive annähern und innovative Lösungen entwickeln kannst;
– wie Arbeitsabläufe in unterschiedlichen Institutionen des Kunstfeldes funktionieren und welches ihre Rahmenbedingungen sind;
– in einem eigenen Projekt im Kunstfeld deine Kenntnisse in Kunstproduktion, Kunstkonservierung oder im Handling von Kunstwerken zu vertiefen.
Diese Voraussetzungen bringst du mit.
Du verfügst über die Grundlagen einer eigenständigen künstlerischen Praxis, Grundkenntnisse in Kunstgeschichte und -theorie und hast ausgeprägte technische und soziale Kompetenzen. Neben deiner künstlerischen Praxis möchtest du eine unterstützende Tätigkeit als Art Handler für Ausstellungen und Sammlungen oder als Assistenz einer:eines Künstler:in aufbauen.
Von diesen Besonderheiten profitierst du.
Das Studienprogramm ist im (inter-)nationalen Feld der Kunsthochschulen einzigartig. Du erwirbst theoretische und technische Kenntnisse zur Produktion und zum Handling von Kunstwerken und wirst auf die strukturellen und rechtlichen Arbeitsbedingungen im Kunstfeld vorbereitet. Ausserdem fördert das englischsprachige Studienprogramm deine Sprachkompetenzen.
→ Mehr zu diesem Minor (PDF-Download)
Minorkoordination
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The Minor in “Art, Work and Labour” provides practical and theoretical knowledge of different forms of artistic work, ranging from studio and exhibition practice to self-organization and collaboration. You learn about different working models of artists and explore economic and legal framework conditions (salary, working contracts, funding, financing). Moreover, you explore contemporary as well as historical labour discourses in the arts. Within the scope of this programme, you develop an individual or a collaborative project (e.g. an artwork, establishment of a publishing house or an artist-run space, a collaboration with an institutional or commercial player) on the basis of your interests and your artistic practice. You discuss the status of your practice project with students, lecturers and guests in collective formats on a regular basis.
Skills acquired in the course.
You learn how to:
— Use your practical and theoretical knowledge of the relationship between work, the economy and art to develop your own professional understanding of what it means to be an artist;
— Apply the economic and legal framework conditions of artistic production and presentation to your own practice;
— Develop, implement and reflect on a practice project alone or together with other artists and/or with institutional or commercial players.
— Identify players, institutions and companies in the local and national art field that are relevant for you, and expand your professional network.
Admissions requirements.
The Minor in “Art, Work and Labour” is aimed at Master's students who would like to work as professionally as artists and deepen their knowledge of this field. You have your own artistic practice, knowledge of contemporary art as well as initial experience of making your artistic work public. You have well-developed social and communicative skills that enable you to work in a group environment and on your own.
Benefits of studying at ZHdK.
The Minor in “Art, Work and Labour” prepares you for the diverse professional requirements and opportunities in the artistic and cultural field. In a broad-based range of weekly seminars (range of context modules from Semester 1 to 4), you are able to deepen your knowledge in different topic fields of artistic work or look into artistic practices. The large amount of project work (Semester 1 to 4) enables you to incorporate your practice field of choice, based on your own interests and goals. Moreover, the study programme in English enhances your language skills.
→ More about this minor (PDF download)
Minor Coordinator
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Der Minor «Art, Work and Labour» vermittelt praktisches und theoretisches Wissen über vielfältige Formen des künstlerischen Arbeitens zwischen Studio- und Ausstellungspraxis, Selbstorganisation und Kollaboration. Du lernst verschiedene Arbeitsmodelle von Künstler:innen kennen und befasst dich mit ökonomischen und rechtlichen Rahmenbedingungen (Lohn, Arbeitsverträge, Förderung, Finanzierung). Ausserdem setzt du dich mit zeitgenössischen sowie historischen Arbeitsdiskursen in der Kunst auseinander. Auf der Grundlage deiner Interessen und deiner künstlerischen Praxis entwickelst du im Rahmen dieses Programms ein individuelles oder kollaboratives Projekt (z. B. eine künstlerische Arbeit, die Gründung eines Verlags, einen Artist-Run-Space, eine Kollaboration mit einem:einer institutionellen, kommerziellen Akteur:in). In gemeinschaftlichen Formaten tauschst du dich mit Studierenden, Dozierenden und Gästen regelmässig über den Stand deines Praxis-Projekts aus.
Diese Kompetenzen erlernst du.
Du lernst,
— praktisches und theoretisches Wissen über das Verhältnis von Arbeit, Ökonomie und Kunst zu nutzen, um ein eigenes Berufsverständnis als Künstler:in zu entwickeln;
— ökonomische und rechtliche Rahmenbedingungen der Kunstproduktion und -präsentation auf deine eigene Praxis zu beziehen;
— ein Praxis-Projekt allein oder gemeinsam mit anderen Künstler:innen und/oder mit institutionellen oder kommerziellen Akteur:innen zu konzipieren, umzusetzen und zu reflektieren;
— für dich relevante Akteur:innen, Institutionen und Firmen im lokalen und nationalen Kunstfeld zu identifizieren und dein berufliches Netzwerk zu erweitern.
Diese Voraussetzungen bringst du mit.
Der Minor «Art, Work and Labour» richtet sich an Masterstudierende, die eine professionelle Tätigkeit als Künstler:in anstreben und ihr Wissen über dieses Berufsfeld vertiefen wollen. Du verfügst über eine eigenständige künstlerische Praxis, ein Wissen in zeitgenössischer Kunst sowie erste Erfahrungen im Öffentlichmachen deiner künstlerischen Arbeiten. Du hast ausgeprägte soziale und kommunikative Fähigkeiten, die ein Arbeiten in der Gruppe ermöglichen sowie eine selbstständige Arbeitsweise.
Von diesen Besonderheiten profitierst du.
Der Minor «Art, Work and Labour» bereitet dich auf die vielfältigen beruflichen Anforderungen und Möglichkeiten im Kunst- und Kulturfeld vor. In einem breit gefächerten Angebot von wöchentlichen Seminaren (Kontextmodulangebot
1.–4. Semester) kannst du dich in unterschiedliche Themenfelder der künstlerischen Arbeit vertiefen oder setzt dich mit künstlerischen Praktiken auseinander. Der grosse Projektanteil (1.–4. Semester) ermöglicht dir, ausgehend von eigenen Interessen und Zielen ein gewünschtes Praxisfeld zu erschliessen. Ausserdem fördert das englischsprachige Studienprogramm deine Sprachkompetenzen.
→ Mehr zu diesem Minor (PDF-Download)
Minorkoordination
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The minor responds to the changes in the music business with regard to authorship, digitalization and globalization. On the one hand, it imparts broad knowledge and skills in the areas of law, cultural policy, associations and unions, business administration, coaching in work organization, time management and digital work tools. On the other hand, the focus is on Producing & Presentation: students learn how to deal with contemporary production and presentation techniques in artistic practice as a matter of course and deal with portfolio building. A mentored internship or own music project completes the minor.
The minor in German and English is offered by the profiles Interpretation & Performance and Jazz and Pop. It is aimed at the Bachelor's and Master's degree levels.
Skills acquired in the course.
Graduates are able to work successfully in the field of cultural management as employees or independently. They are administratively and organizationally independent, can market themselves and know how to be marketed. They are able to produce music and/or projects and prepare them digitally until they are ready for the market, as well as to maintain and expand their network in a targeted manner.
Admissions requirements.
This minor is aimed at students with an advanced artistic portfolio.
Benefits of studying at ZHdK.
The minor programme connects different areas of the musical landscape through the collaboration of Classical music, Jazz and World music and Pop with the local as well as international networks of the ZHdK. The lecturers and experts impart practice and experience directly from the current professional world. The offer is supported by the exceptional infrastructure of the ZHdK, the equipment of the concert rooms and recording studios, the array of borrow material and the various practice opportunities.
→ 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 reagiert auf den Wandel des Musikbetriebs bezüglich Autorschaft, Digitalisierung und Globalisierung. Er vermittelt einerseits breit gefächerte Kenntnisse und Fähigkeiten in den Bereichen Recht, Kulturpolitik, Verbandslandschaft, Betriebswirtschaft, Coaching in Arbeitsorganisation, Zeitmanagement und Digital Worktools. Andererseits steht Producing and Presentation im Fokus: Studierende erlernen den selbstverständlichen Umgang mit zeitgemässer Produktions- und Präsentationstechnik in der künstlerischen Praxis und befassen sich mit Portfoliobildung. Ein mentoriertes Praktikum oder eigenes Musikprojekt vervollständigt den Minor.
Der Minor in Deutsch und Englisch wird von den Profilen Interpretation & Performance sowie Jazz und Pop angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Absolvierende sind in der Lage, sich im Bereich des Kulturmanagements im Angestelltenverhältnis oder selbständig erfolgreich zu betätigen. Sie stellen sich administrativ und organisatorisch selbständig auf, können sich selbst vermarkten und wissen, wie man sich vermarkten lässt. Sie vermögen Musik und/oder Projekte zu produzieren und digital aufzubereiten bis zur Marktfähigkeit sowie ihr Netzwerk zielführend zu unterhalten und zu vergrössern.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an Studierende mit einem fortgeschrittenen künstlerischen Portfolio.
Von diesen Besonderheiten profitierst du.
Das Minor-Programm verbindet verschiedene Bereiche der Musiklandschaft durch die Zusammenarbeit von Klassik, Jazz and World Music und Pop mit den lokalen sowie internationalen Netzwerken der ZHdK. Die Dozierenden und Expert:innen vermitteln Praxis und Erfahrungen direkt aus der aktuellen Berufswelt. Unterstützt wird das Angebot durch die aussergewöhnliche Infrastruktur der ZHdK, die Ausstattung der Konzerträume und Tonstudios, die Vielfalt des Leihmaterials sowie die verschiedenen Praxismöglichkeiten.
→ 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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A hands-on approach to choral conducting in a comprehensive yet compact format: the «Choral Practice» minor equips students with the artistic skills necessary for the choral profession. Conducting children, youth, and gospel choirs, bands, as well as hosting public singing workshops are key components of the subject. Students will have the opportunity to use their skills in real-life scenarios throughout the course.
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Skills acquired in the course
The minor trains students at the highest level of choral mastery, and at the same time provides them with the specific skills needed to meet the challenges of the wide variety of choral groups they will encounter in their professional life. This includes the skills in selecting and/or arranging of repertoire, conducting vocal presentations, as well as reflecting and developing upon the knowledge acquired in the course of their professional work.
Admissions requirements.
«Choral Practice» is recommended for Master’s students with a major in Choral Conducting or for students from other areas with comparable prior knowledge. The minor can also be attended as an advanced continuing education course by students of other universities or by qualified choir conductors.
Benefits of studying at ZHdK.
The dense local and regional network of ZHdK makes it possible to offer attractive internships in which students can apply what they have learnt in the minor, hone their skills, and make valuable contacts. Lecturers and cooperation partners teach up-to-date, relevant material that stem directly from the current working practice. As a result, students can enter the employment market with a professional portfolio tailored to their interests and skills.
Time structure.
Introductory group courses and preparatory individual lessons for the various practical courses will be planned selectively during the major and/or minor weeks. Practicals by individual arrangement.
→ 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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Vertiefte künstlerische und handwerkliche Chorleitungskenntnisse in kompakter Form: Der Minor «Choral Practice» bereitet optimal auf berufsrelevante Bereiche der Chorarbeit vor. Kurse zu Themen wie offene Singveranstaltungen, Kinder-, Jugend- und Gospelchorleitung sowie Bandarbeit sind Bestandteile des Fächerkanons und werden laufend in der Praxis erprobt.
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Der Minor in Deutsch wird vom Profil Kirchenmusik angeboten und richtet sich an die Studienstufe Master oder an Studierende mit entsprechenden Vorkenntnissen. Der Unterricht erfolgt in deutscher Sprache.
Diese Kompetenzen erlernst du.
Der Minor bildet zur situations- und zielgruppengerechten Arbeit mit stilistisch unterschiedlich gelagerten Chören aus. Dazu gehören Auswahl und/oder Arrangement entsprechender Repertoires, die Leitung stimmiger Aufführungen sowie die kritische Reflexion und Weiterentwicklung der erworbenen Fähigkeiten in der beruflichen Tätigkeit.
Diese Voraussetzungen bringst du mit.
«Choral Practice» empfiehlt sich für Master-Studierende mit Major Chorleitung oder für Studierende aus anderen Bereichen mit entsprechenden Vorkenntnissen. Er kann auch von Studierenden anderer Hochschulen belegt werden oder von bereits ausgebildeten Chorleiter:innen als vertiefende Weiterbildung.
Von diesen Besonderheiten profitierst du.
Das dichte lokale und überregionale Netzwerk der ZHdK ermöglicht es, das im Minor Erlernte in attraktiven Praktika anzuwenden, zu optimieren und wertvolle Kontakte zu knüpfen. Die Dozierenden und Kooperationspartner:innen vermitteln Praxis und Erfahrungen direkt aus der aktuellen Berufswelt. Studierende können somit bereits mit einem individualisierten, geschärften Portfolio in den Stellenmarkt eintreten.
Zeitstruktur
Einführende Gruppenkurse und vorbereitender Einzelunterricht zu den verschiedenen Praktika punktuell in den Major- und/oder Minor-Wochen. Praktika nach individueller Vereinbarung.
→ 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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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 & 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)","",""],"title_en":["","Programme","",""],"text_en":["","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. 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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 & 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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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. 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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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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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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 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. 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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)
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)
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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In the “Producing Music – advanced” minor, students with advanced artistic knowledge in pop music or jazz production hone their skills. This also includes networking with other professionals and preparing for the realities of working life. Consolidate and individualize your genre-specific work and creative techniques in the fields of songwriting, producing, arranging, sound design and mixing – in seminars, workshops and in independently organized projects and internships.
The minor, offered by the Jazz and Pop profile, is taught in German and English. It is aimed at Bachelor’s and Master’s students.
Skills acquired in the course.
Students develop working techniques to realize audio productions in marketable quality in the field of pop and/or jazz. This also includes confident use of technical infrastructure as well as the development of an artistic imagination. Moreover, they create and publish their own productions and network medially in the national and international environment.
Admissions requirements.
The minor is aimed at motivated students with relevant musical communication strengths and production skills. You enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have the requisite innovation potential, communication and social skills.
Benefits of studying at ZHdK.
ZHdK has long-standing experience in pop- and jazz-specific producing and songwriting. With this minor, it offers students all over Switzerland the unique opportunity to gain a qualification in an optional programme in the professional field of producing.
Time structure.
Usually takes place in 2 semesters.
There will be some preparatory block dates during the major weeks.
The intensive Producing/Writing phase will take place during the minor weeks.
The completed projects can be submitted by June 1.
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Im Minor «Producing Music – advanced» professionalisieren sich künstlerisch fortgeschrittene Studierende in der musikalischen Pop- oder Jazz-Produktion. Dazu gehört auch die Vernetzung mit der Arbeitswelt und die Vorbereitung auf berufliche Realitäten. Vertiefe und individualisiere deine genrespezifischen Arbeits- und Kreativtechniken in den Feldern Songwriting, Producing, Arranging, Sounddesign und Mixing – in Seminaren, Workshops und in selbständig organisierten Projekten und Praktika.
Der Minor in Deutsch und Englisch wird vom Profil Jazz und Pop angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Studierende erarbeiten Arbeitstechniken, um in markttauglicher Qualität Audio-Produktionen im Bereich Pop und/oder Jazz zu realisieren. Dazu gehört der souveräne Umgang mit technischer Infrastruktur ebenso wie die Entwicklung künstlerischer Vorstellungskraft. Sie kreieren und veröffentlichen eigene Produktionen und vernetzen sich medial im nationalen und internationalen Umfeld.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an motivierte Studierende mit relevanter musikalischer Mitteilungskraft und produzentischen Fähigkeiten. Du arbeitest gerne selbstständig und eigenverantwortlich, bist reflexionsfähig, kannst dich selbst einschätzen und verfügst über Innovationspotenzial, Kommunikations- und soziale Fähigkeiten.
Von diesen Besonderheiten profitierst du.
Die ZHdK verfügt im pop- und jazzspezifischen Producing & Songwriting über langjährige Erfahrung. Sie bietet mit diesem Minor schweizweit einzigartig die Gelegenheit, sich in einem frei wählbaren Programm für die berufliche Tätigkeit des Producing zu qualifizieren.
Zeitstruktur.
Findet in der Regel in 2 Semestern statt.
Es wird einige vorbereitende Blockdaten wärend der Majorwochen geben.
Die Intensiv-Phase Producing/Writing wird jeweils in den Minorwochen stattfinden.
Die fertig produzierten Projektabschlüsse können bis zum 1. Juni eingereicht werden.
→ 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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Artistic music production is a key element in the professional field of pop and jazz musicians: from recording their own performance, to producing a new album, through to working as a producer. It takes considerable skill to promote your own artistic work, not least in social media, with creative content and at a high standard. The “Producing Music – basic” minor builds on the following: in seminars and independent work, students learn genre-specific techniques in composing, arranging, songwriting and producing (recording, audio processing and mixing).
The minor, offered by the BA Music, is taught in German and English and is aimed at Bachelor’s and Master’s students.
Skills acquired in the course.
Students learn basic working techniques to realize marketable quality music-artistic audio productions in the area of pop and/or jazz. They create and put on their own productions, and have the opportunity to network with other professionals in their field in medial terms.
Admissions requirements.
The minor is aimed at motivated students with relevant musical communication strengths and production skills who enjoy working independently, taking responsibility, are able to reflect and self-evaluate, and have an artistic imagination, technical flair and good communication skills.
Benefits of studying at ZHdK.
ZHdK has long-standing experience in pop- and jazz-specific producing and songwriting. With this minor, it offers students all over Switzerland the unique opportunity to acquire production skills in an optional programme that are relevant to their profession.
Time structure.
Takes place in 2-4 semesters.
There will be some preparatory block dates during the major weeks.
The intensive Producing/Writing phase will take place during the minor weeks.
The completed projects can be submitted by June 1.
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Die künstlerische Produktion von Musik ist ein zentrales Element im Berufsfeld der Musiker:innen im Bereich Pop und Jazz: von Aufnahmen der eigenen Performance über die Produktion eines neuen Albums bis hin zur beruflichen Tätigkeit als Produzent:in. Die Vermarktung des eigenen künstlerischen Daseins – nicht zuletzt in den sozialen Medien – stellt hohe Ansprüche an kreative Inhalte und deren qualitative Umsetzung. Darauf baut der Minor «Producing Music – basic» auf: In Seminaren und selbständiger Arbeit lernen die Studierenden genrespezifische Techniken in Composing, Arranging, Songwriting und Producing (Recording, Audiobearbeitung, Mixing).
Der Minor in Deutsch und Englisch wird vom Profil Jazz und Pop angeboten. Er richtet sich an die Studienstufen Bachelor und Master.
Diese Kompetenzen erlernst du.
Studierende erarbeiten in diesem Minor grundlegende Arbeitstechniken, um in markttauglicher Qualität musikalisch-künstlerische Audio-Produktionen im Bereich Pop und/oder Jazz zu realisieren. Sie kreieren und veröffentlichen eigene Produktionen und finden die Gelegenheit, sich medial mit der Arbeitswelt zu vernetzen.
Diese Voraussetzungen bringst du mit.
Der Minor richtet sich an motivierte Studierende mit relevanter musikalischer Mitteilungskraft und produzentischen Fähigkeiten. Du arbeitest gerne selbständig und eigenverantwortlich, bist reflexionsfähig, kannst dich selbst einschätzen und verfügst über künstlerische Vorstellungskraft, technisches Flair und gute Kommunikationsfähigkeiten.
Von diesen Besonderheiten profitierst du.
Die ZHdK verfügt im pop- und jazzspezifischen Producing & Songwriting über langjährige Erfahrung. Sie bietet mit diesem Minor schweizweit einzigartig die Gelegenheit, sich in einem frei wählbaren Programm berufsrelevante Produktionsfähigkeiten anzueignen.
Zeitstruktur.
Findet in der Regel in 2-4 Semestern statt.
Es wird einige vorbereitende Blockdaten wärend der Majorwochen geben.
Die Intensiv-Phase Producing/Writing wird jeweils in den Minorwochen stattfinden.
Die fertig produzierten Projektabschlüsse können bis zum 1. Juni eingereicht werden.
→ 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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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)","",""],"title_en":["","Programme","",""],"text_en":["","Course content. 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. 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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)
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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Would you like employ art-related approaches to intervene in cultural, political, social and ecological contexts? In the “Social Art Practices” minor, students explore how they can play a part in shaping such contexts as artists in the analogue and digital spaces. They acquire a contemporary understanding of the social domain, which includes ecology, and how this can be incorporated into their own artistic practice. By connecting art historical and art theoretical knowledge with cultural and social-theoretical approaches, they learn to explore the history and discourses of Social Art Practices in this minor. Moreover, they acquire an understanding of the practices of artistic (field) research. In an independent project that extends over the four semesters, they explore social groups, organizations and institutions inside and outside the art field and develop collaborations or interventions in the process.
Skills acquired in the course.
Students learn ...
– about the discourses of Social Arts Practices from art historical, social-theoretical and cultural-theoretical perspectives and how to incorporate them into their artistic practice;
– how to use practices of artistic (field)research in a targeted manner to investigate social fields and processes and create new knowledge in this area;
– how to use their dialogical skills to communicate and work together with actors from different social, cultural and disciplinary backgrounds;
– how to plan, implement and communicate their own or a project.
Admissions requirements.
You are extremely interested in sociopolitical and ecological issues. You enjoy process-oriented artistic work and working together with people from different social and cultural backgrounds. You already have initial experience in artistic project work and have outstanding social and communicative skills as well as basic art historical and art theoretical knowledge.
Benefits of studying at ZHdK.
The “Social Art Practices” minor encourages students to explore cultural, social, political and ecological issues from an artistic and theoretical perspective. The minor programme is project-based. They also have the opportunity to discuss the status of their project with others in a colloquium on a regular basis. The modules are offered in English, which also enables them to improve their skills in the language.
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Möchtest du mit Ansätzen der Kunst in kulturelle, politische, gesellschaftliche und ökologische Zusammenhänge eingreifen? Im Minor «Social Art Practices» erkundest du, wie du solche Zusammenhänge als Künstler:in im analogen und digitalen Raum mitgestalten kannst. Du erwirbst ein zeitgenössisches Verständnis des Sozialen, das die Ökologie einbezieht, und lernst, wie du dieses mit deiner Kunstpraxis verbinden kannst. Ausserdem setzt du dich mit aktuellen und historischen Diskursen der Social Art Practices auseinander und erwirbst ein Verständnis von Praktiken der künstlerischen (Feld-)Forschung. In einem eigenen Projekt, das sich über die vier Semester erstreckt, setzt du dich mit sozialen Gruppen, Organisationen oder Institutionen innerhalb und ausserhalb des Kunstfeldes auseinander und entwickelst Kollaborationen oder Interventionen.
Diese Kompetenzen erlernst du.
Du lernst:
– die Diskurse der Social Arts Practice aus kunsthistorischer, gesellschafts- und kulturtheoretischer Perspektive kennen und wie du sie auf deine künstlerische Praxis beziehen kannst;
– Praktiken der künstlerischen (Feld-)Forschung gezielt einzusetzen, um soziale Felder und Prozesse zu untersuchen und neues Wissen darüber zu produzieren;
– deine dialogischen Fähigkeiten einzusetzen, um mit Akteur:innen mit unterschiedlichen sozialen, kulturellen und disziplinären Hintergründen zu kommunizieren und zusammenzuarbeiten;
– ein eigenes Projekt zu planen, umzusetzen und zu vermitteln.
Diese Voraussetzungen bringst du mit.
Du hast ein grosses Interesse an gesellschaftspolitischen und ökologischen Fragestellungen. Du bist offen für prozessorientiertes künstlerisches Arbeiten und die Zusammenarbeit mit Menschen mit unterschiedlichen sozialen und kulturellen Hintergründen. Du hast bereits erste Erfahrungen in der künstlerischen Projektarbeit gesammelt und verfügst über ausgeprägte soziale und kommunikative Fähigkeiten sowie kunsthistorisches und -theoretisches Grundwissen.
Von diesen Besonderheiten profitierst du.
Der Minor «Social Art Practices» fördert deine künstlerische und theoretische Auseinandersetzung mit kulturellen, gesellschaftlichen, politischen und ökologischen Fragestellungen. Das Studienprogramm ist projektbasiert. In einem Kolloquium kannst du dich regelmässig über den Stand deines Projektes austauschen. Ausserdem fördert das englischsprachige Studienprogramm deine Sprachkompetenzen.
→ Mehr zu diesem Minor (PDF-Download)
Minorkoordination
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Dies ermöglicht dir eine intensive Zeit der Selbsterforschung und -reflexion – nicht nur im Hinblick auf kreative Praktiken, sondern auch auf kulturelle Prägungen, erlernte Ästhetiken und dein eigenes Selbst- und Weltverständnis. Du entwickelst ein multiperspektivisches Mindset, testest Methoden der transdisziplinären Kollaboration und reflektierst dein Kunst- oder Designschaffen in einem dynamischen transnationalen Umfeld. Der Minor wird in Zusammenarbeit mit Shared Campus angeboten, einer weltweit einzigartigen Kooperationsplattform von Kunsthochschulen, an der die ZHdK massgeblich beteiligt ist. Der Minor findet teilweise in Zürich, teilweise online im Austausch mit externen Studierenden und Dozierenden und während drei Wochen in Asien (Yogyakarta, Indonesien*) statt. Die Arbeiten werden am Ende des Programms in einem öffentlichen Rahmen in Yogyakarta präsentiert. * Indonesien ist ein demokratischer Staat, das viertbevölkerungs-reichste Land der Welt mit der weltweit höchsten Anzahl an Muslimen. Indonesien verfügt über eine enorme kulturelle Diversität und eine komplexe koloniale Geschichte. Yogyakarta (Java) gilt als eine der wichtigsten Zentren für experimentelle Kunst in Asien und ist insbesondere für sein hohe Anzahl an Künstler:innenkollektiven bekannt, die sich in einem breiten (inter-)disziplinären Spektrum bewegen. Diese Kompetenzen erlernst du. Du lernst: – mit Konflikten umzugehen und das Potential der Vielfalt in globalen Kulturen und Gesellschaften zu verstehen und zu verhandeln – vielfältige, global relevante und miteinander in Beziehung stehende Themen und Fragen kritisch zu reflektieren und ein Bewusstsein für eigene kulturelle Prägungen zu entwickeln – verschiedene kollaborative Arbeitsmethoden und Ansätze in den Künsten und im Design kennen und anzuwenden – transdisziplinäre Teams zusammenzustellen, um unterschiedliche kreative Aufgaben und Projekte zu realisieren. Diese Voraussetzungen bringst du mit. Der Minor empfiehlt sich für Studierende, die ein genuines Interesse am Erforschen transkultureller Fragen haben, bereit sind, in kulturell und disziplinär gemischten Teams zu arbeiten und offen sind, ihr Schaffen und Denken kritisch zu reflektieren. Die Studierenden verfügen über gute Englischkenntnisse. Von diesen Besonderheiten profitierst du. Der Minor baut auf einer Kooperation zwischen 13 Kunsthochschulen und Partnern in Asien und Europa auf und hilft dir ein internationales Netzwerk zu entwickeln (Shared Campus). Die verschiedenen Standorte des Programms bilden die Basis sowie die Forschungs- und Spielräume für kollaborative Experimente. Ein internationales Team von Dozierenden aus verschiedensten Disziplinen begleiten die Studierenden auf ihrem Entwicklungsweg. Die Unterkunftskosten während des dreiwöchigen Auslandaufenthalts werden von der ZHdK getragen, die Reise- und Lebenshaltungskosten gehen zu Lasten der Teilnehmenden (Flug: CHF 800–1000; Lebenshaltungskosten: CHF 300–400). → Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","Video of the presentation at the Info Day","",""],"text_en":["","Course content. The multilayered issues of our time require creativity that extends beyond the boundaries of culture and disciplines. If the arts, design and education wish to be incorporated effectively into global issues and discourses, this requires a high degree of transcultural skill and collaborative dexterity from the participating actors. They acquire the requisite skills in the international “Transcultural Collaboration” minor. Within the scope of their minor studies, they explore artistic or design collaboration in teams which are notable for their cultural and subject-specific diversity. This enables them to undergo a period of intensive self-research and self-reflection, not only with regard to creative practices but also cultural impacts, learned aesthetics and their own personal and global understanding. They develop a multiperspective mindset, test methods of transdisciplinary collaboration, and reflect on their art and design work in a dynamically transnational environment. The minor is offered in cooperation with Shared Campus, a worldwide unique cooperation platform of art universities, in which ZHdK plays a significant role. The minor takes place partly in Zurich, partly online in exchange with external students and lecturers and for three weeks in Asia (Yogyakarta, Indonesia*). The students’ works are presented to the public in Yogyakarta at the end of the stay. *Indonesia is a democratic state, the 4th most populated country on earth including the highest number of people with Muslim religion. Indonesia offers an enormous cultural diversity as well as a complex colonial history. Yogyakarta (Java) is one of the most important places for experimental art, and is specifically known for the high number of art collectives in various (inter-)disciplinary fields. Skills acquired in the course. Students learn: – how to cope with conflict and to understand and deal with the potential of the variety in global cultural and societies – to critically reflect on the impact of diverse, globally relevant and related topics and questions, and develop an awareness of their own cultural identity – to recognize and apply a variety of collaborative working techniques and approaches in the arts and design – to compile transdisciplinary teams to implement a variety of creative tasks and projects. Admissions requirements. The minor is suitable for students with a genuine interest in researching transcultural issues, who are prepared to work in multidisciplinary and culturally diverse teams, and prepared to critically reflect on their work and thought process. The students have a good knowledge of English. Benefits of studying this minor. The minor is built on cooperation between 13 universities and partners in Asia and Europe, and helps students to develop an international network (Shared Campus). The different locations of the program provide the basis and sufficient space for collaborative experiments. An international team of lecturers from a wide range of disciplines supports the students on their developmental path. 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The multilayered issues of our time require creativity that extends beyond the boundaries of culture and disciplines. If the arts, design and education wish to be incorporated effectively into global issues and discourses, this requires a high degree of transcultural skill and collaborative dexterity from the participating actors. They acquire the requisite skills in the international “Transcultural Collaboration” minor.
Within the scope of their minor studies, they explore artistic or design collaboration in teams which are notable for their cultural and subject-specific diversity. This enables them to undergo a period of intensive self-research and self-reflection, not only with regard to creative practices but also cultural impacts, learned aesthetics and their own personal and global understanding. They develop a multiperspective mindset, test methods of transdisciplinary collaboration, and reflect on their art and design work in a dynamically transnational environment.
The minor is offered in cooperation with Shared Campus, a worldwide unique cooperation platform of art universities, in which ZHdK plays a significant role. The minor takes place partly in Zurich, partly online in exchange with external students and lecturers and for three weeks in Asia (Yogyakarta, Indonesia*). The students’ works are presented to the public in Yogyakarta at the end of the stay.
*Indonesia is a democratic state, the 4th most populated country on earth including the highest number of people with Muslim religion. Indonesia offers an enormous cultural diversity as well as a complex colonial history. Yogyakarta (Java) is one of the most important places for experimental art, and is specifically known for the high number of art collectives in various (inter-)disciplinary fields.
Skills acquired in the course.
Students learn:
– how to cope with conflict and to understand and deal with the potential of the variety in global cultural and societies
– to critically reflect on the impact of diverse, globally relevant and related topics and questions, and develop an awareness of their own cultural identity
– to recognize and apply a variety of collaborative working techniques and approaches in the arts and design
– to compile transdisciplinary teams to implement a variety of creative tasks and projects.
Admissions requirements.
The minor is suitable for students with a genuine interest in researching transcultural issues, who are prepared to work in multidisciplinary and culturally diverse teams, and prepared to critically reflect on their work and thought process. The students have a good knowledge of English.
Benefits of studying this minor.
The minor is built on cooperation between 13 universities and partners in Asia and Europe, and helps students to develop an international network (Shared Campus). The different locations of the program provide the basis and sufficient space for collaborative experiments. An international team of lecturers from a wide range of disciplines supports the students on their developmental path. The accommodation costs during the three-week stay abroad are borne by ZHdK, the travel and living costs by the participants themselves (flight: CHF 800–1000; living costs: CHF 300–400).
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Die vielschichtigen Probleme unserer Zeit erfordern eine Kreativität, die über kulturelle und disziplinäre Grenzen hinausreicht. Wenn sich die Künste, das Design und die Vermittlung wirkungsvoll in globale Fragen und Diskurse einbringen wollen, erfordert dies von den Akteur:innen ein hohes Mass an transkultureller Kompetenz und kollaborativer Gewandtheit. Entsprechende Fähigkeiten eignest du dir im internationalen Minor «Transcultural Collaboration» an.
Im Rahmen deines Minor-Studiums beschäftigst du dich mit künstlerischer oder gestalterischer Zusammenarbeit in Teams, die sich durch kulturelle und fachliche Diversität auszeichnen. Dies ermöglicht dir eine intensive Zeit der Selbsterforschung und -reflexion – nicht nur im Hinblick auf kreative Praktiken, sondern auch auf kulturelle Prägungen, erlernte Ästhetiken und dein eigenes Selbst- und Weltverständnis. Du entwickelst ein multiperspektivisches Mindset, testest Methoden der transdisziplinären Kollaboration und reflektierst dein Kunst- oder Designschaffen in einem dynamischen transnationalen Umfeld.
Der Minor wird in Zusammenarbeit mit Shared Campus angeboten, einer weltweit einzigartigen Kooperationsplattform von Kunsthochschulen, an der die ZHdK massgeblich beteiligt ist. Der Minor findet teilweise in Zürich, teilweise online im Austausch mit externen Studierenden und Dozierenden und während drei Wochen in Asien (Yogyakarta, Indonesien*) statt. Die Arbeiten werden am Ende des Programms in einem öffentlichen Rahmen in Yogyakarta präsentiert.
* Indonesien ist ein demokratischer Staat, das viertbevölkerungs-reichste Land der Welt mit der weltweit höchsten Anzahl an Muslimen. Indonesien verfügt über eine enorme kulturelle Diversität und eine komplexe koloniale Geschichte. Yogyakarta (Java) gilt als eine der wichtigsten Zentren für experimentelle Kunst in Asien und ist insbesondere für sein hohe Anzahl an Künstler:innenkollektiven bekannt, die sich in einem breiten (inter-)disziplinären Spektrum bewegen.
Diese Kompetenzen erlernst du.
Du lernst:
– mit Konflikten umzugehen und das Potential der Vielfalt in globalen Kulturen und Gesellschaften zu verstehen und zu verhandeln
– vielfältige, global relevante und miteinander in Beziehung stehende Themen und Fragen kritisch zu reflektieren und ein Bewusstsein für eigene kulturelle Prägungen zu entwickeln
– verschiedene kollaborative Arbeitsmethoden und Ansätze in den Künsten und im Design kennen und anzuwenden
– transdisziplinäre Teams zusammenzustellen, um unterschiedliche kreative Aufgaben und Projekte zu realisieren.
Diese Voraussetzungen bringst du mit.
Der Minor empfiehlt sich für Studierende, die ein genuines Interesse am Erforschen transkultureller Fragen haben, bereit sind, in kulturell und disziplinär gemischten Teams zu arbeiten und offen sind, ihr Schaffen und Denken kritisch zu reflektieren. Die Studierenden verfügen über gute Englischkenntnisse.
Von diesen Besonderheiten profitierst du.
Der Minor baut auf einer Kooperation zwischen 13 Kunsthochschulen und Partnern in Asien und Europa auf und hilft dir ein internationales Netzwerk zu entwickeln (Shared Campus). Die verschiedenen Standorte des Programms bilden die Basis sowie die Forschungs- und Spielräume für kollaborative Experimente. Ein internationales Team von Dozierenden aus verschiedensten Disziplinen begleiten die Studierenden auf ihrem Entwicklungsweg. Die Unterkunftskosten während des dreiwöchigen Auslandaufenthalts werden von der ZHdK getragen, die Reise- und Lebenshaltungskosten gehen zu Lasten der Teilnehmenden (Flug: CHF 800–1000; Lebenshaltungskosten: CHF 300–400).
→ 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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→ Bachelor’s degree programmes
→ Master’s degree programmes
Harpsichord / Fortepiano
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Neben seiner vorwiegend solistischen Tätigkeit ist Michael Biehl ein gefragter Kammermusikpartner, Liedbegleiter und Continuospieler auf historischen Tasteninstrumenten. So gab er Liederabende mit Maria Cristina Kiehr, Kurt Widmer, spielte mit Emma Kirkby, Nuria Rial und Cecilia Bartoli und unter Dirigenten wie Nikolaus Harnoncourt, William Christie, Marc Minkowski, Christopher Hogwood und Paul Goodwin. Engagements führten ihn an wichtige europäische Festivals, unter anderem an die \"Folles journées\" in Nantes, die Hallischen-Händel-Festspiele, das Bachfest Schaffhausen.
Neben CD- und Rundfunkaufnahmen wirkte Michael Biehl bei Fernsehproduktionen mit. Für den WDR war er im Bach-Jahr 2000 der Cembalist in dem Film \"Aus der Fuge ger@ten\", 2001 der Hauptdarsteller in dem französischen Film \"L'île des orgues\", einer Spielfilmdokumentation über die korsische Orgellandschaft von Télé France.
Im Jahr 2000 wurde ihm der \"Fritz-Neumeyer-Preis\" verliehen, ein Preis für Spieler historischer Tasteninstrumente.
Seit 2002 unterrichtet Michael Biehl an der \"Zürcher Hochschule der Künste\" und deren Vorgängerinstitutionen die Fächer Cembalo und Fortepiano, sowie Generalbassspiel, Kammermusik und Liedgestaltung auf historischen Tasteninstrumenten. Von 2011 bis 2014 leitete er die Fachgruppe Alte Musik, seit 2014 das Studio für historische Aufführungspraxis. Heute koordiniert er die „Historische Aufführungspraxis“ an der ZHDK, zhdk.ch/ha.
Seit 2018 lebt Michael Biehl in Frankreich.","publication":"Aufnahmen (CD und DVD):
-Georg Friedrich Händel (1685-1759): Semele, Opernhaus Zürich, Leitung William Christie, Decca 2009
-Georg Friedrich Händel (1685-1759): Lotario, Leitung Paul Goodwin, Oehms Classics 2004
-Joseph Triebensee (1772-1846): Concertino für Fortepiano und Bläseroktett, Pan Classics 2001
-Romantische Bravourvariationen für Fortepiano über Tiroler Volkslieder von Hummel, Moscheles, Hünten, Herz u.a., Institut für Tiroler Musikforschung 2002
-Gottfried Finger (ca.1660-1730): \"Sonatae XII pro diversis instrumentis\", Leitung Michael Biehl, Institut für Tiroler Musikforschung 2000
-Anton Urspruch (1850-1907): Ausgewählte Lieder, Dabringhaus und Grimm 1999
-\"Aus der Fuge ger@ten\", Musikfilm zum Bachjahr 2000, WDR 2000
-\"L'île des orgues\", Spielfilmdokumentation über die korsische Orgellandschaft, Télé France 2001
\"Anton Urspruch - ein vergessener Spätromantiker\", Diplomarbeit 1998
Vorträge:
-\"...mit Freud fahr ich dahin.\" Einige theologische Aspekte zum Verständnis des Bachschen Vokalwerkes
-\"...spirit and firmness that no one ever pretended to equal\" - Händel als Clavierspieler
-Historische Aufnahmen. Eine musikalische Zeitreise
-Fréderic Chopin in historischen Aufnahmen
-\"Für Kenner und Liebhaber\" - Der Spätstil eines Originalgenies
-Hamburg 1755: \"Er donnert!\" - Deutschland und die musikalische Aufklärung
-Musik und Konfession. Das Buch der Bücher als Grundlage einer lutherischen Musik
-1683: Une journée à Versailles
-Louis XIV - Le Roi artiste
-Les soupers du Roi
-Der Einfluss Louis XIV. auf Deutschland im 18.Jahrhundert
-\"La comédie humaine\" - Molière!
-Sprache und Theologie Martin Luthers im Werk Johann Sebastian Bachs
-\"Stand der Genius je, und sie, ohn' ihn, jemals am Ziel?\" - Carl Philipp Emanuel Bach im Kreise seiner Dichter
-\"....far unworthy of Handel, but much more unworthy of the Messiah\" - Georg Friedrich Händels Ouvertüre zu \"Messiah\"
-Wege in die Romantik: das 18.Jahrhundert im Aufbruch
-Schumanns \"Rheinische\" und der Kölner Dom
-Paris am Vorabend der Französischen Revolution
-Versailles, 30.7.1683
-Louis XIV, le roi musicien
-Rule Britannia! - Börsencrash, Aufstände, Kriege....ein turbulentes Jahrhundert unter der Herrschaft deutscher Kurfürsten
-Louis XIV und Molière
-Le bourgeois gentilhomme, ein barockes Gesamtkunstwerk
-Le goût du luxe, die Erfindung des Luxus' in Frankreich
-La Décadence - das Ende des Luxus'?
-Aufklärer, Originalgenies, Stürmer und Dränger: Wege in die Klassik","subtype":"tutor","canonicalPath":"prof-michael-biehl-151005","photo":[{"type":"file","id":"5513e7aaeda695ed337c5e3e6d15bc74e41fd6e4","attributes":{"id":"5513e7aaeda695ed337c5e3e6d15bc74e41fd6e4","filename":"151005.jpg","mime_type":"image/jpeg","path":"live/55/5513e7aaeda695ed337c5e3e6d15bc74e41fd6e4","path_file":"live/55/5513e7aaeda695ed337c5e3e6d15bc74e41fd6e4/151005.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=151005","height":1850,"width":1280,"title":"Michael Biehl","alternativeText":"Michael Biehl","description":"Michael Biehl","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":"Koordinator > Studio für historische Aufführungspraxis > Interpretation und Performance > Departement Musik","area":"Departement Musik","sub_areas":["Interpretation und Performance","Studio für historische Aufführungspraxis"],"position":"Koordinator"}}],"studies":[]}]},"teaser_organigramm_pages":{"data":[]}}},{"type":"content","id":125340,"attributes":{"uid":125340,"pid":11731,"tstamp":123,"hidden":0,"sorting":6176,"CType":"standard_content","header":"Masterclasses","bodytext":"
Public masterclasses are held regularly at the ZHdK. Here, outstanding musical personalities from the fields of creation, interpretation and reflection can be experienced in intensive work with students.
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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.
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\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.
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\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. 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":{"sticky_news":[]}}]},"media":[],"twitter_image":[],"og_image":[],"teaser_image":[],"translations":{"data":[{"type":"pageTranslation","id":"21414","attributes":{"uid":21414,"pid":11993,"t3ver_oid":0,"t3ver_id":0,"t3ver_wsid":0,"t3ver_label":"","t3ver_state":0,"t3ver_stage":0,"t3ver_count":0,"t3ver_tstamp":0,"t3ver_move_id":0,"t3_origuid":0,"tstamp":123,"sorting":320,"deleted":0,"perms_userid":44,"perms_groupid":9,"perms_user":31,"perms_group":31,"perms_everybody":1,"editlock":0,"crdate":1692285379,"cruser_id":44,"hidden":0,"title":"Historical and contemporary performance 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ZHdK","Bachelor-Semesterchor","Bachelor-Projektchor"],"text_de":[" Der Kammermusikunterricht hat einen zentralen Stellenwert in den instrumentalen Vertiefungen der 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. ","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Der Kammermusikunterricht hat einen zentralen Stellenwert in den instrumentalen Vertiefungen der 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. "},"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.
Students taking a historical option work on Baroque orchestral music. These projects were led by Elizabeth Wallfisch, Werner Erhardt, and others. In collaboration with the Research area, some partly unpublished works by Heinichen, Pisendel, and others were also performed.","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":2133,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The chance to meet outstanding conductors, to study and perform orchestral literature from the Baroque through to contemporary music, and to work with professional orchestras gives students some training in orchestral play and prepares them for their future professional life. Recent years have seen various major orchestral works worked on and performed, such as An Alpine Symphony and Till Eulenspiegel by Richard Strauss, Bruckner's and Mahler's 7th symphonies, Stravinsky's The Rite of Spring, 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."},"relationships":{"sticky_news":[]}},{"type":"content","id":13874,"attributes":{"uid":13874,"pid":1112,"tstamp":123,"hidden":0,"sorting":120,"CType":"standard_content","header":"VocalEnsemble ZHdK","bodytext":"
The VocalEnsemble ZHdK consists of 24 young vocal soloists studying in the Voice department. The ensemble specializes in:
\r\n- \t
- Demanding a cappella literature \t
- Authentic performances of choral music from different periods \t
- Producing a balanced ensemble sound \t
- A wide repertoire \t
- Collaboration with high-profile institutions (Tonhalle 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. ","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":5306,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Students taking classical music courses with main subjects other than Voice sing in the Bachelor's Semester Choir. Weekly rehearsals are conducted by Prof. Beat 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. "},"relationships":{"sticky_news":[]}},{"type":"content","id":13876,"attributes":{"uid":13876,"pid":1112,"tstamp":123,"hidden":0,"sorting":126,"CType":"standard_content","header":"Bachelor's Project Choir","bodytext":"The Bachelor's Project Choir is an ensemble for all classical music students in their third semester who are not taking Voice as their main subject. Those year groups who have already worked on an oratorio performance as part of the Semester Choir will spend this project week on a demanding a cappella programme (2009 was 'Great Britten', featuring 'Hymn to St. Cecilia'; 'Hymn to Virgin', 'Rejoice in the Lamb', etc.). The Bachelor's Project Choir is generally directed by Prof. Markus Utz. Those years groups who have only studied a cappella or chamber music choral works during their compulsory participation in the Semester Choir will spend their choral project week working on an oratorio in combination with all the vocal ensembles, which is then performed with soloists and the ZHdK orchestra.","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":5307,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The Bachelor's Project Choir is an ensemble for all classical music students in their third semester who are not taking Voice as their main subject. Those year groups who have already worked on an oratorio performance as part of the Semester Choir will spend this project week on a demanding a cappella programme (2009 was 'Great Britten', featuring 'Hymn to St. Cecilia'; 'Hymn to Virgin', 'Rejoice in the Lamb', etc.). The Bachelor's Project Choir is generally directed by Prof. Markus Utz. Those years groups who have only studied a cappella or chamber music choral works during their compulsory participation in the Semester Choir will spend their choral project week working on an oratorio in combination with all the vocal ensembles, which is then performed with soloists and the ZHdK orchestra."},"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. In Zusammenarbeit mit dem Fachbereich Forschung gelangten zum Teil unveröffentlichte Werke von Heinichen, Pisendel u. a. zur Aufführung. \r\nWebsite Orchester","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"0","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":" Die Begegnung mit herausragenden 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"},"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:
- Erarbeitung anspruchsvoller A-cappella-Literatur
- 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 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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Music, Classical
Silvan Bolle
E-Mail
Tel. +41 43 446 21 58
MA Music Performance
Davide Mandato
E-Mail
Tel. +41 43 446 51 39
Fax +41 43 446 45 87
MA Specialized Music Performance
Sarah Kuo
E-Mail
Tel. +41 43 446 51 73
Fax +41 43 446 45 87
BA Musik, Klassik
Silvan Bolle
E-Mail
Tel. +41 43 446 21 58
MA Music Performance
Davide Mandato
E-Mail
Tel. +41 43 446 51 39
Fax +41 43 446 45 87
MA Specialized Music Performance
Sarah Kuo
E-Mail
Tel. +41 43 446 51 73
Fax +41 43 446 45 87
Zürcher Hochschule der Künste
Music Performance Klassik
Pfingstweidstrasse 96
Postfach
CH-8031 Zürich
Zürcher Hochschule der Künste
Music Performance Klassik
Pfingstweidstrasse 96
Postfach
CH-8031 Zürich