Title: Switzerland: The Largest Country in the World

Author(s): Leonard Cecil

Source: Cecil, L. (1990, Winter). Switzerland: The largest country in the world. The Quarterly, 1(4), pp. 54-65. (Reprinted with permission in Visions of Research in Music Education, 16(1), Summer, 2010). Retrieved from http://www-usr.rider.edu/~vrme/

It is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal of Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series.

Switzerland: The Largest Country in the World

By Leonard Cecil Musik-Akademie der Stadt Basel

Abstract: Switzerland's widely diver- populations, such as Bern and Freiburg, but gent geography and many cultures most are more or less of one language. The allow the music educators of the language spoken by the greatest percentage country to exchange ideas with their of the population is Gelman, but as in neighbors while preserving rich local Germany, one doesn't speak the "real" traditions. In this article, the author language, but rather a dialect-and there are interviews the directors of the divi- over 25 different dialects in Switzerland. sions of the Musik-Akademie der Stadt My wife, who is from Bern, has trouble Basel. The directors, in discussing understanding most people from Wallis or their education, music, and aspirations, Berneroberland. It was common, not too together represent the nationalistic long ago, to hear of disownments within mix as well as the spirit of cooperation families because the daughter from Basel that is characteristic of Switzerland. wanted to marry someone from Zurich-60 miles by car and 212 light years by philoso- phy away. Because the people of each area o quote from George Mike's Switzer- take great pains to guard their own culture land for Beginners, there is a saying and traditions, one can get the impression T that any Bishop of Chur should that there is as much difference between the possess three qualifications: people of Bern and those of Geneva as there 1) he must be a Roman Catholic; is between Russians and Bolivians. 2) he must be a consecrated priest; and This extreme regionalism and cultural 3) he must be a native of Chur or, at least, diversity make it difficult to describe the of the Canton of Graubunden. Swiss music education system. On the one Bur, people like to add, the first two hand, each area feels strongly about local requirements might be ignored. To under- pride, culture, and tradition. On the other stand this humor is to appreciate the impor- hand, areas are subject to nationalistic tance of regionalism in Swiss culture. Swit- influences from the neighboring countries- zerland is a small country-from the German France to the west, Germany to the north, border in Basel in the north to the Italian Austria to the east, and Italy to the south. border in the south is a drive of only three Then, although the Swiss are not quite as hours. Switzerland exists not so much as a mobile as Americans, there is a bit of re- country but as a confederation of states or gional mixing: German Swiss going to the cantons (Kanton in German). These cantons Italian-speaking region, Italian Swiss going to are roughly divided into four groups based the French-speaking region, and so on. upon the four official languages in Switzer- Consequently, in order to present an idea land: German, French, Italian and Romansch of what a music education facility in Switzer- Can archaic gypsy-type language with Ger- land is like, I selected the Musik-Akademie man, Italian, Latin and other influences, der Stadt Basel (City Music Academy of spoken mainly in the Canton Graubunden). Basel) as a good example. This choice was There are some dual-lingual cantons with made for the following reasons: French-speaking and German-speaking 1) Basel is bordered by Germany on the

54 Tbe Quarterly north and by France on the west. One can sikschule start around 1:00 p.m. and teach literally start driving at the French/Swiss until 6:00 or 8:00 p.rn.). The Musikschule border in St. Louis, drive through Basel in 15 offers an exciting and unusual exception: minutes, and cross the Swiss-German border Adults can also, in limited numbers, learn an at Lorrach, passing through three countries in instrument, and take voice lessons, theory, 15 minutes! Thus Basel is a perfect example and other classes. Instruction is mainly of the curious nationalistic mixture, but it individual. After students of the Musikschule also possesses a fierce "Basel-ness." In short, reach a certain level of proficiency, they may in many respects the city is typically Swiss. play in one of many ensembles at the Mu- 2) I am employed at the Musik-Akadernie sikschule or in the community. and know the music education situation in Grundkurs (introduction to music) is a this area, or at least who to ask about it, a bit general music class taught in the Basel public better than others. schools but administered through the Mu- Die Musik-Akademie der Stadt sikschule of the Musik-Akademie. This Basel-An Introduction subdivision of the Musikschule, headed by Heinz Fuglistaler, is actively involved in The Musik-Akademie der Stadt Basel is a training its own teachers at the Konservato- multifunctional institution directed by the rium for work in the public schools. The noted Swiss composer, conductor, and program is meant to supplant the rather musicologist, Rudolf Kelterborn. The Musik- sketchy singing classes of earlier days and Akademie is similar to others in Zurich or also to steer the children toward instrumental Bern, but is conceived as a fairly complete and vocal instruction at the Musikschule after music education complex. The local music school hours. schools cater to the music education of The Schola Cantorum Basiliensis, headed children alone; local conservatories cater to by Dr. Peter Reidemeister, is one of the few other age groups and expectations. schools in the world focused on the study of The Konservatorium of the Musik- early music on original instruments. It offers Akadernie, which is headed by Gerhard students at the undergraduate and postgradu- Hildenbrand, is, as its name implies, con- ate levels specialized studies in areas such as cerned with the preparation of students for theory, history, instrumentation, ornamenta- the music profession. Degrees are offered in tion, and ensembles of all kinds, from the a wide range of subjects such as orchestral Middle Ages to the Middle Romantic. and keyboard instruments, voice, electronic Inasmuch as it was impossible to speak music, composition, theory, and, of course, with all of the directors at once, all were education. In Switzerland, the majority of given more or less the same questions, with students who enter music teaching do so as some changes for departmental differences, private studio teachers because instrumental of course. These were then answered in instruction is not normally offered in the individual interviews. In some cases, ques- public schools. tions were expanded and expounded upon, There is also a special degree program at and in other cases skipped over, depending the Musik-Akademie for public school music upon the individual interests of those inter- teachers. Most of these teachers teach in viewed and the direction of the interview. programs that are similar to general music or For organizational purposes, however, this music appreciation, but in many places are article is presented as a round-table discus- still called "singing" classes. Often the sion. If it seems that not everyone answered courses do consist of singing only. all the questions, this is not necessarily the The Musikschule, another part of the case; the answer might be found elsewhere. Musik-Akademie and headed by Sylvia I would like to take this opportunity to once Eichenwald, cooperates with local public again thank Ms. Eichenwald and Messrs. schools by offering instrumental/vocal music Kelterborn, Hildenbrand, and Fuglistaler and to students after school hours (which are Dr. Reidemeister for their cooperation. flexible, so that most teachers at the Mu- L. c.: Would you please explain briefly

Volume 1, Number 4 55 your own musical training? What did you during this time that I, for the first time, find to be generally useful or useless in your really learned how to work. training? How has musical training changed Generally speaking, I enjoyed all aspects of since then? my training immensely. I found both courses Kelterborn: I was always certain that I of study (flute and theory) extremely well would be a musician. I could read music balanced and enjoyable. I particularly before I could write. Of course there were enjoyed the orchestral playing, chamber times when I wanted to be a train engineer music, etc. There was then perhaps more of or a farmer, but mostly a musician. I had an emphasis on systematic music theory recorder lessons here at the Schola Can- instead of historical theory, but it was quite a torum, and later I had private piano lessons. good education. I grew up musically here at the Musik- Hildenbrand: It's a little difficult to com- Akademie and finished my training as pare my training with that of others. Al- orchestral conductor, composer, and theory though as a 14-year-old I played a little teacher here during my time at high school. recorder and piano, I was first and foremost Eichenwald: As a very small child, I a fanatical music listener. All this changed played the recorder-without lessons. Then, when I was 18-1 had an extraordinary when I was about 8 years old, I had piano experience when I heard the flute concerto lessons with my father at home. It was by Gluck in a concert. I was so fascinated awful. My father is one of the kindest, most by the flute tone that I went out the next day indulgent men in the world, but while he and bought myself a flute. I decided then cooked in the kitchen and I played, I would and there to become a flutist, without ever hear "f not f-sharp" or "stay in tempo" or having had lessons or having played. After "slower." It was an impossible situation. one year of extremely hard work, I was When I was 13, I started the flute, which accepted for studies at a German conserva- was my dream instrument. Unfortunately, I tory. Aurele Nicolet and Andre Jaunet were never practiced. I was also passionately the most influential teachers in my profes- involved in opera. In 1966, after graduating sional training, because they were able to from the Gymnasium (comparable to the open the different aspects of music to us. American college-preparatory high school), I While I was in the public school, I sang in auditioned to study voice in Vienna and was a very good choir-the Bruckner Choir-in accepted. After about one semester I Mannheim, and that was how I came in realized that my voice was not good enough contact with music in general. I started in and that I didn't have the right kind of this choir because our music teacher was the personality for the opera stage. director. He was actually not a very good Then I auditioned in Basel to study flute at teacher, as his music classes were interesting the Konservatorium and was accepted. I only for those who were already interested in finished this course of study, although I music. But he was, above all, a fascinating hated to practice. Actually, I've always hated musician and personality. His manner of to practice-I don't like the whole motor- teaching consisted of mostly listening to training aspect of playing. I'm probably an music and, on a simple level, analyzing the extreme "anti-instrumentalist" by nature. pieces. This, of course, was not for every- Shortly after my studies ended, I was one. Those who were not interested in this forced to stop playing because of spinal sort of work were left behind in the dust. problems, and I became assistant director at While studying in Berlin at the Mu- the Theatre and Opera in Basel. After four sikhochschule (a term interchangeable with years, I decided to study music theory rather Konseruatorium), I was not happy with the than move with the Theatre and Opera from music theory instruction. It was very theo- the old building to the then newly finished retical theory, with little connection to Theatre Complex. During this course of practical music making. I also found that the study, I taught flute at a local jugendmu- entire system of educating future instrumen- sikschule (youth music school), It was tal teachers was woefully underdeveloped.

56 The Quarterly Advances in education methodology that had the Berlin Philharmonic and started playing been made with regard to general teaching solo flute with the Deutschen Bach Solisten, techniques or even with instrumental music learned a whole new repertoire, and played were either unknown or ignored. in America, Japan, and South America. I had For this reason, it has been very important then done basically all that a flutist could do, to me as director of the Conservatory to see so I started studying musicology and finished that music theory has a direct connection to my doctoral work at 30 years of age. performance practices and that we have At that time, I was still very involved with rethought the entire way of educating future the flute and assisted Nicolet with his teach- teachers. We also try to concentrate much of ing in Freiburg in Breisgau (West Germany) our effort in chamber music. We have over at the conservatory. This was very interest- 80 chamber music ensembles, starting with ing for me because he was away so often, duos and going to small ensembles, which and as his assistant I taught his students. receive regular chamber music instruction. Then I received a small position for music Here we integrate this theory with perform- history here at the Schola Cantorum and ance practice. We also work quite a bit in commuted every week (about 40 miles one the area of improvisation, which is necessary way). After one year, the director of the to develop the group dynamic needed in Schola asked me if I would like to be his \ performance of chamber music. assistant. I held this position for five years Reidemeister: When I was 9 years old, I before becoming director 12 years ago. Now started playing the flute, after having started I oversee the different courses of study here earlier to play the recorder, just like every at the Schola, the recordings, and research other typical child at that age. I'm more the projects-both my own and those of others. wind-player personality, or at least that's This would not be possible if I hadn't been a what my teachers had told me. My first flute practicing musician. I don't perform any- teacher, with whom I studied for about six more, but I have done so, and that's the years, was very good. He was the solo flutist important fact. in Cologne, Germany. I also started piano L.c.: And you don't miss it? with a good teacher who started to teach me Reidemeister: Certainly I miss it, but theory relatively early. there isn't any point in trying to perform When I was 16 or 17, I met Aurele Nicolet. now. I've learned that when one doesn't I chased him around while I was still attend- perform, one is unsatisfied. But one is even ing high school and had lessons with him more unsatisfied if one performs, and, as a once a month. After graduating from high result of other duties, performs poorly, or not school, I went to the Conservatory in Berlin up to one's own standards. because Nicolet taught there. It's strange to say, but I miss teaching even When I was 20, I auditioned with the more. I enjoyed for many years working Berlin Philharmonic Orchestra. Nicolet sent with the musical as well as the technical me to the audition saying that I wouldn't get aspects of the instrument. But to teach and the position, but that the audition would be no longer to play-that'S also not ideal. good experience for me. But I won the Fiiglistaler: At school from age 6 to 11, I position. In order to take the job, I had to had one hour per week of the normal music stop my studies at the conservatory, but took instruction, which was made up basically of them up again when I was 22, because I did singing. Then in the middle/high school we want to get my diploma. At this time there had two hours per week-mostly more was the German national music competition, singing. Music instruction was a little better which only took place every four years. at the teachers college. icolet sent me there to compete, and I won When I was 12 or so, I started trombone in the competition for flute. the local boys' band. The conductor of the Then, after having played four and a half band was a clarinetist. I first wanted to play years in the orchestra, I asked myself if I the trumpet, but that didn't work; so I went wanted to do that until I retired at 65. I left to the flugelhorn, then the baritone, before I

Volume 1, Number 4 57 began on trombone. When I began to work The Musik-Akademie is also uncommon in with it, instruction from my band director that we have three large schools together consisted of showing me where I had to pull under one roof-the Konservatorium, the the slide instead of pushing the valves-that Schola Cantorum, and the Musikschule. It is was the extent of it. also very unusual that our Musikschule offers I played until I finished high school and courses to people of all ages-preschoolers, quit until I was 25, at which time I'd finished school-age children, and adults. This is a the teachers college and auditioned for the kind of Musikschule that you can't find conservatory in Luzern. I studied there and anywhere else. finished a teaching diploma for trombone. Our conservatory and that in Zurich are Although I'd conducted choirs and taught stylistically similar to a German Konservato- music in the school, I missed very much rium, whereas Geneva's is more typically actively making music and wanted to do so French. We have very good contact with the again with the trombone. different conservatories in Switzerland and In my own training, I wish more subjects try to ensure that, while each retains its own had offered practical training for the future identity, we also work together for the profession. An example is the course of benefit of all. For example, we have devel- study for school music, which should oped a shared orchestral conducting pro- prepare one for working with children in gram. Also, we've decided not to train different age groups. This was entirely all eurhythmic teachers here, because this is too theoretical, and almost no practical being done in Geneva and Zurich. experience was offered. There should have One of the big differences between the been more visits to the schools, hands-on Musik-Akademie and other such institutions teaching, and specific age-group oriented abroad is that the Musik-Akademie, although teacher training, which could have or should about 90 percent state financed, is set up have been helped future classroom teachers legally as a foundation and not as a state avoid the trauma of facing a class without school. Consequently, decisions can be any experience whatsoever. This is some- made much more quickly, and the admini- thing we try to remedy here in our teacher- stration can function much more independ- training program. The course of study ently. For example, when we want to offer a includes school visits, student teaching, and new subject or create a new professorship, other practical experience from the begin- we don't need the approval of some govern- ning of the training. And all the teachers ment ministry or other. have advisors-not supervisors, but people Private funding also allows us to keep our who are there to advise and suggest. tuition relatively low, as compared to tuition L. c.: How could you compare the Musik- in Japan, for example. Contributors such as Akademie (Musikschule, Konservatorium, the Maja Sacher Foundation allow us to Grundkurs, Schola Cantorum) with similar enhance our courses of study in such ways institutions in Switzerland or other countries? as inviting guests for certain special projects. Ke1terborn: The noted conductor Paul All divisions receive extra help in this Sacher led the Musik-Akademie in a pioneer manner. For example, such funds are used role among the different music institutions in to support the many publications and Switzerland. The Musik-Akademie was the recordings originating in the Schola Can- first music school to offer its teachers long- torum, Musikschule projects, concert trips, term teaching contracts; so they are no and so on. In a state institution, it would be longer paid per hour taught, but according to more difficult to find private funding sources. teaching load. Earlier, students had to pay Fiiglistaler: Before coming to the Musik- per course taken, and now they pay an all- Akademie, I worked at a music school in the inclusive tuition. Sacher was also influential province in Kanton Aargau. It was a new in recruiting internationally known musicians school and everything was in the building as teachers. Similar institutions now follow process. It's very hard to compare the this example. conditions there with those at the Musik-

58 Tbe Quarterly Akademie. The teachers had small and investment in such schools, for the students poorly organized teaching schedules, and are learning music but not being specifically both pay and contract stipulations were bad. trained for the village band. And of course Much of this was due to poor finances, for there is the old story of skepticism about the new school was the financial responsibil- new ideas, and fear that someone will take ity of the individual town. something away from somebody-that Basel, on the other hand, has much more perhaps the band member who has been money to play with, the salaries are much giving lessons for 20 years may not be able better, the pension plan is well established, to teach anymore, and so on. and even the physical plant is much more Eichenwald: Mostly I know of other conducive to teaching and learning. The situations through the directors, whom I've cultural scene in Basel is much more exten- met. What I have noticed in conversations sive. This makes everything much easier. with other directors, for example with those One disadvantage here is the sheer size of in Zurich and Bern, is that we have more the Musik-Akademie. Because it is so large, freedom and a better physical plant, which it's difficult to get to know all one's fellow allow us to be more flexible with our larger teachers, and there is more competition projects and special programs such as adult among the teachers. education, evening ensembles, and weekend Yet, because of the size and reputation of courses. The other directors have asked me this school, we can afford to hold auditions how we manage to find room, time, and and demand test lessons from candidates for money for all these programs. We also have teaching positions. In a smaller school in the fewer committees looking over our shoul- provinces, one is happy to even get an ders, checking how this and that is done. applicant for a position; the smaller the Hildenbrand: That is very difficult for me village, the harder it is to get a suitable to answer, because I don't know to what teacher. You can imagine how many people extent other Swiss institutions have restruc- would answer an ad for a violin teacher for tured their programs as we have here. We two hours per week in a village that is do have good contact with other conservato- difficult to reach with public transportation. ries in terms of sharing programs. For And of course there is a larger attrition rate example, we are sharing our orchestral in the teaching staff, for teachers move on conducting program with the conservatory in when they find something better. Sometimes Zurich, and with the conservatory in Biel we several villages combine to finance an area are running an opera studio. music school, and this can make the situation L. c.: What role does the Musik-Akademie more workable and attractive to teachers. (Musikschule, Grundkurs, Konservatorium, It's also interesting to note how many Schola Cantorum Basiliensis) play in the people have been teaching at the Musik- music education system? Akademie for 10, 15, 20 years or more, or Fiiglistaler: The Grundkurs, at least in who stay until retirement (retirement at the Basel, is designed to prepare students to Musik-Akademie is not after 20 teaching study at the Musikschule. In other areas, years, but at age 65 for men and 60 for however, the Grundkurs is a prerequisite to women). So the Musik-Akademie is rather being able to learn an instrument at a music atypical for Switzerland. school. The Grundkurs in Basel is given in Another aspect of my own education is the the public school, though administered the village band, which I mentioned before. through the Musik-Akademie, and children In many cases, these bands run their own grades 1 to 4 attend. music schools, and they are usually politi- Here in Basel, we give a process-oriented cally rather powerful, for in Switzerland they course of general music in which we try to originate in political parties. In some cases awaken in children their abilities in making the local bands resist the establishment of a and understanding music. These consist of music school. The bands feel that there may hearing and listening, language abilities, not be a direct and planned return for the singing, bodily movements to music, playing

Volume 1, Number 4 59 elementary instruments, and a knowledge of of the goal itself, less of a problem than Goal being, which encompasses experiencing and 1; of course the talent of young musicians letting others experience both music and should be developed. The problem with nonmusical things. But we've avoided laying preparing talented youngsters for further out a detailed plan as to what each child professional studies, for example at the should be able to do at any given time Conservatory level, is the idiotic Swiss public during this four-year period. school schedule. (In many cases, students Our Grundkurs is different from others, of go to school from 7:30 a.m. to 12:15 p.m. course. In Baselland, for example, the and then from 2:00 p.m. to 4:00 or 6:00 p.m.) course is laid out for a two-year period with These afternoon school hours deny the the specific goal of preparing the children for students practice time. This is for now an instrumental instruction at a local music insurmountable problem. school. It is much more structured and goal- Addressing the question of how these oriented. There, it's specifically expected students should be prepared is relatively easy that the students be able to read music and because of the generally good communica- meet other requirements, and that they have tion between the Konservatorium and the had ear training. The instrumental teacher in Musikschule. We have a special program for the music school can expect students to have highly talented school-age students, designed covered certain areas in the Grundkurs. to help them prepare for studies at the Eichenwald: The Musikschule has basi- Konservatorium. This is necessary because cally two goals: 1) to make music making! the Swiss school system makes it difficult for learning available to the general population, the students to study music seriously during and 2) to develop and encourage extraordi- their school years, and they usuallyfind narily talented young people who might be themselves far behind their foreign peers at suitable for the music profession. entrance-exam time. Goal I-offering music to all interested-c-is In spite of all this, one of the things I'm much more multifaceted and to a certain very proud of here at the Musikschule is the extent the more interesting, although some amount of personal freedom the teachers, question its relevance. We feel that everyone and through them the students, enjoy. There should have a chance to explore the many is no general teaching plan with specific musical possibilities. goals to be reached within a certain time. The question remains as to what to do This allows for many different teaching with those who are really not cut out for styles, suitable for the many different types of instrumental music-making. In this respect students we face. And all this is going on in the Americans are perhaps a bit more a very large school of over 3,000 students! advanced with the music appreciation Hildenbrand: Here in Basel, unlike most courses. Perhaps one possibility would be to other similar institutions, we have an "or- offer group lessons at the beginning of one's chestra school" with an apprenticeship instruction, instead of involving students in program in the two Basel orchestras, the groups only after they are fairly comfortable Basler Sinfonie Orchester and the Radio with their instruments. This would allow Sinfonie Orchester Basel. Training to students to assess themselves and determine become an orchestral musician actually if this is what they really want to do. Now, begins after the completion of a basic course students all begin with individual instruction, of study lasting three years. For the appren- believing that they get more for their money ticeship, the students must pass an exam and in this way, whereas this may not really be then audition in front of members of the or- the case at all. If students started with group chestra. If accepted, the student plays with instruction, they would also become familiar the orchestra for one year without salary and with the other instruments before they accumulates playing and repertoire experi- definitely decide which instrument they ence. This arrangement is very valuable to would like to play. students who wish to play professionally in Goal 2 is, in terms of structure or in terms an orchestra, for our conservatory has only

60 Tbe Quarterly about 400 students and is not large enough Musik-Akademie) or general music in the to support a full-time house orchestra. We public school system. We would also like to do have, however, an ad hoc orchestra. start a teaching diploma program for working Students' career goals, however are quite with the handicapped. different now than in the past, because most L. c.: What other diploma programs do young people don't want to be tied down to you offer at the Konservatorium? playing in an orchestra. One reason for this Hildenbrand: One very important pro- is the ready availability of teaching jobs at gram is our Konzertreifediplom. which is a local music schools, which pay relatively continuation of the teaching diploma with a well. There haven't been any studies in concentration on chamber-music perform- Switzerland as to the projected job market for ance and teaching. We assume that a musicians, so we can only guess as to how graduate of the Konservatorium who has many or what kind of musicians will be received a teaching diploma and gets a job in needed in the next 10 to 25 years. I think, a medium-sized city or town will want to therefore, that a musician who is capable of become involved in the local cultural and teaching, perhaps half-time, and also is able musical scene-this generally occurs through to perform in an ensemble for twentieth chamber-music settings. When one com- century music has good a chance to "make pares the teaching/chamber music diploma it." In earlier days, a student might have to the soloist diploma or orchestral diploma, aimed at one particular professional goal, one can say that they have a similar value in perhaps to become an orchestral musician, terms of practicality and in terms of time and that would have sufficed. Now, how- required for completion. ever, one must have the imagination and the L. c.: What role does the public school training to perform various different musical system play in the music education program styles. To prepare students for this reality is in Switzerland and in Basel specifically? our educational goal at the Konservatorium. Fiiglistaler: There are very good reasons L. c.: Would you please briefly describe to have the Grundkurs, as run by the Musik- the teacher training programs offered at the Akademie, in the public schools. There are Konservatorium? no music specialists in the public schools as Hildenbrand: As I mentioned earlier, such-the exception being our Grundkurs everyone starts with a basic three-year course teachers. That means that earlier, the of study. We think that most students don't classroom teacher was responsible for really know, at least at the beginning of their teaching music, or more likely, leading the studies, exactly what they want to do in their class in some songs. Twenty years ago it careers. We want all the students to be able was found that only 10 or 15 percent of the to start their time here without having to elementary school teachers were actually commit themselves to one professional giving music instruction. Singing was built direction or another. Also, most young into the teaching plan, but this was not seen people at this age don't realize their full as being very important. capabilities or talents, either. We want the Then the director of the Musikschule at students, through this first three-year period, that time, Thuring Bram (now director of the to be able to sample all the different types of conservatory in Luzern) proposed the idea of musical activities we have to offer. Then teaching music through teachers from the they can be advised, especially through a Musik-Akademie. And despite the initial special course called "Professional Opportu- skepticism at the beginning-you know, nities," as to what may be open to them. everything that's new is suspect-he was We offer different types of teaching able to get the program going. There were diplomas: instrumental/vocal teaching people who were afraid that something diplomas, or a special teaching diploma for would be taken away from them because introduction to music/music for young they'd always done a lot of music with their children (these being courses offered to the classes, and others who were afraid that public at the public school, but through the someone would see what they couldn't do.

Volume 1, Number 4 61 But others also realized that qualified music well prepared for studying here. I was once teachers could relieve them of the burden of the guest expert at the final exams of such a a subject they didn't master. And of course school in Oberwil (a suburb of Basel), and there were those who were against the new the quality of teaching and teachers there program even though they personally hadn't seemed to be very good. done any music with their classes. But in the L. c.: What would you change in the meantime a new generation of teachers has music education system? What do you see in come, and these battles are old history. the students studying here that disturbs or Eichenwald: Because of the large foreign exhilarates you in their musical development, population in Basel, with the many different as compared to your own? national and cultural influences, our Kelterborn: When I think of what theory Grundkurs is very important at the elemen- or composition students at the Konservato- tary school level because all children have rium must learn and what courses are the opportunity to come in contact with offered, I see that the choice and range of music. This may seem to be a bit too much courses and teachers is much greater than for some and much too little for others-and when I studied theory and composition here. this may be the price one pays for such a One is much more aware of the music- program-but it is acceptable for our pur- historical aspects of theory and composition. poses. In the public schools, there is no Another change in the structure of this music offered in the kindergarten. At the institution is that professors were once middle school level, the music instruction invited to join the faculty by the director. that is offered is often worse than nothing. For example, before I left to work in Ger- L. c.: Is music instruction in the middle many, the director asked me if I would like school not taken seriously, or is there no to be a teacher here. Today, the hiring structured teaching plan? procedure is quite a bit different in that the Eichenwald: It starts in the teacher job is advertised and candidates must training. School music teachers have a bad audition and present trial lessons. The image. Earlier, those who were not good school faculty or representatives of the enough or qualified enough to teach pri- teachers are involved in the process. We can vately were trained as school music teachers. still invite someone to join the staff, but this This has changed in recent years, but the happens only very rarely. image of poorly qualified teachers and poor One of the things that must change, teaching materials has remained. however, is that the really talented students Because of this, the school principals don't need to be supported. In Hungary and expect or encourage a different type of Rumania, and America, too, I believe, there teaching; in many cases, music instruction in are special music high schools where the the public school is called Singen and not students receive concentrated music instruc- general music or such, thus further limiting tion during the school day. There should be instruction. Knowing this, many potentially more free time during the school day for good teachers are discouraged from starting music, or sports, or whatever interests the teaching careers. student. I find especially tragic how the younger There are two schools, in Lausanne and in children, say ages 6 to 10, are being treated Zurich, where this is being tried. There the in the schools. At an age when they are so schools started a specialized school for awake and alive to learning, they have little sports, and the music teachers joined along to no access to music or foreign languages! with this method. I could imagine that Reidemeister: There are some high something similar could also come to Basel. schools that offer concentrated musical Eichenwald: I find it absolutely indefen- programs, the so-called "M" schools. These sible that so many students come here once students are less well prepared for the a week, have their lessons, go home, prac- university than students from some other tice, and that's it. This kind of music learn- schools, but those I've observed have been ing should be a thing of the past. Everyone

62 The Quarterly should also play in an ensemble or sing in a thinking individuals is short-circuited. Is it so choir or take ear-training. This is, however, important to teach so-and-so many works very difficult to organize with the present from specific eras, or would it be better to school system .. teach a basic technical vocabulary with It's also very difficult to change a tradition which the pupils can, for themselves, explore that is already over 100 years old and say, the different styles? Of course one still "From this day on, everyone studying here would use examples of how certain tech- will, besides taking individual instruction, niques are applied, but when the pupil has also take part in an ensemble." We've received the tools of the trade, his or her started this to a certain extent with the strings whole life lies ahead to explore the wide students here: All the little children starting repertoire of music. string instruments should also be in an It's more important for the teacher to learn ensemble so that they expect to play in a how to teach than to learn what literature group. But one must be careful to do this in one should teach. It should not be so little steps-of course this will be much more important that one has learned many differ- difficult to change to any large extent with ent pieces from a certain era, but rather that the piano or wind-instrument students. one knows how to communicate the basic Hildenbrand: One of the things we need musical and technical ideas of this era. is a good, purposeful program for especially One step we are taking in this direction is talented pre-Conservatory students. The to find pupils with whom our student- main problem lies with the Swiss school teachers can work. These pupils receive schedule, whereby the students have school instruction from the student-teachers for one in the afternoon Casopposed to Germany, year, under supervision, of course. We can where they have school only to 1:00 p.m.) then see how the student-teacher has learned and thereby not enough time to develop to judge what the pupil needs-musically, themselves musically. We notice this mainly technically, and personally. At the end, we during the auditions here. Foreign students hold a theoretical audition for a job, in which who wish to study here are generally better the student -teacher has the opportunity to prepared than Swiss students. It's illogical to practice for the real situation. assume that the Swiss are generally less Reidemeister: I would like to see more talented than their German or Austrian of the students at the conservatory invest one colleagues; rather, they have not had the or two years in becoming acquainted with opportunity to prepare themselves ade- the early music. If they already can play quately. Perhaps a more flexible public their instruments, they could learn the school system would help, in which espe- stylistic aspects of early music quickly. I cially talented students are given this chance. would also like to have more funding in the The music schools (for pre-Conservatory area of Schola ensembles. students-Musikschule) are doing a very I would like to build up a good orchestra, good job in general, but once again, stu- and that is not cheap. To attract really good dents' school schedules hinder them in their people, we must be able to pay them, even if work. Yet we find that those who are they are honorary members or extras who especially interested in making music do find come in to help out for concerts, covering a way to receive instruction at these music instruments that are not here at the Schola. schools. Perhaps teachers in these schools And this, along with a good Baroque can teach even more efficiently than those in ensemble, a good Renaissance group, and a the public schools. good Medieval ensemble, would be wonder- Another problem that I have seen, not only ful. There has been just one concert group here but generally, is that there has been too that did all these styles, but we must become much emphasis upon the repertoire aspect of even more specialized. And coupled with teaching, especially in the teacher-training these orchestras, I'd like to establish separate programs, to the extent that the whole idea courses of studies with diplomas for Ba- of trying to produce independent, musical roque, Renaissance, and so on. I know this

Volume 1, Number 4 63 is a school concerned primarily with educa- 1976, there was a large publicity campaign to tion, but I'd like to see the Schola become inform the public, teachers, students, and even more a center of early music, with politicians about the Grundkurs. Today, the research and publications. I'd also like to parents of all children entering the first grade offer more courses with period instruments. receive a short brochure in which the Today we expect a violinist to play Schubert, Grundkurs is described. Mozart, and Fontana with the same instru- Eichenwald: When you know how shy I ment, which is just not specialized enough. am, for example that I'm not particularly But for all that, we need money. fond of luncheons with the city council L. c.: What kind of communication with members and such, my relationship with the and support from the general population community is surprisingly good. What I does the Musik-Akademie enjoy? don't like to do through political contact I try Kelterborn: Through cooperative work to accomplish with musical projects. For with other institutions, Musik-Akademie has example, the children's opera we produced very good contact with the general public. last year received excellent feedback from For example, the Friends of Early Music (a the general public. Today almost everyone concert series specializing in early music, can say they have a child in their family performed on original instruments), for studying at the Musikschule. Thus, it has a example, could not exist without the Schola more positive image than in earlier times. Cantorum. The International Society for New Hildenbrand: Through our internation- Music, in its present structure and form, ally known teachers, concerts, and recitals, wouldn't be able to exist without the active the Konservatorium has a very good reputa- participation of our students and teachers. tion with the general population and contrib- Three years ago, Heinz Holliger, ]i.lrg Wytten- utes greatly to the total cultural scene. Of bach, and I founded the Basler Music Forum, course the Musikschule, with its many where we present short concerts at 6:15 p.m. different musical activities throughout the as complements to the main concerts at 8:15 year, is more in the public's eye. And p.m. This is also dependent upon our conservatories are still seen as being rather students' and teachers' participation. elite; this is evident when one realizes that But our own ensembles also participate in the tuition here is twice as high as that of the cultural scene. For example, this Friday some other professional training programs- Frans Briiggen will conduct the orchestra the university's, for example. Students from from the Schola Canto rum in a concert of Basel or the county of Baselland pay 900 classical works. This is of course open to the Swiss francs (about $600) per year; others public. Hans Werner Henze was here for the pay 1,500 Swiss francs (about $1,000) per Musikschule's production of children's opera year. "Policcino," and we have also produced L. c.: What do the students do after Britten's "Noah's Ark." finishing here at the Musik-Akademie? Through the Grundkurs in the public Eichenwald: I have no statistics concern- schools, practically every family in Basel ing this, but it would be interesting to know comes in contact with the Musik-Akademie. what they all do. I think, however, that For this reason, the Musik-Akademie enjoys a students now finish their studies at the great deal of support from the general Musikschule with a good feeling toward public. If it were only a conservatory, by music and the Musik-Akademie, and for that definition smaller and more elite, it would be reason the chances that they will occasionally politically more difficult to achieve the same unpack their instruments after finishing here support. Because of the direct electoral are somewhat higher. In the past, it was not system in Switzerland, the public votes on uncommon that young people were forced all issues, especially financial ones, which to learn an instrument. We have many adults directly affect it. who have experienced this trauma and who Fiiglistaler: In conjunction with the would now like to find their way back to starting of the Grundkurs in the schools in music, but because of these earlier

64 The Quarterly experiences, can't. This is unfortunate. spread in Switzerland. The Musikschule is I feel that those who study at the present one of dozens in the area but differs in Musikschule have a better chance of some- admitting adults; the others are only for day returning to music or continuing to young people. The Konservatorium is one study, if even in another form. It's our goal of several in Switzerland, all of which offer to give the students the necessary tools with quality professional training. The Schola which they can make music so they can Cantorum, while unique in offering study in continue for themselves, without us. early music for students from elementary Reidemeister: I have tried to keep track school age to the postgraduate level, is now of our graduates and the graduates of the joined by other institutions offering study in conservatory. I would say that now their that area of music. chances of developing careers in music are So while the Basel Musik-Akademie shares about the same for the two groups, because attributes with other Swiss institutions, it also it's no longer certain that graduates of the possesses unique qualities. And it is unwise, conservatory will find orchestral or teaching if not arrogant, to suggest that what goes on positions. At the Schola, while we have in Basel is typically Swiss, just as it would be more students than before at the professional to expect an alpine community in Kanton Uri level (l00 full-time and 100 part-time), they to follow Basel's example of the Musik- tend to continue their contact with the school Akademie. It is more appropriate to note the after they leave. That means that they write sharing of ideas that has allowed Switzerland, or drop by when they are in the area. with its widely varying geography and many The possibilities for playing early music cultures, to fulfill its music education needs have grown enormously in the last 15 years locally while music educators exchange ideas or so, and the good students can really with their neighbors. develop careers. There are many more Perhaps this kind of collaboration will concerts and concert series, a much larger become more common throughout Europe. audience for this form, and many more As our national boundaries become more music schools offering positions or special open and the walls separating the people courses in early music. There are many continue to fall-now the East European conservatories, especially in Germany, that ones, and in 1992 the Central and West have asked us how to start up early music European ones-there will be more open- programs. Right here in Basel we have over mindedness and exchanges of ideas. Some 600 subscription ticket holders for the of this is happening now: At a recent "Friends of Early Music" concert series. congress of European conservatory directors Anyone who is more or less competent in in Basel, the director of the Paris Conserva- the early music field has plenty to do, simply tory explained the changes taking place in because we are experiencing a boom. instruction there. Listeners were amazed to Conclusion: Typically Swiss? hear how these resembled the changes now underway at the Konservatorium at the As Kelterborn pointed out, the Musik- Musik-Akademie. Akademie is rather atypical in its all-encom- Perhaps, in light of opening borders and passing structure. It contains elements which opening minds, it is time to forget about are found in other institutions around typical Americanness, typical Swissness, Switzerland and even shares programs with American composers, Swiss music, and some of them, but is different in that it American or Swiss musicians. It is now time presents a concept of total music education to concentrate on good music and good for people of all ages. While the idea of the musicians, regardless of nationality. ~ Grundkurs is not new, it is not very wide-

Volume 1, Number 4 65