Europavox Campus enters its third year, across five leading academic locations throughout Europe. The regional competitions allow students to showcase their talents and compete for the opportunity to take their music to new and exciting locations across the continent. One of the returning locations will be the Ostbayerische Technische Hochschule (OTH) in Regensburg, Germany. From April 7 to 11, more than 60 young people along with university staff and participating organizations, will convene for creative workshops, and performances, and ultimately select five finalists who will go further in the Campus project.

At the heart of these activities in the OTH is  Dr. Christian Zürner, Professor for Soziale Kulturarbeit [Social cultural work and cultural management]. Institutional to the activities of Europavox Campus, Dr. Zürner has been teaching the students, and helping them align their views of the world through music. In addition to being a published, and acclaimed professor,  Dr. Zürner is also a famous bass player, having performed on multiple records.

Talking to Dr. Zürner. Europavox finds out more about his career in music and academia, and how he found the magic ingredients to combine them both at the OTH.  

How did you get into music?

I started playing bass when I was 14. There were these groups at the time with great bass players, like Kajagoogoo, and Level 42. I was really inspired by these bands, so I went to the music fair in Frankfurt, bought a bass guitar, and in a year I could play solos like Mark King from Level 42.

I joined one of the most famous bands in Bamberg [Bavaria], and then worked with a good friend of mine Rainer Hartmann as a duo. We published a jazz record, before I went over to work with Ramesh Shotham, a musician from India now living in cologne. With this we made a record, and toured and played around the world.

How did you start working at Ostbayerische Technische Hochschule (OTH)?

I got a call from OTH 15 years ago. They wanted someone who was a musician, with a scientific background, which was great for me because I had written about aesthetic education. I love teaching, and being here you get to work between the worlds of arts and science.

Music is one thing, but I always wanted to connect it with scientific thinking, philosophy and aesthetic theory. I’m really obsessed with thinking about what the function of music is within society. I found this program in German, Kulturpädagogik, it’s a program that gives you the qualification to do aesthetic education outside of schools.

The biggest challenge we have in social work is that sometimes people say, “it doesn’t matter about the quality of the music, it’s just how you use it,” and for me, it’s important, when teaching music, that people understand that it can only work if you make good music, otherwise it makes no sense. So that’s what I’ve been doing, helping students be good musicians.

What does the course entail?

If I’m teaching band work, then I just want the students to become good musicians. But at the same time it’s also important for them to learn that art is not separated from society. Art is a way to take a look at society, and to go behind the borders that are designated by scientific subjects. Art should open your mind. It’s not my aim that everyone become artists, but that art should change your view to the world. At the moment you see that society is changing, and that’s frightening. 

What have been the biggest challenges in your career so far?

I would say it’s the political situation, and not only in Germany. For the first time, I worry about the future. When I was 21, the Berlin Wall fell and everyone thought that the future was going to be great. It’s my job to tell the students that they need to be careful with democracy and society, and be aware of what is happening.

What have been the biggest changes so far?

The use of digital technology. I loved making music with my hands, but there’s so much technology on there that takes this away from people. On the one hand I see there are great new compositions coming out of it , but on the other hand, I love to make music with my hands. This hasn’t been easy for me. I really hope I can give the love of analog music to the students.

What’s your experience been so far of working with Europavox Campus?

When I started this cooperation, I didn’t know what would happen. At the beginning it was a great opportunity to meet new people,hear new music, and visit Clermont-Ferrand. Last year we had some great sessions in Norway, and these will always be great memories. It’s necessary to have the task and share the ideas, but the most important thing is to make good music. I’m grateful Europavox offers such projects. It is a lot of work, but it’s worth it.