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The five key aspects of NEW ZEUG:


Through the collaboration between composers and music teachers, two worlds that are rather separate from each other meet. A fruitful interaction only arises when one side gets involved with the other. Only when the composer immerses himself in the world of children and young people can music be created that they enjoy playing. The children and young people participate in the process of creating the compositions through their feedback. Thus, NEW ZEUG experiences arise through the encounters in the triangle student - teacher - composer.



encounter with the new


NEUES ZEUG wants to bring music from the present into instrumental lessons - for discovery, for confrontation with the unknown and for creative debate. We think that a lively musical culture needs a connection to the present. The encounter with the present time and the music of the present is best achieved by “playing it yourself”. And as a matter of course - the encounter with the unknown NEW STUFF between and in addition to the encounter with the familiar, such as pop, film, jazz, classical, ... music.





Through a process of confrontation, exploration, reflection and personal identification, the instrumental students discover unheard worlds of sound and perhaps a different relationship to the instrument and its instrumental technique (e.g. playing inside piano). On the one hand, this process is based on curiosity and a spirit of research, on the other hand it is voluntary and personal motivation - and not because it is "culturally particularly valuable". Three students stopped trying out NEW ZEUG - which wasn't a problem, after all it happens again and again in instrumental lessons.



other teaching


NEW STUFF requires and encourages a different way of teaching. Since the newly created music initially seemed unwieldy for most students due to its unusual nature, emotionality and teaching with associative content were at the forefront of music-making lessons right from the start. With the help of extra-musical content, such as pictures, stories or personal experiences, the search for the meaning of the newly written pieces was carried out directly. In some cases, improvising based on this content or in the character of the new piece also helped.


Making music in freedom

NEW THING changes the way music is interpreted and created. Because the listening and reading expectations of the pieces and notes to be played that are familiar with classical music or pop and film music no longer apply as usual when playing new music. The encounter with the unknown opens up spaces for free, creative and personality-related interpretation and music-making - for intensive immersion, experiencing and making the new world of sound your own.

The team

Artistic direction:   Clemens K. Thomas

Project management:     Paul Ebert

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