Session 116 summary
Christof, a resident of the Netherlands for over 23 years, possesses a profound love for music. In the previous year, his most-listened artist on Spotify was Ravi Shankar, a fact that led him to contemplate the Western perspective on music. He began to develop a hypothesis suggesting that the manner in which individuals engage with music mirrors their interactions with friends, partners, clients, and society at large. This belief shows Christof’s conviction in the vast potential of human auditory senses, which he perceives as integral to our interactions and experiences. For him, the continuous act of listening, akin to the way we engage with various aspects of life, is both significant and challenging. He views the perpetual receptiveness of our ears, even during sleep, as analogous to the constant influx of information encountered by organizations on a daily basis.
Christof hails from the quaint village of Merian, nestled in the southern region of Germany. With a population of only 6000 today, and even fewer during his youth, it remains a small and close-knit community. Growing up surrounded by the serene sounds of birdsong and the rhythmic hum of machinery from his parents’ joinery, Christof learned the art of cabinet making with his own hands. In Merian, the tallest structure was the church, its presence punctuated by the regular tolling of bells every 15 minutes. These familiar sounds formed the backdrop of Christof’s upbringing. During a recent visit to his hometown for Easter, Christof experienced a special tradition unique to Merian. On Sunday, four individuals ascended the church, positioned themselves at each side, and performed a choral piece. Starting at the front, they proceeded to the left, then right, and finally to the back, ensuring that the entire village could hear their harmonious melodies. Depending on one’s location within Merian, the choral piece echoed four times, each iteration varying in volume. Before the clamor of cars and other urban noises dominated his auditory landscape, Christof’s ears were attuned to a different rhythm. He found solace in the steady drone emanating from the planer, a sound he adored and one that drew him towards electronic music and the ethereal sounds of didgeridoo from Australia.
As a joiner by trade, Christof’s craftsmanship was evident in his intricate work with wood. However, his creative spirit extended beyond the workshop; he fancied himself an experimental musician, exploring unconventional sounds and instruments. Though the saxophone held a special place in his heart, he eagerly delved into various musical genres and instruments, embodying a multifaceted musical persona. For nearly 35 years, Christof engaged in free improvised music alongside nine saxophonist colleagues, often integrating the surrounding environment and architecture into their performances. Despite eschewing the spotlight of traditional stages, their experimental compositions resonated within intimate settings and unconventional venues. His passion for music extended beyond performance; Christof pursued higher education in musicology, enriching his understanding of music’s historical and theoretical dimensions. In the 1990s, his innovative spirit led him to establish a new media department within a film production company. Proposing the novel idea of conducting internet interviews with notable personalities featured in their films, Christof facilitated captivating conversations with remarkable individuals from around the world.
What Christof is now is, what he calls service design. He didn’t pursue formal design education at a university or school; rather, he identifies himself as a hands-on designer. His journey has been marked by trial and error, spanning since the nineties. This path led him to specialize in service design, driven by his passion for problem-solving and shaping solutions, whether they manifest as products, services, or often, a blend of both. Beyond his role as a designer, Christof also serves as a business advisor and consultant. Recently, he embarked on a new role as a lecturer at the University of Applied Sciences for Creative Business in Utrecht, where his varied experiences converge. Additionally, he lends his expertise as a coach and facilitator at Design Thinkers Academy, focusing on the principles of design thinking.
For three years, Christof served as the Chief Design Officer at the Design Thinking Center in Amsterdam. Prior to that role, he held positions as Creative Director for interactive agencies and renowned identity firms, earning recognition in the Netherlands and beyond. His familiarity with horror stems from encounters with colleagues and other professional interactions, establishing a common thread between him and the genre. In addition to his professional ventures, Christof has spent over a decade refining his unique approach, which he refers to as music thinking. He registered the domain musicthinking.com in either 2008 or 2009, dedicating himself to developing this concept and its associated methodologies. Christof’s book, “The Power of Music Thinking,” made its debut the previous year, featuring an innovative element called Jam cards. These cards each contain a Spotify code, allowing readers to directly access music related to the content. Additionally, Christof embarked on a podcasting journey, a venture inspired by an unexpected turn of events.
Following the completion of his book, Christof sought feedback from various individuals. However, upon receiving constructive criticism, he realized that his work was not yet ready for publication. During this period, approximately two years ago, a podcaster from the United States invited Christof to be a guest on their show. The experience proved enlightening. As Christof listened to the podcast, he found himself more intrigued by his own words than those of the host. This realization sparked a revelation: verbal communication came more naturally to him than writing. Consequently, he shelved his book and launched his own podcast, engaging in conversations with individuals from diverse backgrounds worldwide. Through this platform, he explored topics ranging from music to broader cultural phenomena, embracing the fluidity of spoken expression.
Christof’s podcast follows a distinct format, focusing solely on individuals who possess unique talents and are involved in the realm of music. Each episode begins with a thought-provoking question posed to the guest: “What’s your first sonic experience album or performance that had an impact on you?” This intentionally intricate query aims to elicit meaningful responses and set the tone for discussions about music. Following this initial question, Christof delves into conversations about music, intertwining them with inquiries about the guest’s profession. These dual inquiries seamlessly blend together, providing insights into both the personal and professional lives of the featured individuals. In a recent episode, Christof showcased a photographer from New Zealand who specializes in capturing images of the inner workings of musical instruments. These mesmerizing photographs serve as a visual representation of the podcast’s eclectic and innovative content. Notably, Christof’s podcast episodes are substantial, often spanning either fifteen minutes or one and a half hours in length. Drawing a comparison to the duration of a symphony, he describes the podcast’s length as “more or less symphony length,” emphasizing its depth and richness akin to a musical masterpiece.
The duration of each podcast episode varies, ranging from half an hour to one and a half hours. Currently with 34 episodes, Christof’s podcast features guests from diverse locations around the globe, exemplified by individuals like Steve Keller, hailing from Los Angeles. One noteworthy episode featured Steve Keller, whose research during the pandemic shed light on the concept of sonic racism. He explored how government communications about COVID-19 precautions predominantly featured the voices of white individuals. This revelation sparked Christof’s curiosity, prompting him to contemplate similar dynamics in various contexts. Reflecting on Keller’s findings, Christof marveled at the opportunity to gain fresh perspectives on familiar topics. He recognized the value in uncovering nuances that had previously escaped his notice, a sentiment shared by many listeners. Such episodes challenge preconceived notions and inspire a deeper understanding of complex issues from alternative viewpoints.
What the power of music thinking is or what music thinking is? : In his exploration of the concept of music thinking and its power, Christof identified distinct focal points he refers to as “cues,” akin to cues a conductor might give. These cues, six in total, emerged from his diverse experiences and observations across various fields. They are empathy, personality, score, jammin’, agility, and remix. Christof believes that understanding and applying these cues can significantly enhance business practices and community dynamics, offering valuable insights into collaboration, innovation, and adaptability.
Christof shares a captivating image captured by Charles Brooks, revealing the intricate inner workings of a cello. To Christof, encountering such images feels akin to spontaneous musical jam sessions, where one is prompted to explore new avenues of creativity. Brooks’ work extends beyond the cello, delving into various instruments like the didgeridoo, clarinet, saxophone, and piano. By manipulating focus points and utilizing specialized software, Brooks generates a series of mesmerizing images, each offering a unique perspective. Christof finds resonance in Brooks’ process, particularly in the notion of “jamming.” To him, this entails more than mere improvisation; it signifies a willingness to open up and engage with the unknown, allowing for spontaneous discovery and sensory exploration. This perspective aligns with Christof’s broader philosophy of embracing creativity and intuition in problem-solving and innovation. Christof identifies his strongest affinity with a particular approach: free improvised music, akin to stepping onto a stage without predetermined plans and allowing the music to unfold organically. This, to him, epitomizes the essence of “jamming.” He notes that jamming can be categorized into two types: pre-score jamming and post-score jamming, each offering unique opportunities for creative expression and collaboration.
Talking about the sic cues: Agility, Empathy, Jamming, Personality, Remix and Score, Christof also shared another intriguing image, created through the use of artificial intelligence. The previous image of the interior of a cello, was processed by generative AI to transform it into a room-like space. This innovative approach exemplifies Christof’s perspective on creative exploration. To Christof, this process parallels the concept of jamming in music. The initial jamming involves spontaneous improvisation, akin to the freedom of expression found in traditional jazz. However, the subsequent manipulation of the generated image represents a different form of jamming, akin to improvising within the structure of a pre-existing score. In this analogy, the chords and melody remain constant, while other elements offer opportunities for creative adaptation and exploration.
Christof highlights the significance of personality. He cites the example of Miles Davis, noting how the legendary musician seamlessly transitioned between diverse styles and collaborations while maintaining a consistent underlying persona throughout his career spanning several decades. This fluidity of expression under a singular personality fascinates Christof. Expanding on this concept, Christof references Dolly Parton, emphasizing how her persona remains consistent across various platforms, whether it be LinkedIn, Facebook, Instagram, or even Tinder. He interprets this as a demonstration of both being and becoming, suggesting that personality is not static but rather evolves over time. In the realm of business, Christof observes a similar dynamic. Companies project a distinct personality through their branding, operations, and culture. However, he asserts that true evolution occurs when companies authentically embrace change, leading to shifts in perception among their stakeholders. Christof emphasizes the importance of consistency amid change, highlighting how companies can cultivate diverse perspectives within their established personality.
Christof talks about the importance of the concept of “score,” which he defines as the collective agreement on how to work together. He draws parallels to an orchestral score, where every detail is meticulously notated, providing a framework for musicians to collaborate harmoniously. Christof appreciates the analogy, particularly in how it illustrates the dynamic interplay between individual musicians and the ensemble. However, Christof notes that scores can take various forms beyond traditional notation. He shares a picture from the World Saxophone Congress in Zagreb, Croatia, depicting a performance where jazz improvisation influenced the score and the ensuing music. This example highlights the notion of a “living score,” one that evolves and adapts as the performance unfolds. Furthermore, Christof acknowledges the existence of alternative forms of scores, such as gaming scores or the implicit structures found in free jazz. In these contexts, the score may not be explicitly written or verbalized but still serves as a guiding framework for collaboration. Despite the absence of formal notation, there remains a shared understanding among performers about how to navigate the musical landscape together.
Christof introduces another key concept, agility, drawing an analogy from Spotify’s year-end wrap-ups. He suggests that these personalized insights into listening habits reflect an individual’s “listening character,” highlighting the importance of adaptability and change. He emphasizes the necessity of agility in navigating the musical landscape. While a score provides structure, it is not synonymous with the music itself. Agility, therefore, serves as a means to propel the music forward, enabling adaptation and evolution. The final cue, remix, encapsulates the culmination of these elements. It involves synthesizing all gathered information to inform the creative process. Christof emphasizes the interconnectedness of these cues, illustrating how agility facilitates learning and adaptation within the framework of a score, ultimately leading to exploration and creation post-score. In summary, Christof underscores the significance of these cues in relation to one another. Agility enables learning and change, while jamming after score fosters exploration and creation. Without these elements, the process remains iterative, lacking the transformative potential of remix. Christof highlights the importance of empathy and personality as foundational elements throughout this dynamic process.
In the interplay of these fields, Christof observes the emergence of product, service, and experience. Here, remix intersects with jamming and empathy, resulting in what he terms as brand experience. Remix, in this context, signifies the alignment of what is produced with empathy and personality, emphasizing the importance of delivering a cohesive and resonant brand identity. Furthermore, Christof delves into the role of strategy, which he equates with empathy, listening, and understanding. He emphasizes the distinction between having a vision and actualizing it through action. While a vision may outline the desired future state of an organization or department, translating this vision into actionable steps requires strategic guidance and direction. Christof underscores the significance of providing tangible support to facilitate progress. He suggests implementing guiding principles to assist individuals in navigating the path towards realizing organizational objectives. These principles serve as a bridge between vision and action, offering clarity and direction to individuals within the organization.
Christof highlights the importance of empathy, particularly in understanding the broader context of individuals and their surroundings, including nature. He illustrates this with the example of an airport aiming to become environmentally friendly. While the company may aspire to be the greenest airport globally, empathy prompts consideration of whether such a large-scale airport is necessary at all, thereby linking empathy with nature. He emphasizes the depth of empathy, suggesting that it involves listening not just with ears but with all senses, to truly comprehend the implications of actions. This understanding informs the alignment between present actions and future aspirations, whether on a personal, departmental, or organizational level. Drawing a metaphorical parallel, Christof likens this interconnectedness to the intricate wiring of an analog synthesizer, illustrating how various components interact within a unified system. This, to him, epitomizes the essence of music thinking, a holistic approach that encompasses empathy, action, and aspiration. Expanding further, Christof introduces the concept of the music thinking framework, suggesting that it offers a comprehensive perspective when zooming out from individual components. This framework serves as a guide for navigating complex challenges and fostering holistic solutions within organizations and beyond.
Within Christof’s framework, each cue is accompanied by instruments, such as customer journey mapping, personas, or leadership development programs, which serve as tools for achieving desired outcomes within each field. At the core of this framework lies an overarching concept of listen, tune, play, and perform. Christof emphasizes that listening isn’t merely a step but a continuous phase that permeates all other actions. He contrasts classical music, characterized by a linear progression from idea to performance, with pop music, where processes overlap in the studio, blurring the lines between listening, tuning, and playing. Jazz, on the other hand, embodies simultaneous action, where dynamics unfold in real-time, exemplifying the concept of interconnectedness and spontaneity. Christof stresses the importance of briefing and re-briefing, likening it to the repeat marks positioned at the left and right sides of the framework. He explains that the framework operates as one big loop, akin to a musical motif, where individuals cycle through the steps and cues multiple times. This iterative process is crucial, especially in the context of organizations, where workshops may focus not only on solutions but also on formulating the right questions through techniques like question storming. He emphasizes the significance of the way questions are asked, as they can shape the direction of inquiry and ultimately influence outcomes. Christof draws a parallel between this approach and the role of prompts in artificial intelligence, highlighting the importance of providing clear and effective instructions to elicit desirable outputs. He underscores the similarity in how humans interact with generative tools and collaborate with others, emphasizing the need for thoughtful input to yield meaningful results.
About the Speaker
Christof Zurn
Christof is a dynamic professional known for his expertise in guiding individuals, teams, and organizations through the journey from iteration to innovation to transformation. With a diverse background spanning roles such as Creative Director, Design Thinking Coach, Service Designer, Facilitator, and Musician, Christof brings a unique blend of skills to his work. Having honed his craft over the years, Christof has developed an array of tools, training programs, and workshops aimed at inspiring people to adopt different perspectives, fostering understanding, innovation, and collaboration. Christof’s academic journey led him to obtain an MA in Musicology, Philosophy, and History of Arts from the prestigious Karlsruhe Institute of Technology. His academic pursuits laid a solid foundation for his multifaceted career. As an author, Christof has made significant contributions to the field with works such as the “Music Thinking Jam Cards” (2018) and “The Power of Music Thinking” book (2022). Additionally, he hosts “The Power of Music Thinking” podcast, where he shares insights and interviews with thought leaders in the industry.
Christof’s early career saw him at the forefront of music interaction on the internet during the late 90s while working for EuroArts. His innovative spirit led him to conceptualize online interviews, culminating in his first interview at the Opera in Versailles with Daniel Barenboim during the Europa Concert of the Berlin Philharmonic. Throughout his career, Christof has conducted interviews with renowned figures such as Zubin Mehta, Anne-Sofie von Otter, Bryn Terfel, Gil Shaham, and many others. His rich experiences also include producing and creatively directing infotainment CD-ROMs on subjects ranging from Great Conductors to Mozart, earning accolades such as the German Multimedia Award in Gold and the Education Award Vienna. Beyond his professional endeavors, Christof remains an active member of the improvising collective Raum-Music für Saxophone, showcasing his passion for music and his commitment to artistic expression. With his diverse skill set, innovative mindset, and deep-rooted passion for music, Christof continues to inspire and lead transformative change in both the creative and corporate realms.
