Sonic Placemaking: (Re)Creating Place as a Comprehensive Compositional Practice
(2023)
author(s): Isaac Barzso
published in: KC Research Portal
This paper is focused on the development of a large-scale personal compositional practice centered around the concept of placemaking. Its content is focused on the relationship between data analysis, data sonification, and musical structure in the development of art which engages in a practice which I refer to as ‘sonic placemaking.’ In the end, this research intends to put this artistic practice in a space to interrogate the relationship between art and social change, both on small and large scales. The different sections of the paper will provide context and support for my practice's conceptual and philosophical background, drawing on related theoretical writings in geography, sociology, fine art, and composition while guiding the reader through my process in executing these concepts through works of multimedia art and acoustic composition — and, at the same time, actively questioning the ability of this process to influence social change and worldmaking.
The Flexible Trombonist
(2023)
author(s): Andrew Macleod
published in: KC Research Portal
Name: Andrew Macleod
Main Subject: Classical Tenor Trombone
Research Supervisor: Caroline Kang
Title: The Flexible Trombonist
Research Question: How can yoga be used as a tool to prevent injury and promote ease in brass playing?
Yoga has established itself as an effective tool to reduce anxiety, increase breath control, and strengthen the body. The classical music profession being an industry where physical demands are high it is no surprise that ‘playing-related musculoskeletal disorders (PRMD) are prevalent. This research investigates the effectiveness of regular practice of yoga at reducing pain and tension in brass playing with an aim towards reducing the risks of PRMD’s.
To carry out this research a combination of a case study, interviews, self-experimentation, and reviewing existing literature was used. The case study included a mixture of seven collegiate and graduate level brass musicians who implemented yoga into their practice routine over the course of two weeks. The participants completed three surveys and two practice diaries which monitored the success of yoga at reducing pain and tension in their practice.
The outcome of the case study presented positive results in support of the correlation between the practice of yoga and reduced pain/tension in brass playing. This was supported in the self-experimentation and reflection. The interviews reinforced this connection however highlighted that yoga is not the only solution available.
Through analysis of existing material on this subject, it is clear that further research would be beneficial. The issue of PRMD still exists in the music profession and this research offers an initial insight into effective methods of injury prevention and awareness. More research on this subject would reduce the likelihood of career-ending injury and encourage a holistic practice of brass playing.
The art of the violin in Verdiales
(2023)
author(s): María Estela Lastre Castillo
published in: KC Research Portal
Verdiales is the traditional music from Málaga, Spain, which is little known even within Spain. This research places verdiales in its historical and musical context looking at: the differences between styles, rhythm and harmony, and, most importantly, the role of the violin in this music.
As the main instrument in verdiales, the violin is played in a very different way than in classical music, since it is spontaneous music with a great deal of freedom for improvisation, disseminated purely by oral transmission, and with a particular technique which is suited to playing only this music.
Through the deep learning of verdiales, I have looked for different resources to face my daily practice issues in order to gain more flexibility and freedom in my way of playing. After trying several exercises and approaches in different parts of my practice, I have been self- documenting and verifying the improvement and effectiveness of certain methods, taking into account different aspects such as bow hold, ornamentation, and improvisation. As a result, I came to the conclusion that in order to achieve different results, it is necessary for more exploration and extremely different methods than the ones I have been using when practicing the violin
The use of the horn in the late orchestral works by Robert Schumann
(2023)
author(s): Márton Kóródi
published in: KC Research Portal
When I played a Schumann piece, Genoveva Overture, for the first time, I was wondering, because there were Ventilhorn and Waldhorn parts. I could not imagine what his idea was when he wrote for four horns, but still used two different kinds of the same instrument. Did he want to express something with this set-up? Beside this, I did not understand why he, and other romantic composers, use so much transposition when they had already a completely chromatic instrument.
As I started to get to know and play the natural horn, it was getting clearer what his intention could have been. Why he used an ‘ancient’ instrument, though he could compose for four chromatic horns. This made me even more interested, and I also got more questions and hypotheses about the topic, for what I wanted to find an answer.
In my research, I tried to get to know the use of the horn in the middle of the 19th century. I wanted to get familiar with the contemporaries’ imagination about the old and new instrument, and with the way how they used them. Then, with this knowledge, I analysed Schumann’s orchestral works, especially the horn parts, and tried to find out if the results are matching with the background research.
My aim was too, show the horn players, that the romantic horn playing is not only about the ‘holy’ valve horn, but something more complex and colourful.
Connections; The artistic process of creating a multimedia performance
(2023)
author(s): Mia Kogelman
published in: KC Research Portal
Connections; The artistic process of creating a multimedia performance
Michael Chekhov’s acting technique through the lens of a classical singer
(2023)
author(s): Vera Hjördís Matsdóttir
published in: KC Research Portal
Research questions:
1. In what ways is Michael Chekhov’s acting technique beneficial to classical singers portraying characters from operas in terms of the aspect of interpretation and acting, the aspect of mental preparation before a performance and the aspect of vocal projection?
2. Are there specific concepts of the technique that are especially relevant to classical singers and why?
Summary of the results of the research:
In terms of interpretation and acting, Michael Chekhov’s acting technique turned out to be very helpful to the singers. By exercising Chekhov’s concept, they acquired a sense of clarity to their character and a physical and psychological understanding.
In terms of mental preparation, the singers felt like they gained tools in calming the mind, achieving a feeling of ease. And that in general, by moving the focus from the intellectual and to the body is a great antidote for nervousness.
In terms of vocal projection, all the singers agreed that their vocal performance improved when they sang their aria the second time when they implemented Chekhov’s elements while performing the aria.
There were differences of opinion among the singers as to which concepts of Chekhov’s were the most beneficial. Questionnaire and discussions though brought to light that the quality of radiation and the feeling of ease appealed particularly well to the singers. I believe that the reason for that is that these qualities create an ideal physical state to sing. The feeling of ease creates a sense of ground, openness, calmness and at the same time alertness. The quality of radiation gives off a strong feeling of confidence, power, and freedom. The act of singing requires physical strength but without creating excessive tension in the body. Healthy singing requires being both firm and soft, which is achieved with both concepts.
Saverio Mercadante and the Neapolitan flute school of the early 19th century. A dramma buffo on the historically informed approach
(2023)
author(s): Enrico Coden
published in: KC Research Portal
Mercadante’s flute works are among the most beloved 19th-century Italian compositions for this instrument. So far, no study has been undertaken to develop a specific historically informed performance practice for them.
In order to do so, I first analysed the Italian flute history in the first half of the 19th century, which revealed a great influence of foreign instruments and methods on local flute makers and players; secondly, I studied the Neapolitan flute school during Mercadante’s lifetime (1795-1870) and discovered which instruments were in use, which methods were kept at the Conservatory Library, and who were the most successful contemporary players. Finally, I focused on Mercadante’s biography and created a detailed catalogue of his flute works, which includes bibliographical indications of manuscripts and editions, musicological details and historical notes (when available). This process revealed that the greatest part of such pieces was composed between 1813 and 1820, that is, while he was studying at the Neapolitan Conservatory.
Once my theoretical investigations were completed, I approached the practical part of my research by following the performance practice instructions of Hugot-Wunderlich’s flute method, whose French original edition is kept in the Conservatory library since Mercadante’s study years. However, an important detail that I discovered at this research stage forced me at once to discard my entire methodological process. This true operatic plot twist - dramatic and yet funny - turned my thesis into a dramma buffo. It forced me to completely rethink my methodology and even what the concept of “historically informed” means to me.
The Significance of Chinese Art Songs by Huang Tzu (1904 - 1938)
(2023)
author(s): Cho Hang Chu, Edmond
published in: KC Research Portal
Chinese art song, a type of Chinese New Music, was a musical genre referring to the songs composed particularly in the 1920s. It is undeniable that it was a product of the real contact and fusion of Chinese and Western cultures.
Imagine listening to music like Schubert or Puccini, you may suddenly realise that the language is not German or Italian, but an exotic language (Mandarin, also mixed with different Chinese dialects). Chinese art songs indeed had such characteristics. Its appearance was epoch-making. Before the 19th century, the gate of Chinese traditional culture was closed and self-sufficient, but due to the invasion of Western powers, this gate soon collapsed. Western culture also swept China along with the military trend in the early 20th century, causing earth-shaking changes in China, in which Western music was also introduced into China. Some intellectuals enlightened by modern thoughts and knowledge believed that in addition to learning western military and technology, they should also absorb their philosophy and culture, so that China could rise in all directions and catch up with Western powers.
The theme of this research revolves around one of the intellectuals (composers) of this period, Huang Tzu (1904-1938) who challenged and responded to the culture shock through composing Chinese New Music. After studying in the United States in 1926, he returned to Shanghai, China. Like the intellectuals at that time, in addition to being proficient in various fields like science, he also dabbled in music. Many of Huang Tzu’s music revolved around the concept of "nationality". It refers to an approach: borrowing Western compositional techniques to highlight the values of traditional Chinese aesthetics.
This research did not aim at describing the characteristics of music or literature in Chinese art songs itself. Yet, it finally allowed me to discover more about how intellectuals dealt with issues of cultural exchange between the East and the West a hundred years ago.
What would be the effects if Western music elements, such as harmony, form, techniques and musical instruments were added to the Chinese traditional music language and habits? From a cultural perspective, what significance did this incur?
Albeniz, from the piano to the wind
(2023)
author(s): Celia Matamoro
published in: KC Research Portal
Albéniz was one of Celia’s favorite composers from her childhood and always felt a special connection to his work. However, in the fifteen long years that she has been studying music, she has never been able to play any of his pieces on the bassoon. Now that she has finished her master's degree -and she had to reflect on where she comes from and, ultimately, who she is-, she decided to investigate the composer in depth with the aim of arranging his Spanish Suite, originally written for piano, so that at the end of so many things, she can interpret it with her reed quintet.
Thanks to its flexibility and wide palette of colors, sound, and articulation, the combination of reed instruments achieves a greater range of register and color, and provides Albéniz's music, inspired by elements of flamenco and Spanish folklore such as cante jondo, a texture and expressiveness that evokes the human voice.
Caire Reed Quintet was formed in 2020, in the midst of the Covid19 pandemic crisis. The five of them are from Spain and they share the same passion for Albéniz. With this work the author wishes to offer other composers and performers the opportunity to discover, learn and experience how much the reed quintet's sonority can contribute to certain styles of music such as Spanish nationalist, reaching a greater range of register and color, and endowing this style of music from a new perspective.
The process of vihuela intabulation of sacred music in 16th century Spain
(2023)
author(s): Kateřina Maňáková
published in: KC Research Portal
The process of vihuela intabulation of sacred music by Cristóbal de Morales, using examples contained in Orphénica Lyra by Miguel de Fuenllana and instructions by Juan de Bermudo.
Making a simple International Phonetic Alphabet (IPA)—For singers, conductors and composers
(2023)
author(s): Bas Ammerlaan
published in: KC Research Portal
This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.)
The IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.
Man's struggle for salvation: A programmatic interpretation of Franz Liszt's B minor Sonata
(2023)
author(s): Leone Monaco
published in: KC Research Portal
Research question: “What can be learned about the programmatic relationship between Franz Liszt’s B Minor Piano Sonata and its programs?”
My research started as an investigation of the traditional programmatic relationship between Franz Liszt B minor Piano Sonata and Goethe’s Faust, but it had an unexpected outcome: Liszt B minor Sonata can be programmatically connected to multiple programs at the same time. Through the study of symbols behind themes and harmonies used by the composer, connections with other compositions, and the composer’s notes and letters, my research explains why and how the Sonata is programmatically inspired by Goethe’s Faust, Milton’s Paradise Lost and the Bible not only in its structure, but also from a philosophical and spiritual point of view.
I propose to look at the Sonata in a different way, considering a more general and Christian “leading thought” which connects all its possible programs and permeates the whole work: Liszt’s Sonata tells the story of every man and his lifetime struggle against temptations and damnation to reach salvation. At the end, I give practical suggestions on the interpretation of specific passages of the Sonata based on the considered symbolic connections with its programs and composer’s notes.
The chosen format of presentation is the exposition, because it gives me the possibility not only to include explanatory pictures and score excerpts, but also to use my own recordings to explain better the symbolism of themes or harmonies in certain passages and to show the practical and interpretive outcomes of my research.
Felipe Libón, the first travelling Spanish Virtuoso and his Violin Concerto No.6 (1812). A Performance Practice case study: I. Poco Allegro
(2023)
author(s): Saya Ikenoya
published in: KC Research Portal
One of the first Spanish virtuoso violinists to achieve international recognition, Felipe Libón enjoyed a successful performing and composing career.
He worked and performed alongside other celebrated violinists: Rode, Kreutzer, and Baillot, who were founders of the so-called "19th Century French Violin School".
We will experiment with applying the extensive indications of the treatises (Baillot, Campagnoli, Woldemar, Spohr, Cartier, and Libón himself) to build a performance practice case study.
The Voice in Arranging - Rethinking the role of vocalists in big bands and large ensembles
(2023)
author(s): Giulia Bättig
published in: KC Research Portal
This research explores how the voice can be used creatively in large ensembles and big
bands. It is structured in five parts, starting with an introduction explaining my interest and
personal connection to this topic. I then analyzed the work of composers and arrangers that
used vocalists in their large ensembles before me - for example Kenny Wheeler, John
Hollenbeck and Martin Fondse. There I looked at how they used vocalists in their works and
found that oftentimes, the voice still is used as a doubling part for the lead melody, but
seldomly is used as an independent part in the arrangements.
I then moved on to analyzing my own compositions I’ve written for a vocal section and large
ensemble. I saw that I unconsciously often used the same kind of arrangement style, and
drew a lot of conclusions for my future works out of this analysis. In part four, I compiled my
research of others and my own work into a small handbook of arranging tools for big band
and voice section. With this, I want to inspire other composers and arrangers to write for
vocalists in new and creative ways. After this, I concluded my research with a reflection and
conclusion in the last part.
In my presentation, I want to talk about my progress working with others and my own music,
and the conclusions I drew out of it, as well as showing some examples of my analysis and
the handbook I wrote.
Mindfulness for violinists
(2023)
author(s): Sacha Paredes Sánchez
published in: KC Research Portal
An overabundance of mental distractions may prevent musicians’ minds from being in the moment while practicing. The present mixed-methods study examined the effects of three newly designed mindfulness meditations on six conservatory violinists’ levels of dispositional mindfulness, mind-wandering and respective variables. Thought probes were used before and after the intervention to examine frequency of mind-wandering and contextual variables (task difficulty, fatigue and stress, and motivation) during two hours of participants’ instrumental practice (one of technical work another of a new piece in their repertoire). FFQM (Five Facet Mindfulness Questionnaire) and MfM (Mindfulness for Musicians) questionnaires were used to measure mindfulness levels before and after the intervention. Interviews and meditation logs were used as qualitative data. Results indicated that all participants became more mindful at the end of the meditation week for all mindfulness’ facets for the FFQM and MfM questionnaires. However, the improvements were particularly noticeable for the “Acting with Awareness” and “Non-Judge” facets for the FFQM and for “Describe” in the MfM. Results showed opposing trends in mind-wandering levels throughout the intervention. That is, some participants showed higher mind-wandering at the post-intervention and others lower. However, contextual variables such as fatigue, motivation or worry, may have also affected how much participants wandered while practicing (e.g. some of them showed more rumination when being more worried and having slept less). Overall, results from the experiment evidenced the importance of including mindfulness in violinists’ daily practice as a useful routine to become more aware and less distracted.
Percussion Meets Environmentalism: A method of performance for environmental awareness
(2023)
author(s): Porter Ellerman
published in: KC Research Portal
The well-documented climate crisis often looms over our daily lives. As an artist, I often felt frustrated by not possessing tangible means to enact change to help. This research is, therefore, a base for further investigations and performances geared toward percussion-based environmentalism. By examining four distinct pieces selected for their connection, or their possibility to connect to broad or specific environmental issues, and altering variables of performance location, instrumentation, personnel, and the addition of contextual material, this exposition demonstrates one path of many for environmental advocation in music. By focusing on decisions affecting sound creation and including context or subtext within each piece, this exposition gives the reasoning behind the decisions made in each piece’s performance based on modern musical activism and theories of promoting positive behaviors. This research also examines modern musical activism in popular music and the emerging contemporary genre of ecoacoustics. The conclusions of this exposition present the benefits of flexibility and creativity in this method and the importance of audience engagement while addressing the drawbacks of this method in the challenge of behaving sustainably as a modern artist. Lastly, this research highlights the possibility of community interaction to create small-scale environmental change that is also a creative outlet for the emotional impact climate change can have on individuals.
An Investigation of Eastern Cultural Influences in the Classical Guitar Solo Repertoire.
(2023)
author(s): Samrat Majumder
published in: KC Research Portal
Can Eastern cultures become a more integral part of the classical guitar’s cultural identity through repertoire influenced by these cultures?
In this research exposition, I explore the ways in which cultural elements from Eastern cultures may inspire repertoire for the solo classical guitar. Through this repertoire, I shall examine how such cultural influences may promote Eastern cultures to performers and audiences of the classical guitar. In doing so, the cultural horizons of the classical guitar world may be broadened to represent a greater variety of cultures that also mirrors the growing global community of the classical guitar.
In Part I, I look at some of the pre-existing works that have been influenced by Eastern cultures including works by Toru Takemitsu; arrangements of popular and folkloric music from Eastern cultures; and original compositions that have influences from Eastern cultures. Part II deals with the ethics of cultural inspiration and looks at questions like: “How can we represent cultures authentically through music?”, “Is cultural appropriation ok?”. Finally, Part III presents an overview of the new repertoire specifically written for this research. This comprises of two arrangements of songs attributed to the Bengali polymath, Rabindranath Tagore, as well as a commissioned work with an Eastern cultural influence composed by Italian composer and classical guitarist, Marco Ramelli.
The findings of this research reveal the difficulty of assigning an objective answer to the issues surrounding cultural inspiration. I implore readers to approach this research with an open mind and hope that, at the very least, I can encourage the musical community to consider different types of questions concerning the use of cultural elements in art.
Aimpathy
(2023)
author(s): Amit Yungman
published in: KC Research Portal
Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist’s emotional conception and the audience’s perception.
In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions.
In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.
Interluding: Identifying practice methods for classical improvisation on the Violin
(2023)
author(s): Ruth Mareen
published in: KC Research Portal
How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert?
The objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces.
First, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.
The Viennese violone : A "Viennoiserie" with 5 spices
(2023)
author(s): Isaline Leloup
published in: KC Research Portal
This research examines if the Viennese tuning was used in the orchestral works of Beethoven, Schubert, and Mendelssohn and whether it is possible to link the composers and the use of this tuning in their writing style for the 16’ instrument.
The Viennese tuned violone is a particular 5-stringed 16’ fretted instrument tuned to “F, A, d, f#, a”. This instrument appeared in the region of Lower-Austria and Moravia in the late 17th century and was played until the middle of the 19th century. Considered a member of the viola da gamba family by its name “violone”, it also has similarities in its thirds and fourths tuning, flat back, sloping shoulders, and frets.
I have found no clear evidence of a date, or of a composer, who made specific use of Viennese tuning in orchestras after the solos of Haydn's six symphonies. The Viennese tuning disappeared progressively towards the middle of the 19th century. The last clear evidence we found in the music is Beethoven’s Septet op. 20, the first performance of Beethoven’s 1st symphony, and Schubert’s Trout quintet. We also have the performance on 2nd November 1800 of Sperger’s last symphony “Erbprinzessin-sinfonie”. We also know that instruments of this tuning were built until at least 1820. For Mendelssohn, analysis of his works has shown that its classical characteristics come out clearer with the Viennese tuning. This research is done in the form of an exposition to highlight the musical extracts of the different composers.
Keith Jarrett: The Köln Concert, re-composition for a big ensemble
(2023)
author(s): Stefano Gullo
published in: KC Research Portal
As a composer, you are free to create, and often the melodic choices, the harmonic solutions are the result of something truly personal. The colors found within a piece are the representation of what the composer feels and wants to put on paper, he is free to express a concept without being bound by any kind of expectations or rules.
In this project, I am exploring the ways in which I can integrate and use Keith Jarrett’s improvisations as material for writinf for large jazz ensembles. To answer this question I learned about his life, his philosophy in music and how his musical style developed through the years, to get along with his musical idea and try to respect his first intention.
And to prepare myself for start writing the re-composition I analyzed the transcription of the Concert in Köln, seeing how he approached the improvisation and how he used the musical elements such as the construction of the melody, the use of the rhythm and the harmonic background; all elements that I used in my work.
The project demonstrates that even if is working on an improvisation, which offers such a varied material and is developed without an apparent fixed structure, it is possible to recreate compositions that have a coherence; also respecting the intention and the sound context that characterized that moment.
(cover art designed by Barbara Wojirsch, copyright believed to be owned by ECM).
Laments for a Modern World: Exploring the pathetic capabilities of 17th-century Laments
(2023)
author(s): Ai Horton
published in: KC Research Portal
This thesis investigates the pathetic capabilities of the 17th-century vocal Lament. After first establishing an overview of the social and cultural conventions that influenced compositional choices, fourteen historic Laments from western Europe are analyzed to determine how they are able to evoke the feeling of grief. These pathetic elements are then applied to the composition of four new Laments for a Modern World, which couple 17th-century compositional techniques with newly commissioned texts that amplify stories including miscarriage, race-relations, displacement from one's homeland, and mental health.
A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings
(2023)
author(s): Eduardo Gaspar Polo Baader
published in: KC Research Portal
During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience.
This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner.
Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
(2023)
author(s): Noa Meshulam
published in: KC Research Portal
Name: Noa Meshulam
Main Subject: Historical Clarinet
Research Supervisor: Wouter Verschuren
Research Title: Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
Research Questions:
• How are the changes in the clarinet’s design and playing techniques, musical aesthetics, and taste being manifested in Amand Vanderhagen’s method from the first to last edition (1785-1819)?
• Has Vanderhagen changed his pedagogical model in the 34 years that passed between his first book and his last? If any changes occurred, what were the factors that contributed to that?
Summary:
During the last decades of the eighteenth century, the field of clarinet pedagogy started to blossom and rapidly developed alongside the publishing of the first comprehensive methods for the instrument. The earliest amongst these important treatises, Méthode Nouvelle et Raisonnée pour La Clarinette, by Belgian-French clarinetist Amand Vanderhagen, was published in 1785.
Throughout his lifetime, Vanderhagen edited and republished his method twice after the initial edition; In 1799, the Nouvelle Méthode de Clarinette, and in 1819, the Nouvelle Méthode de Clarinette Moderne à Douze Clés.
In this research, I demonstrate the ways in which the development of the clarinet and the changes in the musical culture in Paris affected, contributed to, and inspired Vanderhagen to modify his pedagogical model. In addition, I examine the ways changing musical aesthetics and styles are manifested throughout the three methods. During the process, I got the impression that Vanderhagen was extremely sensitive and attentive to the changes in the musical scene, as well as the advancements in the clarinet culture in Paris. Hence, between his three methods, I could spot several interesting changes in his approach, particularly in topics like embouchure, exercises, embellishments, etc.
With this comparison, I aimed to draw attention to a different thread that focuses on Vanderhagen’s approach to clarinet pedagogy in the late-eighteenth and early-nineteenth centuries, and appreciate the ways in which the instrument’s evolution contributed to the development of the method and practice of teaching.
Biography:
Noa Meshulam is an Israeli-Portuguese clarinetist specializing in historically informed performance. She earned her bachelor’s degree from the Jerusalem Academy of Music and Dance. During her bachelor studies, she participated in the Nazarian Excellence in Chamber Music Program and played with The Jerusalem Symphony Orchestra on several occasions. After graduating she moved to the USA to pursue her master’s degree at Indiana University and was awarded scholarship and fellowship grants. There, she also started studying historical clarinet with Eric Hoeprich, with whom she continued her second master’s studies at the Royal Conservatory in The Hague.
How can autonomy and active learning be stimulated in a blended oboe class program?
(2023)
author(s): Irma Kort
published in: KC Research Portal
This research is an exploration into stimulating autonomy and active learning in musical tuition. Through an explorative journey in my teaching practice I developed tools to increase autonomy, active learning and self-regulation in students, using the self-determination theory, new learning and self-regulation as the main learning theories to find answers to my research question. In my lesson practice students rarely come in as active-, self-directing autonomous learners. However, literature and experiences of other teachers, show us that students – even beginners – can learn to become active, self-directed learners. It is not common practice yet to implement these theories in music classes. This is why I would like to create a toolkit and a user manual for teachers that would like to incorporate autonomy supportive teaching and self-regulation in their practices. I will also create a blueprint to inspire working with blended programs in music classes. A flipped classroom can trigger an ongoing learning process in the week, it can aid students in their practice and it is a tool to reflect on teaching practices, teaching styles and programs.
The research took place in the BASIS oboe classes at the School for Young Talent, in The Royal Conservatoire of The Hague. There were 5 beginning oboe players, in the age group of 7 till 13 years.
I used a combination of design and action research. With the design research I developed the online learning space and the tools for active learning and self-regulation. With action research I reflected on my teaching, students learning, development and well-being and the use of the tools.
It was possible to use learning theories in different ways. I used tables and frameworks to reflect on my teaching, I used existing tools, I tailored tools to the age group of my students and I combined aspects of active learning and self-regulation. After three design cycles there is a blueprint of a toolkit that can be used in a flexible way and there is a blueprint for blended learning in instrumental music classes. The changes in my teaching style, the implementation of the learning theories and the reflections on the program using the online environment had a great impact on the teacher – student dialogue, the content of my lessons and the overview of the program. In students I saw an increase in motivation, autonomy and effectiveness. They are very engaged young learners, they learned to choose repertoire and strategies in their practice, they are able to plan, practice and reflect on their process and they have covered more repertoire and technique over the last year in comparison to the year before. They started sharing their music outside of classes and started thinking about their own goals in their oboe practice.