Listening to / in Public Space
(2024)
author(s): Justin Bennett
published in: KC Research Portal
As an artist working often with audio walks I often have the nagging thought: does using headphones to present sound in public space immerse the listener in a bubble, separating them from their surroundings?
This research looks at the form of the audio walk and the possibilities of using binaural recording, narrative devices and locative media to prioritise engagement with the environment.
In addition it documents the re-activation of an older work of mine in a app using geo-location and it collects documentation of a number of walk-pieces including scripts, audio files, maps and other background information.
Lectorate Music, Education and Society, Koninklijk Conservatorium, Den Haag. 2023-24
'What may have happened…'
(2023)
author(s): Johan van Kreij
published in: Research Catalogue, KC Research Portal
“What may have happened…" is a research driven by the desire to augment the sense of sharing in a decentralized improvisation-a creative musical situation in which the participants are in different locations. It focusses on extending the amount of communication channels in a decentralized improvisation setting—beyond the audible and visible. The aim will be not just adding extra layers of data exchange, but introducing various modes of interaction. This will be realized through the use of software and mobile devices.
YEARNING TO CONNECT A Short Introduction to Music Curatorship
(2021)
author(s): Heloisa Amaral
published in: Research Catalogue
A presentation of the master elective With and Beyond Music combined with a description of own curatorial projects and the disclosure of findings of the research project Curatorship and Social Engagement, led by the lectorate Music, Education & Society.
Berio violin duets - an introduction
(2019)
author(s): Joseph Puglia
published in: KC Research Portal
The 34 Duetti of Luciano Berio were inspired by the 44 Duos of Bartók. Just as Bartók intended to introduce young musicians to his style, so did Berio attempt the same. Berio's focus however, was on finding a more modern set of techniques and colors that the violin could create, and he used these pieces for children to illustrate his own ideas of theater and dramaturgy in music. Because his ideas of theater consist of putting two completely different ideas together to make a third reality, the 1st and 2nd violin parts in his duets often sound as if they are in totally different worlds – with different dynamics, tone colors, and sometimes even tempi. This results in a novel approach to chamber music in which each partner is equal, but also very independent of the other. A beginning student can therefore contribute just as much musical value to a piece (indeed, sometimes much more) than a seasoned professional. Since Berio doesn't specify the level or age that the student needs to be in order to play these pieces, this allows for a lot of freedom in the choice of performers. The same piece can sound totally different if performed by two professionals, two young students, or one young student and one professional.
Additionally, each duet is dedicated to a friend, musician, or person that Berio admired, and can be likened to a musical portrait. Berio said that the pieces were inspired by the “fragile thread of daily occasions” and therefore the pieces are not true portraits, but sometimes illustrations of an event which happened, a shared history between Berio and the dedicatee, or as in the case of Stravinsky, Bartók, or Boulez, an homage to a piece composed by that composer.
Finally, the Duetti serve not only to introduce young musicians to Berio's style, but the full performance of the 34 duets is also a great introduction of 20th century musical concepts to audiences. Since each duet is very short, there is much variety in a performance of the works, and since each duet focuses on one or two 20th century techniques while still staying in a very familiar tonal world, audiences can be challenged while still maintaining a handhold on familiar territory.
Research Projects Lectorate Music, Education & Society 2018-2021
(last edited: 2023)
author(s): Paul Craenen
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
This exposition gives an overview and access to all ongoing or finalised research projects of the Lectorate Music, Education & Society at the Royal Conservatoire The Hague (2018-2021).
Classic Express Research project
(last edited: 2023)
author(s): Ilona Sie Dhian Ho, Joram van Ketel, Vivian de Graaff, Ilja Venema, Camilla Genee
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
In a combined qualitative and quantitative research the influence of storytelling in concerts for children is analyzed. In a controlled setting, The Classic Express (mobile concert hall), groups of schoolchildren attend either a concert with or a concert without storytelling. The groups, similar in socio- economic background and age, are compared.
In a quantitative research the involved listening, the felt emotional intensity, the interest in classical music and the interest in actively playing an instrument, will be measured. For quantification new grading systems are developed by scientists and musicians in a collaborative process.
In a qualitative research on the influence of storytelling the focus is on children with severe learning disorders. The emotional responses of these children in concerts with and without storyelling, and in combination with participatory elements (moving, gestures) are observed by teachers and caretakers, They compare their observations in the concert to the normal behaviour of their pupils. Both Interviews with the teachers and their grading of arousal, attention and emotional levels in the concert will provide data that will be analyzed by the reserachers.
This research is the first study of The Classic Expression Research Group, a group of researchers from the Royal Conservatoire and Leiden University, collaborating to provide new insights on the impact of presentation techniques in classical concerts.
KEYBOARD MUSICIANSHIP: "Developing a methodology through musical repertoire"
(last edited: 2023)
author(s): Inés Costales
This exposition is in progress and its share status is: visible to all.
The main objective of this research is to investigate how music repertoire can be used as a starting point for developing and broadening keyboard musicianship skills. My assumption is that such an approach would enable the musician to more actively and fluently ‘speak’ the musical language, and to get a more complete understanding and awareness of music itself , expanding flexibility and creativity in music making. Taking the already existing literature and the most recent discoveries and insights about this topic as a starting point, I aim to develop a keyboard methodology, intended for Piano Bachelor and Master students, but with a long-term perspective to expand the method to all instruments and ensembles in chamber music contexts.
Deep Listening Today: Connecting with audiences through the music and teachings of Pauline Oliveros and others
(last edited: 2023)
author(s): Joseph Puglia
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Work in progress...
This study explores a year's worth of research into how performers, composers and audiences can highlight different ways of listening in order to better communicate with one another. Inspired by the work of Pauline Oliveros, the study takes an in-depth look at Oliveros' Deep Listening practice, and how aspects of this practice and other works of Oliveros might be incorporated into traditional concert settings, with audience participation, to deepen connections between performers and audience members.
Further attention is given to works of James Tenney and Cornelius Cardew which highlight certain aspects of listening and music making, and which can be used to explore how we give meaning to sounds and symbols.
Diamond Marimba as a Creative Tool
(last edited: 2023)
author(s): Arend Jan Hendrik Strootman
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Since a couple of years I teach music theory lessons for the sonologists at the Conservatoire in The Hague. Amongst others I'm explaining overtones and their use in Just Intonation in these lessons. A topic that is, albeit from a different perspective, also part of the second year curriculum for the composition department.
When the ratios, lattices, otonalities/ utonalities, harmonics/subharmonics, calculations in cents and hertz go into depth and become more complex, the connection with the sounding result can get lost easily.
As part of the lectorate in 2022/2023 I wanted to investigate in how far the diamond marimba can be a valuable asset in addressing the potential of Just Intonation via a physical manifestation. Due to its construction the instrument reflects limits and lattices and much that needs to be known for an understanding of ratios - can this instrument be(come) a tool to be able to train the sonic imagination in Just Intonation and microtonality?
In this exposition the preparations, building, try-outs, implementation in the classes and reflection can be found.
The Ways We Teach
(last edited: 2023)
author(s): Heloisa Amaral
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
A dossier on different perspectives on higher music education held in conservatoires in Europe and beyond
Crossing Borders
(last edited: 2023)
author(s): Felix Schlarmann
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Crossing borders – supporting ‘beyond genre’ artistic exchange by creating models for interdepartmental collaborative learning environments in a conservatoire.
Open creative spaces that offer freedom for artistic collaboration, inspiration and creation between music students are still rare in conservatoires. Meanwhile these students, coming from all departments, show a deep interest in creative activities based on collaborating with and learning from peers from other genres and departments.
But there are too many obstacles still occuring like busy schedules, the fear of the unknown or being afraid to improvise. The models and the communication around it need to be more clear, inviting and stimulating.
In this research Felix Schlarmann investigates on new formats of inter-departmental cross-genre activities and their impact on conservatoire students' motivation, creativity and artistry. By conducting and analysing a series of case studies around creative semi-formal student-centred projects, Felix hopes to obtain more insight in the opportunities offered by cross-genre activities, but also into what desires and motivations students have around this topic and what challenges lie in the feasibility of various concepts.
Methodology for developing and internalising rhythm and timing through body movement for jazz students
(last edited: 2023)
author(s): Anka Koziel, Miro Herak
This exposition is in progress and its share status is: visible to all.
Rhythmic freedom and spontaneity in the phrasing of an existing melody or in improvisation can make much bigger impact on the audience than singing or playing the most sophisticated melody lines with repetitive and predictable rhythmic patterns. Performing harmonically correct notes without rhythmic strength is less interesting for the audience. On the other hand, rhythmically strong musicians are perceived as better, no matter what notes they play or sing.
Rhythmic sensitivity, like everything else, can be developed. However, from our observation, it’s not given enough importance in European higher education.
In our institution the subject of rhythm is mostly addressed using traditional instructions, often directly connected to the instrument and not to the body as a vessel for the sound production
Look again
(last edited: 2023)
author(s): Inês de Avena Braga, Claudio Ribeiro
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
It goes without saying that engaging with the ethos of early music demands a considerable amount of continuous research on the practices of the past, as most aspects of performance are not written in the score, and the understanding and usage of signs and other written indications have changed considerably over time. As curious musicians, research is not only a source of inspiration and innovation in our work but also a source of constant questioning and strengthening of our musical practices. Questions such as “is this actually true?” and “can I really say/do that?” are recurring, and, although these are not always fully or definitively answerable, we find it important to keep asking, going back to the sources and answering over and over again.
In this research, as part of the 2021 Lectorate ‘Music, Education and Society’ of the Royal Conservatoire The Hague, we will look again at well-known Italian sources and search for new sources of information on performance practice of music written in Italy in the first half of the 18th century (music methods, instructional writings and evidences in repertoire), without imposing our current practice on it, but being open to what these sources may say that is in shock with what we usually do or take for granted. What can we (re)learn about the performance practice of late 17th- and early 18th-century Italian music by going back to the sources? Our conclusions and inconclusions will hopefully stimulate a review of today’s performance practice and renew approaches on the research of performance practice.
Sound spatialization in live electronic music
(last edited: 2023)
author(s): Ji Youn Kang
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
This research, ‘Sound spatialization in live electronic music’, focuses on sound spatialization methodologies in live electronic music where challenges are posed in creating spatial gestures during live performance. The aim is to investigate those challenges by looking into my previous experiences with various multichannel systems, and to develop and experiment with software and hardware tools. The result of this research will be newly composed pieces with two different multichannel systems that contain a creative suggestion for dealing with sound spatialization.
Hearing Geoelectric
(last edited: 2023)
author(s): Raviv Ganchrow
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Geological minerals (such as copper, quartz and mica) are embedded in audio circuits and conversely geological processes are teeming with electrical activity. Power grids and Integrated circuits could be described as important waypoints in the domestication of lightning. Advanced methods of geo-sensing and globally coordinated sensor networks are currently plumbing Earth attributes by way of its signals: By way of electrical transduction (vibrations converted into electrical fluctuations) or by directly tapping into ground conductivity (telluric current monitoring and geoelectrical methods). Our growing awareness of earthly variations in voltage manifest a complex intertwining of the geologic, the electric and the technic. What are the terrestrial contexts of audio circuits and conversely what electrical circuitry is at work in geology? What does Earth's circuitry sound like? How can such geoelectric hearing redress the binaries of 'natural' and 'technical' in particular with respect to recordings overt mimetic properties? This research aims to develop non-standard tools for environmental voltage acquisition while looking into historical contexts of geoelectrical methods as a means of bridging the geological dimensions in electronic audio towards contemporary modes of environmental listening and hearing.
Lectorate Event 2019
(last edited: 2022)
author(s): Casper Schipper, Koncon Master Coordinator
This exposition is in progress and its share status is: visible to all.
This is a short report of the lectorate event on 25th of January 2019
Learning Pods
(last edited: 2022)
author(s): Susan Williams, Felix Schlarmann
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
One of the most powerful and effective sources of learning for music students is the other students: learning from and with each other. Peer learning occurs in every conservatoire but usually informally. The aim of the design of the learning pods was to enhance motivation: specifically autonomy (students formulate their own goals and strategies), competence (learning outcomes facilitated by structured framework, creative methods and reflective documentation) and relatedness (it is done by and for groups of students who share their outcomes with other groups). In this research two semi-structured learning groups (pods) were formed that were steered and assessed by the students themselves. One pod focused on performance preparation and the other on creative collaboration. Students were coached on how to formulate goals and give and receive feedback in a respectful way and were required to document their process. Data was collected through questionnaires, logbooks, workshop session video recordings, as well as performance video recordings (in the case of the creative pod). Results found that both pods had a positive effect on motivation (autonomy, competence and relatedness) and confidence.
Creative performer | Performing creative
(last edited: 2022)
author(s): Arend Jan Hendrik Strootman
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Results contribution lectorate 'music, education and performance' KC 2020-2021
A YEAR IN THE LIFE OF THE SONOLOGY ELECTROACOUSTIC ENSEMBLE
(last edited: 2022)
author(s): Richard Barrett
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
This is a report on research supported by the lectorate ‘Music, Education and Society’, research group ‘Making in Music’, at the Royal Conservatoire, The Hague. The present text and the accompanying audio component constitute a documentation of just over one year’s activity by the Sonology Electroacoustic Ensemble, an improvising group I set up in 2009 in which I perform together with Conservatoire students, ex-students, faculty members and guests. A primary purpose of the research has been to address the question of how this activity might inform a more general approach to free improvisation in the context of this conservatoire and others, especially where combinations of electronic and acoustic instruments are featured, and how this might inform the learning trajectories of students of instrumental playing, composition, electronic music and other areas. This question is addressed principally through reflections on the workshops and performances undertaken with the ensemble between October 2018 and December 2019, which amount to around four hours of recorded material.
SRL: Enhancing Self-Regulated Learning for Musicians
(last edited: 2021)
author(s): Susan Williams, Joram van Ketel
This exposition is in progress and its share status is: visible to all.
There is growing evidence that musicians who are self-regulated learners are more likely to succeed. Leading researchers in self-regulated learning claim that is a connection between motivation and self-beliefs, and self-regulation.
This research investigated the self-regulation habits of 114 conservatoire students from a major European Conservatoire, and looked at the quality and extent of their self-regulation as well as correlations between the students’ perceived self-efficacy and their self-regulation. After brainstorming sessions with students and staff, a reflective journal was designed to help conservatoire students to steer and document their learning process. Recommendations to teachers and conservatoires are offered on how to facilitate students to become autonomous learners.
Interrupts And Intervention
(last edited: 2020)
author(s): Bjarni Gunnarsson
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Interaction with generative processes often concerns manipulation of their input and output or a variation of predefined parameters that are part of a given process. One can think of algorithmic procedures as black boxes, it does not matter how they work if they serve in a useful way. Based on a black box model, generative processes can be instantiated, followed by a reflection of whether one accepts their results or not. This often involves an idea of completion. That an algorithm produces a result that has to be evaluated and treated accordingly. Creative activity, (such as musical composition) is arguably not such a clearly-defined process. Instead of progressing towards known goals, a compositional process might constantly develop and change shape. In such situations, generative algorithms are needed that interact with the ongoing creative activity. Algorithms that match (and take place within) the context of evolving and dynamic compositional processes. This paper presents a software framework that addresses the relationship between interaction and generative algorithms based on scheduling and computer process management. Algorithms that are partial and scheduled based on adaptive heuristics. Interrupt-based process management and context switching as a creative force.
Imagine
(last edited: 2020)
author(s): Susan Williams, Bastiaan van der Waals
This exposition is in progress and its share status is: visible to all.
Mental imagery, or inner simulation of an experience, is a widespread human function that supports a range of behaviours and abilities. Using imagery – either visual, auditory, kinaesthetic, or combinations of these modalities – during practice and performance is familiar to and helpful for many musicians. This research explores the possible benefits of musical imagery for training musicians and presents a training programs based on imagery.
Theory in Practice – Analysing Music Theory
(last edited: 2020)
author(s): Suzanne Konings, Jasper Grijpink, Patricia Wisse, Santo Militello
This exposition is in progress and its share status is: visible to all.
Most conservatoire students would agree that music theory is a valuable element in their professional music education. However, in many conservatoires worldwide, both students and faculty alike often feel a long-lived desire to better align music theory subjects to the world of the instrumental and vocal students.
In 2012, the music theory curriculum for bachelor students in classical music was radically changed in order to achieve just that. The changes were supported by experiences from within the theory department, discussions with students, and the influence of teachers specializing in Kodály-based musicianship training, or improvisation. This research project looks back at these changes to reflect on what happened, at what is still happening, and aims to explain the underlying principles of the new music theory curriculum.
The major shift that took place has replaced analysis at the centre of music theory education by aural skills development. The reasoning behind this was that, within a practice-based music theory approach, sound could be seen as the connecting element between theory and the practical musical reality of a conservatoire student. The compulsory theory subjects changed from Analysis, Harmony and Solfege, to Aural Skills & Analysis, Aural Skills & Improvisation, and Keyboard Skills & Harmony – deliberately putting an emphasis on the development of skills rather than approaching topics from a more theoretical starting point.
A few years into this new curriculum we felt the need to find a more thorough theoretical underpinning for this development. The main aim was to get a better understanding of which processes concerning the development of musical literacy actually take place in a music theory lesson – or any music lesson for that matter.
With our own live-size case study as a starting point, would it be possible to find supporting data in existing literature? Or would we find mostly arguments that would invalidate our ideas? In works by Mainwaring and De Vree, as well as in articles by (a.o.) McPherson and Graybill we found models that we recognized as being a fundament for our approach. These can be connected to our model, which can be used to show connections between ‘musical elements’ – or ‘entrances’ into musical situations and phenomena.
This research project does not mean to give a final solution for the position of music theory subjects in a music curriculum. What it does provide is a model that can be used in several ways: as a framework for teachers to develop and evaluate lessons or the content of complete subjects; in communication with students explaining the relevance of certain ‘theoretical’ activities; by students, to keep track of their own development, and in communication with management and non-theory faculty, to be able to show the place of music theory in the big picture.
The role of music theory in professional music education, a historic overview [Snapshot from dev system - 2022-12-06 14:40]
(last edited: 2020)
author(s): Patrick van Deurzen
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
In the 19th century, we can observe a growing gap between what we call now music theoretical books and the development of music. As Robert Wason writes in his overview of “Musica practica: music theory as pedagogy”: “These [19th century harmony] books are symptomatic of the dearth of new ideas, and the irrelevance that pedagogical theory was falling into: (…) neither a theory nor a pedagogy of ‘Nineteenth -Century Harmony’ ever really seemed to get under way.”
In this research, I try to unravel possible aspects that have a relation to this problem. One of these aspects has to do with the fact that a lot of what we call music theory origins from a compositional practice. Therefore, at the end of this research, I also made a start to describe music theoretical training that has no origin in this compositional practice.
This exposition is still in progress.
Two Viennese piano schools: Beethoven and Hummel
(last edited: 2019)
author(s): Petra Somlai
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Two Viennese piano schools:
Beethoven and Hummel