Auctor incertus: Issues of authorship and anonymity around Missa Inviolata (ca. 1520s)
(2024)
author(s): Isaac Alonso de Molina
published in: KC Research Portal
A six-part polyphonic setting of the ordinary of the Mass survives as a unicum in manuscript 1967 of the Biblioteca Central de Barcelona, Spain. Although it is clearly the most significant piece in the manuscript, it has received considerably less attention from specialized ensembles than the rest of the repertoire contained therein. This may be due to several factors, chief among them being that the manuscript provides no indication of the composer’s identity. Such anonymity is quite common when dealing with early repertoires. This research aims to address this situation critically and offer several practical, performer-oriented strategies to overcome it.
Divertimento Sextet
(2023)
author(s): Robert Franenberg
published in: KC Research Portal
In 2000, I took part in a project performing all of W.A. Mozart’s (1756-1791) Salzburg divertimentos for strings and winds in the quaint town of Delft in the Netherlands. In attempting to keep true to authentic performance practices we played on period instruments with one player to a part and most significantly the bass line was to be performed solely on the double bass; thus, no cello and no cello/double bass doubling of the bass line.1 Some of my colleagues involved in this project found this to be quite a ‘radical’ idea, for in chamber music settings many musicians are accustomed to the cello as the bass instrument of choice, and depending on the repertoire, a double bass might double the line, but double bass alone…impossible! Indeed most recordings I have heard of these pieces have been performed by a chamber orchestra or as chamber music with the bass line performed by a cello and double bass.
With trumpets?
(2023)
author(s): Fabio Bonizzoni, Casper Schipper
published in: KC Research Portal
A good deal of mystery still surrounds some aspects of Arcangelo Corelli's work. Firstly, although he was recognised as the main composer of Sinfonie in Rome around 1700, all of his repertoire of this genre, with the exception of one, seems to have disappeared; secondly, none of his survived orchestral scores contains evidence of the well documented practice of using winds, trumpets in particular, in conjunction with strings. To fill these gaps, speculations have tried to identify, amongst Corelli's works, not only the ones that might have originated as Sinfonie, but also those that might have included trumpets in their original form. This research moves along the same path but sets a slightly different goal: on the one hand it considers that it is virtually impossible to determine if any of Corelli’s survived compositions were originally conceived as Sinfonie with trumpets. On the other hand, it argues that through a study of Lulier's Santa Beatrice d'Este oratorio - a work that preserves the only genuine Corelli's Sinfonia that has survived - and through a comparative analysis of the two Handel's Roman oratorios, it is possible to approach closely the soundscape of Corelli's Sinfonie con trombe. To achieve that goal, in accordance with contemporary Roman examples, newly composed trumpet parts have been integrated into some movements of three concertos from Opus 6. The outcome can be listened in the audio-video material part of this paper. Whether the addition of trumpets on top of a string-only movement could have been improvised, and not planned beforehand with written parts, is open to further speculation.
Waldorf music education meets Kodály methodology.
(2023)
author(s): Raoul Boesten
published in: KC Research Portal
How can Kodály music methodology contribute to the already existing Waldorf music education in giving the children ownership in music.
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Listening to Messiaen’s colourful hands
(2022)
author(s): Arjen Berends
published in: KC Research Portal
Name: Arjen Berends
Main subject: Master Theory of Music
Supervisor: Dr. Bert Mooiman
Title of Research: Listening to Messiaen's colourful hands
Subtitle: Analysing harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ.
Research question: How to analyse harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ?
Abstract
Olivier Messiaen (1908-1992), one of the most famous French composers of the 20th century, was also known to be a great organist and improviser, as organist of Église de la Sainte-Trinité in Paris for over 60 years. His huge oratorio La Transfiguration de Notre Seigneur Jésus-Christ, composed 1965-1969, includes two entirely homorhythmic movements entitled ‘Choral’. As a listener, I am fascinated by Messiaen's extraordinary approach to harmony. The aim of this research is, therefore, to attempt to understand how best to analyse Messiaen's unique harmonic language.
Many approaches to analysing Messiaen’s music are vertically orientated, including his own way of describing his use of harmony. He himself never discussed the horizontal aspects of his music. Because of his coloured hearing synaesthesia (son-couleur), Messiaen's analyses are particularly special in their manner of addressing the colours of certain chords. A colour analysis by Messiaen therefore may give the listener some insight in the way Messiaen might have perceived his music. This research includes videos with the music and paintings of the colour analyses by Messiaen and two other musicians with synaesthesia of one of the chorales, specially made for this research.
Considering Messiaen’s own lack of emphasis on horizontal aspects of his music, is it possible to understand Messiaen’s music from a horizontal perspective as well? Since the two chorales are homophonic and homorhythmic, the bass and soprano are the most important voices. These parts can be perceived clearly, but the attention of the listener is also caught by other aspects such as the complexity of the chords. It is difficult to determine the precise voice leading of the inner parts because it is ‘blurred’ by the varied orchestration, but by way of harmonic reductions of the chorales, Messiaen’s horizontal compositional techniques can be clarified. This research includes a harmonisation of a melody by Messiaen in the style of the chorales in La Transfiguration.
Biography
Arjen Berends teaches music theory and arranging at the conservatories of The Hague and Utrecht. He graduated in music education at the Utrecht Conservatory, where he also studied classical piano with Henk Ekkel and Martyn van den Hoek. At the Royal Conservatoire of The Hague he completed his studies in music theory with Paul Scheepers, Arie Boers, Diderik Wagenaar, and Ineke Kien. He is répétiteur of Toonkunstkoor Amsterdam conducted by Boudewijn Jansen; he has previously worked with choral conductors such as Louis Buskens, Iassen Raykov and Béni Csillag.
Teaching jazz double bass in the 21st century
(2020)
author(s): Tony Overwater
published in: KC Research Portal
My initial plan was to do research and catalogue the available existing method books for Jazz bass education. But during the process I realized that matters were more complex than I had foreseen. Jazz (bass) methods were often based on classical music methods but Jazz education demands a different skillset and approach. I reexamined the fundamental building blocks necessary to successfully teach Jazz double bass. For this I designed a graphic theoretical framework that helped me analyze the existing methods. With this information I built a data base and webpage that offers analytical information about the available methods. Methods not limited to the traditional books but also on line learning programs and other methodical teaching material. Furthermore I examined the influence of the technological developments that the computer, smartphones, tablets and the internet have to offer. Teaching Jazz in the 21st century has proven to be much more of a modulair approach than the traditional linear approach.
Document the Sound Projection of Aus Licht
(2020)
author(s): Marko Uzunovski
published in: KC Research Portal
This thesis is the outcome of the research component of our Masters’ study Aus Licht - Sound projection.
The aim of this research was to document the available information that would come to the fore while working with a group of experienced Stockhausen collaborators, each of them a specialist in sound reinforcement and sound system engineering.
This information is captured in three case studies that contextualise a set of keywords that were collected and defined during the 20 months of preparations and rehearsals (September 2017 to May 2019 in Licht aan Zee Studio in The Hague), as well as the concert period (May 2019 to June 2019 in De Gashouder in Amsterdam).
One case study was written collaboratively and two case studies were written individually by each of the sound projectionists involved in this research project. Each case study details one work or part of the whole program. The thesis is concluded by reflective statements by each of the collaborators.
The art of auditioning
(2020)
author(s): Janet Krause
published in: KC Research Portal
ABSTRACT
Main subject: Violin
Research Supervisors: Kathryn Cok
Martine van der Loo
Title of Research: The Art of Auditioning
Research Question: What aspects should be considered in preparation for a successful violin audition?
Summary of Results:
An orchestral audition, and specifically to this paper, a violin audition, is possibly the least musically satisfying experience of one’s life. However, it is a necessary part of the path leading to a fulfilling life as an orchestral musician. The preparation for an audition certainly has specific aspects which need to be considered. This paper discusses these aspects, based in large part on my experiences as a Principal in The Hague Philharmonic and as a committee member at auditions for many years. As a violin and chamber music teacher as well as the teacher of the orchestral classes at the conservatoires in The Hague and Amsterdam, I have collected a wealth of experience training students to be successful at auditions. Besides the aspects of how to apply for an orchestral audition, which repertoire needs to be prepared, (including many orchestral excerpts which I have bowed and provided with fingerings myself), how to prepare effectively and what to expect on the actual audition day, there is a large section devoted to the research I have performed concerning mental and physical preparation. Developing mental skills to withstand the stress associated with auditions is an important part of audition preparation. Finally, I have researched, by means of a series of questions online and live and Skype interviews, how experts and candidates experience auditions. This has put me in contact with leaders of orchestras from around the world. How the two groups have responded to similar questions has put me in the position to draw some conclusions as to what committees expect at auditions and how this differs from the candidates’ viewpoints. In analyzing this research, and recognizing similarities in what I written from my own research and personal experience, I am able to draw some conclusions and make recommendations about how candidates could prepare better and be more successful at auditions.
Biography:
Janet Krause is Principal Second Violinist in The Hague Philharmonic and also a violin, chamber music and orchestral studies teacher at The Royal Conservatoire in The Hague. She is also teaching orchestral studies at the Conservatoire in Amsterdam. Born in Canada, she completed her Bachelor of Music in Performance at the University of Toronto, having studied with Lorand Fenyves. Moving to the Netherlands, she completed her solo-diploma at the Conservatory in Amsterdam, studying with Davina van Wely. She was a member of the Salzburger Solisten for many years and. primarius of the Dufy Quartet. Presently she is also Principal of the Solistes Européens in Luxembourg.
Creating open form scores for improvising musicians
(2019)
author(s): Cynthie van Eijden
published in: KC Research Portal
Abstract
This research aims to explore and develop an updated approach to "open form" in music. "Open form" is traditionally referred to as "aleatoric music": a score is provided but the composer has left some choices open. The term "aleatoric" music implies that chance determines how to fill the open spaces. The renewed approach in this research however aims to provide a score in which a performer as an improviser or co-composer is invited to shape the music according to his own opinion. The score provides a plan and context for improvised content and, in doing so, invites the performer to co-create the piece.
The research developed in three phases. In the first phase, improvisation was used as a learning tool in music theory classes. Different approaches to improvisation were studied and practiced. In the second phase, one group of musicians evolved from an improvisation course and went on a tour of five concerts. For them an open form score was created in order to provide context to the improvisations of the musicians. This composition is called View from a high mountain, a composition in six parts that allows improvisation at several moments. In the third phase, findings from the outcome and performance of View from a high mountain caused a renewal of the approach in the classroom. Through this renewal the boundary between education and musical production became a thinner line that allowed several cross-overs. Instead of a handbook containing a method or exercises or a new open form score The Improvisation Tree was created. The Improvisation Tree is a model that can be used as a help for creating, analyzing, categorizing and comparing open form scores.
Speaking directly in an indirect way
(2019)
author(s): Paul Deneer
published in: KC Research Portal
This essay focuses on the connection between personal and artistic growth. The starting point for the essay is my position as a student counsellor at the University of Arts The Hague dealing with students that have personal issues that affect their artistic development. First I take a bigger view by focussing on personal growth in general, from a dialogical perspective. I also make a connection to mental health. With the concepts derived from this wider perspective, I investigate how they could play a role in art. I present material I gathered, about artists who struggle on a personal level with a possible effect on their artistic work. Also in regard to art, I make a connection to mental health. I look back on the reports from my conversations with students, and analyse the data of an interview I did with 14 students. To illustrate my argument, throughout the essay I present cases of students that contacted me during the past years.
Finding Focus
(2019)
author(s): Susan Williams
published in: Academy of Creative and Performing Arts
An important question facing musicians both in the practice room and on stage is “What should I focus on?” There is a great deal of research in the fields of movement sciences and sports that suggests that adopting an external focus of attention – focusing on the intended effects of one’s movements – can be beneficial both for learning and for performance of complex motor skills. There has been very little research done on the effects of external focus on musicians.
The aims of this study on external focus were as follows: to translate the idea of external focus from movement science into the field of music (how can external focus be characterized for music-making?); to design several ways to use, test and explore the application of external focus in field situations; and to collect data and find information to elucidate the effects of external focus and the instances in which it can work for musicians.
A series of three empirical projects were designed and carried out in both semi-controlled as well as natural environments. The mixed methods research approach included both quantitative and qualitative elements. A music-pedagogical practice tool based on external focus was designed and used in all three projects.
The first project involved natural trumpet players (n=7) who practiced fragments of repertoire using an external focus practice tool. Results were compared the their ‘usual’ practice methods. Quantitative data was collected to show the effects of external focus on accuracy, self-efficacy, confidence and motivation of the players. In the second project the same seven players participated in the preparation and performance of a chamber music concert for trumpet consort. The third project involved a chamber ensemble of 18 players including string players, trumpeters and keyboard players. In projects two and three the performances were prepared and rehearsed by using tools and techniques based on external focus. Qualitative data was collected from questionnaires, surveys and interviews.
Results from the three projects tentatively supported the overall hypothesis: External focus is beneficial to musicians’ learning and performance experience. Statistical results showed positive effects of external focus on accuracy and suggest a positive trend for confidence and for self-efficacy in performance. Qualitative data from interviews and surveys over the three interventions showed the performers’ ensemble playing was enhanced by using an external focus approach, and that they suffered much less from performance anxiety than usual.
External focus could play a larger role in music pedagogy for musicians at every level and stage of learning. The kind of procedural implicit learning that results from using tools based on external focus means that technique (motor control) is being informed by musical intention and not the other way around.
Intention-based Piano Pedagogy
(2019)
author(s): Bastiaan van der Waals
published in: KC Research Portal
This research focuses on the guidance of students of piano methodology ("piano pedagogy") in acquiring didactic skills. More specifically, it aims to support them in understanding and applying research-based educational principles in their internship lessons.
Recent scientific research on motor control and motor skill learning offers opportunities for evaluating current practices in piano pedagogy and coming up with innovative teaching approaches. Based on an extensive review of research results, I have formulated educational principles for achieving pianistic quality. I argue that mental auditory representations of intended musical outcomes ("musical intentions") iniate and steer musical motor control processes. Furthermore, I have summarized several research-supported teaching strategies that promote motor skill learning and presented examples of their practical application in piano pedagogy.
I have applied several interventions aimed at enhancing conveyance of these educational principles to students of piano methodology. In the first place, I have created extensive study materials (booklets, videos, slide presentations) that both explain and show practical applications of these principles in piano pedagogy. Furthermore, I have introduced peer-to-peer learning: students observe and evaluate their own and each other's internship lessons.
Results of this research show that further improvement of the methodology course is required in order to achieve its goals. Both the study material and the peer-learning opportunities have shown to be valuable additions. However, students still exhibit a lack of creativity in finding relevant teaching strategies within their internship lessons. I have formulated several additional interventions for further improvement.
Monteverdi and the architecture of emotions
(2018)
author(s): Anabela Marcos
published in: KC Research Portal
Name: Anabela Marcos
Main Subject: Singing
Research supervisors: Johannes Boer and Erwin Roebroeks
Title of Research: Monteverdi and the architecture of emotions
Research Question: In what way could the formal and the expressive elements in Monteverdi's music be related to painting and architecture of his contemporaries?
Summary of results:
In the preface of his Eighth Book of Madrigals, Madrigali Guerrieri et Amorosi, Claudio Monteverdi announced one of the fundaments of his musical construction: the power of the contrasting passions. The humanist theme, that inspired not only musicians but also poets, painters and architects of the time, into a common goal; the expression of the human emotions.
The research “Architecture of emotions”, is centred in Monteverdi’s music in the period starting from his Lamento d’ Arianna (1608) to the Lamento della Ninfa included in the Eight Book of Madrigals (1638) - the same time, thirty years, that it takes Francesco Borromini to finish the small church of San Carlo alle Quattro Fontane in Rome, in what will be his first (the interior) and his last commission (the façade).
Inspired in this extraordinary building, which is both a guide and structure to the musical ideas presented, and supported by a selection of Caravaggio’s paintings to be the visual counterpart to Monteverdi’s music, this research aims to be a possible and personal interpretation to the vast question of the relation between music, painting and architecture in the context of the humanist environment in the transition from Renaissance to Baroque in Italy.
Biography:
After working as an architect for several years, the Portuguese Soprano Anabela Marcos, was granted a full scholarship from the Gulbenkian Foundation of Lisbon to study Singing and Opera at the Royal Conservatoire in the Hague, the Netherlands, with Rita Dams, Diane Forlano and Marius van Altena.
Her opera repertoire includes Pamina (Die Zauberflöte, Mozart), Suzanna (Le Nozze de Figaro, Mozart), Zerlina (Don Giovanni, Mozart), Titania (Midsummer Night’s Dream, Britten), Clori (L’Egisto, Cavalli), Venus and Cupid (King Arthur, Purcell), Daphne (Apollo and Daphne, Händel), Belinda (Dido and Aeneas, Purcell).
As a soloist, Anabela has worked with conductors such as Ton Koopman, Jos van Veldhoven, Sigiswald Kuyken, Michel Corboz and she is a member of the Baroque ensemble La Primavera. Among her future projects is the new program “Architecture of emotions”, included in the 25th jubilee of this ensemble and based on her two year research around Monteverdi’s music.
Entwine – finding music within a poem.
(2018)
author(s): Natasza Kurek
published in: KC Research Portal
Entwine – finding music within a poem.
Exploring musical interpretations of Japanese Tanka by Yosano Akiko
What can be the contemporary musical expressions of tanka poetry from a standpoint of an improvising jazz vocalist?
What are the elements that constitute tanka’s character and can they trigger a vocal inspiration?
What could be the place of Japanese poetry within other artistic disciplines?
In my research I have explored Japanese aesthetic sensibilities and have tried to find their translations into my own musical experimentation.
After initial study of the relevant literature and listening to the existing works of both classical Japanese music and Western contemporary compositions influenced by the Japanese arts, I have proceeded with my own vocal- instrumental Sketches in which I have experimented with improvised and written music. My source material was tanka of an early 20th century poet Yosano Akiko.
The improvisations and compositional sketches are based on some specifically chosen elements: the imagery and meaning of the tanka poem, layered Ukiyo-e printing technique, sound associations derived from the paintings, Japanese language sonority, Japanese scales and harmony used in the traditional gagaku ensemble and other inspirations.
The final research document contains audio examples of the recordings that led to the final audio-visual presentation and an extensive paper documenting the process of discovery.
The Development of the Performer's Role in Karlheinz Stockhausen's Piano Works
(2018)
author(s): Ellen Corver
published in: KC Research Portal
I have had the enormous privilege to meet the composer Karlheinz Stockhausen in 1982 at the Royal Conservatoire in The Hague. In the context of a month-long festival around his music I had, at the time being a first-year piano student, the opportunity to play his first four Klavierstücke for him, and this, apart from being a very inspiring experience for me, resulted in a close cooperation that lasted for 20 years. During these years I worked with him on all his piano works, including Mantra, and performed them many times on different occasions, almost always in the presence of Stockhausen himself. In 1997–1998 I recorded all the solo piano pieces on the composer’s label.
During those years I was asked quite a few times, either by someone from the audience or by students that I taught during masterclasses, if I expected these pieces to become part of the “canon of piano music” in fifty years from then.
At that time, being so involved in the piano pieces and probably not having the necessary distance to reflect on this question, I always answered the question in the affirmative.
So, it came as quite a shock to me when I started to notice a change by myself in relation to the piano pieces, at least to some of them. Normally, the more and longer I work on a piece the more I get attached to it, but now I started to realise that I got more and more detached from some of the pieces, up until the point that I didn’t want to play them anymore. However, other piano pieces remained very dear to me, and this up until today.
In short, it seemed that within 20 years I had unconsciously made my own ‘canon’ with regard to Stockhausen’s piano pieces.
What I find intriguing about this experience is to find out what the reason is for this enormous difference in appreciation for the works of one composer. Why am I sure that some piano works of Stockhausen will still be played many years from now while, in my opinion, other works will fade? Can I put a finger on differences between the pieces which can justify this? And if I can find something to justify this for Stockhausen’s Klavierstücke, could this also be valid for works by other composers?
From Aural Teaching to Musical Literacy in the Elementary Horn Class
(2017)
author(s): Klaske de Haan
published in: KC Research Portal
Name: Klaske de Haan
Main Subject: Master Music Education According to the Kodály concept.
Research Supervisors: Suzanne Konings and Herman Jeurissen
Title of research:
From Aural Teaching to Musical Literacy in the Elementary Horn Class
First steps to a Kodály inspired horn method.
Research Question:
How to develop a methodology for the beginning horn player, from an aural approach to musical literacy?
Summary of Results:
The Netherlands and Germany are almost the only countries where children start playing the B flat horn instead of the F horn because of the rich culture of wind bans. There are almost no horn methods based on the harmonics of the B flat horn. The traditional instrumental music lesson is mainly based on reproducing: a certain image on paper matches a fitting fingering thus producing the matching sound. When the sound is not matching the image than the teacher corrects this sound. I noticed that the children could play well when playing by themselves, but when they played together with other instruments they could easily play the whole phrase on the wrong pitch (wrong harmonics) but with the right fingerings. The horn is an instrument based on harmonic overtone series. Finding the logical steps on the valves of the horn is very difficult. Woodwind players have a logical system on the instrument playing diatonic series like do re mi. For the horn, with 3 valves, there is not a logical sequence playing diatonic series. This made me realize that some changes in the methodology are necessary for the horn to make an aural approach more logical for the beginning horn player. It also did me realize how extremely important it is for the young horn player to develop the inner hearing very well and make the logical steps from sound to symbol. My research paper investigates the possibilities to develop musical literacy in the horn lesson but also in the instrumental group lesson with transposing instruments. My main conclusion is that it is very important to make singing and moving a part of the horn lesson in order to develop inner hearing in relation to the horn. In that way the music will be understand and musical literacy can be developed.
Biography:
Klaske de Haan studied horn at The Royal Conservatoire in The Hague and at the Fontys Conservatoire in Tilburg with Herman Jeurissen. She graduated in 2000 for her diploma Uitvoerend Musicus.
As a free lance horn player Klaske worked with several professional orchestras in the Netherlands for example The Residentie Orchestra. Klaske is a horn teacher at the Music school, Scholen in de Kunst, in Amersfoort and she works at the Royal Conservatoire at The Hague with BASIS. A new music program for young wind players.
From 2014 Klaske specializes in Music education and pedagogy by attending several course such as “muziek als vak”.
Harmony on the violin - internalising harmony for violinists and the role of (tonal) improvisation
(2017)
author(s): Liesbeth Ackermans
published in: KC Research Portal
Abstract
Harmony on the violin – exploring ways to enhance harmonic awareness by improvisation. How can playing with basic elements of classical music help us to enter the music we perform ‘from within’, to enjoy the creative moment in connection with the repertoire we know so well and love so much, to ‘co-compose’… How can (tonal) improvisation be an aid to learn about harmony in a way that experience comes first, using, in this research, the violin as our voice?
In this research my aim has been to create a toolbox of games/exercises that can be used working in the above mentioned way. At the same time the exploratory journey of the research proved to be a transformative experience with regard to my own relationship with the music I play, love and teach. In this paper those two threads – the development of educational material and the testing out of it on the one hand and my personal development as a violinist and musician on the other hand - are constantly intertwined. The one cannot do without the other.
This paper is a report of all activities that added to the above mentioned two processes. The report will guide you through the origins of the research, the rich input of colleagues, masters and books on the subject, a report of the practising, imagining, exploring hours spent by myself in my garden house, information on the enjoyable sessions when trying out the material with students. At the centre of the paper you will find the games and exercises themselves – the content of the toolbox, called ‘Invitations’. A closer look at certain aspects of the research is found in Chapter 5 – Behind the scene. The paper will finish with a set of recommendations and conclusions and – above all – future plans.
I do hope you will enjoy this research – a research into methods that can be used to let the playing from musical intuition and the building of harmonic consciousness meet. In doing so, enjoying the richness, benefits and pleasure that musical improvisation has to offer in music education.
Fast Notes!
(2017)
author(s): Wouter Verschuren
published in: KC Research Portal
The purpose of this research is to investigate the different ways of articulating fast passagework on the dulcian in repertoire spanning the period ca.1550 until ca.1700. Prior to 1787, when Etienne Ozi published his first edition of the Nouvelle Methode de Basson, there are no sources known that specifically discuss articulation or (double) tonguing on bass double reed instruments. When we perform music from this era, we are in the dark as how to articulate highly virtuosic passages. What is preferable: Two-by-two slurring? Slurs over more notes, or maybe the use of some kind of double tongue-stroke?
During this research I will focus on primary sources that deal with articulation on various non-reed wind instruments of the period in question, such as the recorder, the cornetto and the trumpet. By studying the indications and recommendations given by masters of the past we can deduce their musical intensions. When we accept these authors as our guides, they may be able to help us imagining what articulation on a double-reed instrument could sound like. The moment we envision this concept, we can start to translate their instructions into articulation on reed instruments.
The output is threefold:
1. A paper describing the different ways on how to articulate fast passagework on the dulcian and on the bassoon in a way that matches the souplesse and speed of non-reed instruments.
2. Two compositions written for the dulcian, with added articulation-markings by the author.
3. Video examples clarifying some musical examples.
With this project I hope to shed light on practical issues of the performance of highly virtuosic repertoire for dulcian and bassoon from the sixteenth and seventeenth century.
From Phrase to Phrasing - a Classical Perspective
(2017)
author(s): Jan Willem Nelleke
published in: KC Research Portal
This paper explores the structure and performance of musical phrases according to sources from the second half of the eigtheenth century.
As phrasing is such an essential part of music making it seems curious that there is not much written about it and its application usually taken for granted. This paper wants to address this from the assumption that a better understanding of structure (phrases) will enrich delivery in performance (phrasing). It is written from the viewpoint of a performer with a focus on the practical application of theory.
Subjects include repose-moments, cadences, phrase-rhythm, punctuation, notation, skills in phrasing, breathing, and observations on Classical phrase structures and proportions in general.
Case studies are provided to demonstrate and test the theory on practical use and extend into less obvious areas like writing song intro's and cadenzas.
The Power of Long Notes
(2017)
author(s): Ida Vujović
published in: KC Research Portal
Pedal points and drones are present in almost all musical genres and styles. Although they appear in a whole variety of ways, and can have very diverse effects, music analysis rarely pays attention to these differences. The reason is, perhaps, that there are no defined concepts that would provide vocabulary to both describe and understand the power of sustained notes. My first research question addresses the ‘working’ of pedals and drones:
How can we explain the perceptual difference among instances of pedal tones and drones?
In searching for the right perspective to tackle this question I have come to two concepts that inspired the further research. The first is the concept of expectation. It is mostly promoted by the writings of Leonard B. Meyer (in the more recent time it is researched and developed by others), which I take as conceptual frame. The second is the concept of interactions that defines and organizes the musical events. The inspiration for the latter came from the social studies. The two concepts are interrelated: the expectation is a product of interactions of musical elements, and the expectations are also involved in interactions, thereby influencing the perception and understanding of a musical piece. My following research questions are:
Could the concept of musical expectation and the concept of interaction help explain the power of long notes? If yes, in which ways can these processes influence the perception of pedals and drones?
In the process of research, I have concluded that there are several categories of pedals/drones that are not labeled in music theory but are recognizable by many music theorists and musicians. Pointing at these categories and defining them could provide us with more words in pedal/drone-vocabulary. On the other hand, in case these models are recognizable as such, they have the potential to engage in various interactions with the other musical events in the piece, influencing the listener’s understanding of it. From this perspective, it is relevant to examine them. The current research aims at pointing at a number of such models. To define them, I have used the concepts of expectations and interactions. Music analysis of the chosen models and a number of musical fragments are so presenting the practical application of my theoretical research.
Searching for Sattler
(2017)
author(s): Timothy Dowling (KC)
published in: KC Research Portal
Abstract
Name: Timothy Dowling
Main Subject: Trombone
Research Supervisor: Charles Toet
Title of research: “Searching for Sattler; Reproducing a Romantic Trombone”. The history and development of the trombone, particularly in Leipzig, between Beethoven’s Fifth and Schumann’s Rhenish Symphonies, 1808-1851
Research Question:
Does the prevailing tendency within the so-called “Historically Informed” performance tradition of performing early nineteenth century German composers’ trombone parts on narrow bore classical( or even baroque) reproduction instruments or modern German trombones truly reflect the performance practice of the trombonists performing in orchestras within the time period of this study? What were the instruments used by the original performers? Who were the builders of these instruments and what were their dimensions? Is it now possible to build a truly idiomatic mid nineteenth century German style trombone based upon traditional techniques that truly reflects the sound world of the early nineteenth century orchestra?
Summary of results:
After extensively examining in detail the use of trombones in orchestras between 1808 and 1851 in an historical context, I have concluded that the current common practice of performing the trombone parts of the music of mid century German composers such as Mendelssohn and Schumann on the standard reproduction classical trombones of three different sizes and pitches : alto, tenor, and bass, is unlikely to be an accurate representation of the instruments used, particularly in Leipzig, during the time period of Mendelssohn’s directorship of the Gewandhaus Orchestra, where most of this repertoire was first performed. After meeting instrument builders, instrument collectors, and viewing and measuring many instruments in museums and private collections, I have concluded that it is possible and desirable to design and build a set of Romantic reproduction trombones based on models of the Leipzig master instrument builder Christian Friedrich Sattler and his successor Johann Christoph Penzel, that could accurately represent the trombone sound for which Mendelssohn and Schumann wrote. In this study I have made a detailed proposal (within the scope of my expertise) as to how these instruments should be built and it is my fervent hope that in so doing I can add to the understanding and advancement of nineteenth century trombone performance practice among trombonists for both “authentic” performance practitioners and modern symphonic trombonists.
Biography:
Melbourne-born trombonist Timothy Dowling began his professional career in Australia in 1979, performing in four different Australian orchestras before being appointed to his current position of solo trombonist of the Residentie Orchestra in The Hague in 1988. He is also a noted performer on historical instruments, and is a founder member of baroque ensemble In Stil Moderno and is currently principal trombonist with Anima Eterna Bruges. He has been teaching modern trombone at the Royal Conservatoire since 2006.
CompLex - an OSC and Voltage controlled Signal Path Generator (VC-SPG)
(2017)
author(s): Lex van den Broek
published in: KC Research Portal
This thesis describes my electronic and artistic research into the design of what I have called the Voltage Controlled Signal Path Generator (VC-SPG). It is a switching audio matrix that can both be seen as a new tool, and as a part of a musical-instrument. As we will see, it can be applied in an analogue electronic music studio setup, a modular synthesizer or in an interactive art-installation. This master research project is a continuation of my previous work at the Royal Conservatoire where I design new technology for Art and Education.
The fundamental core of my research project is the development of an audio-matrix with 16 inputs and 16 outputs that can be fully configured, controlled and programmed with Open Sound Control (OSC) and that can be synced and triggered with external analogue signals. In its present state the VC-SPG has become a new type of generator that is able to switch between different studio presets and form the core of new audio experiences and new compositional approaches.
I will describe and reflect upon both the technical challenges and development and the musical and artistic results shared with me by students and professionals who used the VC-SPG over the last year for their own work. They all experienced the VC-SPG to be adding a new dimension to their creative process. We can conclude that the VC-SPG is not only a new practical tool, but also a creative instrument for electronic-music and art.
Violin education in middle childhood
(2017)
author(s): Koosje van Haeringen
published in: KC Research Portal
Abstract
Title of Research:
Violin education in middle childhood.
Research Question:
How can an optimal musical and violinistic development be achieved in the teaching of children in middle childhood?
Summary of Results:
In middle childhood (7-11/12 years) enter a new phase in the development of their cognitive functions, their motor skills and social behaviour. In this research I investigate how these developments should be understood from the perspective of violin teaching to children in this age group and how these developments can be used by the teacher to the benefit of their education to become all-round violinists and musicians.
For this research I studied the relevant literature in the field of development psychology and the training of young talents and I compared the scholarly theories and insights with my personal experience as a violin and violin methodology teacher of more than 20 years.
In this thesis I describe the great potential that violin teaching to children in middle childhood offers, provided that the teacher has a good understanding of the learning process of the child, a clear vision and long-term strategy for the teaching and tremendous patience. Central elements of this vision should be a clear overview and balanced approach of all the different elements that make an expert violinist and all-round musician, the flexibility to respond and adapt to the specific abilities and needs of each individual pupil and an approach that fully involves the child in his/her own learning process.
Understanding Classical and Early Romantic Dynamics 1750-1830
(2017)
author(s): Bart van Oort
published in: KC Research Portal
In eighteenth century scores, dynamics were notated almost exclusively in a general way. The dynamics belonging to the melancholy or passionate development of a musical phrase or the minimal dynamical differences between a dissonant and a consonant in (for instance) a Mozart Adagio or a Chopin Nocturne are so subtle that it is even better to not notate anything. The deepest utterances of both the composer's and the pianist's soul cannot be caught in any notation.
However, in my opinion many of the notated dynamical indications are not fully understood or mis-interpreted. At the same time, implied dynamics can be found (while today often not realized) in virtually every musical phrase.
In this research project I have investigated classical dynamics, focusing on the local function of forte and piano, on crescendos and diminuendos, the influence of harmony, the dissonance-consonance resolution, the relative meaning of ff, the dynamics of high notes, and other factors, such as the density of the notation, the direction of the melody, the register of the phrase and the character of the work.
This research is part of a larger research project on the nature of the classical language, addressing dynamics, rubato and phrasing.
How can aspects of the Kodály philosophy and methodology be integrated into instrumental education?
(2016)
author(s): Mieke van Dael
published in: KC Research Portal
Name: Mieke van Dael
Main Subject: Music Education According to the Kodály Concept
Research Supervisor: Renee Jonker
Title of Research: Integrating aspects of the Kodály philosophy and methodology into instrumental education.
Research Question: How can aspects of the Kodály philosophy and methodology be integrated into instrumental education?
Summary of Results:
I started this Master's study and Research while searching for tools which would allow me to develop my students' inner hearing, and while also being aware that instrumental education has remained the same for a long time even though the world around us is changing. In addition, I realised that during my career as a performing bassoonist I have seen changes which I did not understand.
My study has opened the door to a wide range of possibilities and follow-up steps for me to take. I now understand why I found a number of things difficult in classical music performance. As far as I am concerned that is closely related to the fact that I was trained to reproduce music from notation, whereas I think that making music is much more than merely reproducing something. Splendid masterworks have been composed throughout musical history and I can thoroughly enjoy them if I am given the chance to play them. However, for me, that is not the only way to make my musical voice heard. I also need to speak a living musical language with my pupils and colleague musicians. If self-expression is an important part of the new learning, then I think that it is essential I develop musical expression with my pupils in order to speak a living musical language.
It would be extremely interesting in a follow-up study to investigate how the language develops and then to see what is necessary to develop a living musical language-one in which you learn to listen, speak, read, write and interpret.
By doing this research I have come to understand how aspects from the Kodály philosophy and methodology can be integrated into instrumental education and I can see that this is enriching.
It has given me many insights and a broad palette of tools which I can use to work in the profession in a more creative and innovative manner.
Biography:
I studied bassoon, contrabassoon and chamber music at the conservatories of Maastricht and Amsterdam at the end of the 1980s. I began my career in the Dutch musical landscape at the start of the 1990s. I have been a bassoonist and contrabassoonist for more than 20 years and have given concerts in the Netherlands and abroad, including a number of years intensive involvement with the Royal Concertgebouw Orchestra. My career as a bassoon teacher has also covered more than 20 years, and is nowadays at Scholen in de Kunst in Amersfoort and at the Royal Conservatoire The Hague.
Singing in the Music Theory Lesson: A model for how singing can be used as an effective teaching tool for a practical approach to the subject of music theory
(2016)
author(s): Ewan Gibson
published in: KC Research Portal
Name: Ewan Gibson
Subject: Music Theory
Research Supervisor: Laszlo Némes
Title of Research: Singing in the Music Theory Lesson - A model for how singing can be used as an effective teaching tool for a practical approach to the subject of music theory
Abstract:
In a typical music theory programme, the act of singing is often confined to the single skill of sight-reading prima vista. My background as a school teacher has taught me that singing can be used in a variety of ways to help children to learn skills such as reading and aural skills and so my wish is to investigate ways in which singing can be used in a music theory lesson at a conservatoire level.
In the last few years at the Koninklijk Conservatorium (Royal Conservatoire of The Hague), the music theory department has been investigating ways in which skills can be transferred across disciplines. One change that has been made is that many music theory related subjects are now taught as a single subject. Teachers are now free to make connections where ever they are found. My own interest is on the use of singing as a tool to achieve these ends.
My own investigation, as show in this research paper, will show models of lessons that can be created where singing is used as a core part of the lesson. A range of skills can be developed and theoretical concepts understood when singing activities are sequenced well and taught carefully. The result will be a model for other teachers to use and adapt for their own teaching.
In addition, the result of the research has also produced a collection of vocal material for teachers to use in lesson in order to encourage singing with advise on how to use it within a lesson.
Biography
Ewan L. Gibson comes originally from Wales in the United Kingdom. His previous studies include Bachelor of Music (University of Exeter), Postgraduate Certificate of Education (Oxford Brookes University), and Master of Music (Royal Conservatoire of Scotland). He has worked in the field of music education as a teacher in schools and conservatoires. As a qualified school teacher, Ewan has taught in a variety of schools in the U.K. and in international schools in The Netherlands. These have included everything from pre-school to 18 years old. In addition, he has worked for the Royal Conservatoire of Scotland, The National Youth Choir of Scotland and the Royal Scottish National Orchestra as a musicianship teacher, choral conductor and singing teacher. He has also given many workshop shops to music teachers on the use of singing in schools and teaching music literacy skills to children.
Perspectives on Kodály Cello Teaching
(2016)
author(s): Wiesje van Eersel
published in: KC Research Portal
Name: Wiesje van Eersel
Main Subject: Music Education According to the Kodály Concept
Research Coach: Patrick van Deurzen
Title of Research: Perspectives on Kodály Cello Teaching
Research Question:
In which way can the Kodály concept form an integrated part of a cello teaching curriculum for children?
Summary of Results:
In search of a suitable method to educate my pupils towards comprehensive cello playing, I came across the Kodály concept. My first encounter was promising and I decided to pursue this further. My research investigates possible ways to integrate the Kodály concept in cello teaching for children. In my research paper, first the Kodály concept is defined, and on that basis, existing methods and practices are analysed and examined. In addition to the study of the written sources I have also observed lessons and experimented with the materials myself. Alongside this investigation I have been integrating the Kodály concept in my own teaching for three years. The reflection on that experience, together with my findings from the existing methods results in the conclusion that there are many possible ways to integrate (elements of) the Kodály concept in cello teaching.
In the analysed methods, and in my own teaching, choices on how to integrate the concept depend on several factors. The initial perception of the concept is of influence, but also the practical reality of a particular teaching practice. I came to the conclusion that a structural, full implementation of the concept would have implications for the practical arrangement of my teaching.
In my presentation I want to show the different perspectives, give practical examples and share my thoughts on a possible way to realise the concept in my teaching practice.
Biography
Wiesje van Eersel is cello teacher at the PI, Junior and Young Talent Department of the Royal Conservatoire, where she teaches children between 5 and 12 years old. She also teaches cello methodology at the Royal Conservatoire and the Conservatoire of Amsterdam, and teaches in a public music school.
Referential Networks, Composing and the "Outside World"
(2016)
author(s): Patrick van Deurzen
published in: KC Research Portal
Name: Patrick van Deurzen
Main subject: Theory of Music
Research coach: Marcel Cobussen
Title of research: Referential Networks, Composing and the “Outside World”
Research question:
How does a new composition relate to the existing body of (art)works: the “outside world”?
Summary of results:
One aspect of composing is making countless connections, consciously and unconsciously, to other works. Of these countless connections, those created consciously form what I call a Referential Network. The works to which these connections are made, form the “Outside World”. In this research, I describe three of my compositions as three different Referential Networks. I analyse the compositions and show how the chosen references influence the compositional process and outcome. Performers (and listeners) also use references to access a composition. To understand this, I look at how we can understand a text and what the relation of author and observer is to a text. In relation to this, I have asked various performers for feedback to see to what extent my Referential Networks are noticed and if they play a role in interpreting them. To put my composing and this research in a historical context, I look at certain aspects of European composed art music after World War II to show two different views on tradition and the past. My concluding remarks include conclusions about the artistic result, i.e. the compositions, the performer's perspective, and some philosophical implications.
Biography
Patrick van Deurzen is a Dutch Composer and teaches Music Theory, Instrumentation and Arranging at the Royal Conservatoire of The Hague and the Rotterdam Conservatoire of Music.
The Early Violone
(2015)
author(s): Maggie Urquhart
published in: KC Research Portal
Name: Margaret Urquhart
Main Subject: Master of Music
Research Coach: Peter Holman
Title of Research: The Early Violone
Research Question:
What were the earliest violones, how can they be defined and how were they used till 1700?
Summary of Results:
After looking at evidence of the emergence of the first low bowed string instruments in Europe, this paper follows the types and use of the main instruments which could be termed violones till 1700, mainly centered in Italy. Through the study of treatises referring to the violone, scores using the term, iconography, secondary sources and the reconstruction of a copy of a violone from 1590, it follows the development of the violone till it becomes an octave-doubling instrument. The presentation of the extended paper will include a closer look at the issues surrounding the history of, and the term, violone, and live performance of music demonstrating the early violone, together with two viola da gambas in a consort.
Biography:
Margaret Urquhart studied double bass and violone with Anthony Woodrow and viola da gamba with Anneke Pols at the Royal Conservatory in The Hague. She subsequently joined many notable Baroque ensembles. In 1986, she became a member of Frans Bruggen’s Orchestra of the Eighteenth Century of which she is the first bassist. In addition to a busy performing schedule, she teaches at Amsterdam and The Hague conservatories, gives master classes internationally and coaches at the European Baroque Orchestra courses. She performs on the Viennese bass, the 8’ violone in various tunings and the 16’ violone and double bass.
Navigating through Harmony
(2015)
author(s): Karst de Jong
published in: KC Research Portal
Name: Karst de Jong
Main subject: Music Theory & Improvisation
Research coaches: Michiel Schuijer & Thomas Noll
Title of research: Navigating through Harmony
Research question:
How can spatial representation of harmony contribute to the understanding and teaching of harmonic progressions in tonal improvisation? And does the application of the directional approach provide an effective navigation tool for the improviser while shaping the harmony?
Summary of results:
The navigation system can help in the choice of logical harmonic progressions while improvising. As a navigation tool it allows harmonic movement to be felt as opposed to calculated. As a tool for invention, the arrows challenge the obvious progressions one makes habitually as an improviser and one develops a sense of the basic movements in harmony: prolongation, movement and consolidation. It is clear that a simpler organization of harmony in the improviser's mind stimulates an active imagination, stands less in the way of the creative process, and leaves more time to anticipate what lies ahead. The research experiences have reconfirmed the importance of playing with one's ears wide open while improvising. As a teaching tool the directional approach is promising, although new materials have to be developed. This is work in progress. Clearly this research is not finished here. The next step is to take the results as a starting point for changes in the teaching of improvisation. One wish is to integrate the directional ideas with certain elements from the Partimento tradition. Then there is further research needed on the relationship between the upper structures and the underlying fundamental melody, dealing with stylistic elements such as chord forms and voice leading. The presentation has the format of a report (45 minutes) as it is in fact a portfolio of many activities leading up to this very moment, including a case study and experiments with teaching an ensemble. The presentation will consist of a summary of the theoretical background, followed by improvisations played on the piano and by an ensemble to demonstrate the ideas behind the directional approach.
Biography
Karst de Jong studied Classical Piano with Geoffrey Douglas Madge and Music Theory at the Royal Conservatoire of The Hague and started teaching early at the conservatoires of Amsterdam and The Hague. In 2003 he was appointed professor of composition techniques and improvisation at the ESMUC in Barcelona, and has since been pursuing the practice of improvisation as an integral part of the curricula of higher music education. He has given many concerts with improvisations for solo piano or with ensembles in Europe, China and Japan. He taught in many international festivals, among them the International Chamber Music Festival Schiermonnikoog, the Piano-Pic Festival in Bagneres de Bigorre and the Paul Badura Skoda Vila-seca Music Festival in Spain. In 2012 he released his first solo CD with improvisations entitled "Improdisiac". Karst de Jong currently lives in Barcelona.
Collecting Repertoire for Kodály-inspired Music Lessons in Dutch Elementary Schools
(2015)
author(s): Daniel Salbert
published in: KC Research Portal
Name: Daniel Salbert
Main subject: Theory of Music
Research coach: László Norbert Nemes
Title of research: Collecting Repertoire for a Kodály-inspired Music Curriculum
Research question: Is it possible to gather Relevant Repertoire for Dutch Elementary Schools to build a Kodály-inspired Music Curriculum?
Abstract
Six years ago, I visited a Kodály-course in Manchester, UK. This was the initial experience that changed my whole teaching and also my view on Music Education in general. After several study tours to Hungary I was convinced that it would be possible to develop a Kodály-inspired Music curriculum for Dutch elementary schools. Musical skills should and can be taught to anyone, beginning already in elementary school and not only at conservatoire level. As Kodály puts it: “Let music belong to everyone”.
Singing musical repertoire is the fundament of all Kodály-inspired music teaching. So I began collecting relevant repertoire for Kodály-inspired music lessons in Dutch elementary schools: songs, rhymes, singing games, (folk) dances, canons, quodlibets, etc.
To answer the research question I have collected many Dutch and International song books for elementary school from past to present and went through them for closer musical analysis. Besides, I researched song material at the Meertens Institute Amsterdam, organized a (folk) dancing workshop for elementary school teachers and went on study tours to Budapest and Glasgow. And of course I took notice of the repertoire that my fellow Kodály-colleagues at the Royal Conservatoire (KC) used. Searching and collecting repertoire became an attitude.
But searching repertoire is not a theoretical business. Therefore, in the last two years I was testing repertoire in some of my classes: 1) Jong-KC-junior-students of the Royal Conservatoire at the age of 7-9 years; these children were following a special talent education. 2) ‘Normal’ children of the age of 6-8 years at a local Dutch elementary school.
To gather the repertoire I built a database in File Maker Pro. I analysed the repertoire concerning musical parameters that are relevant to build a curriculum for Music education. The advantage of such a database is the fact that it is searchable. So when building a curriculum, repertoire can be grouped and sequenced according to the musical learning goals that are aimed at. Also staff notation, a game description and a demonstration video are provided. In the future I would like to transform this into an online database that could serve as a repertoire source for any Music teacher.
After two years of research I can positively answer the research question. The next step would be to sequence the repertoire for the benefit of a step-by-step curriculum for the full eight years of Dutch elementary school education. Then Music at Dutch elementary schools might again become a subject that matters.
Biography
Daniel Salbert (Nuremberg, Germany 1971), studied Music Teaching (BA 1999), Choral Conducting (BA 2001) and Music Theory (BA 2009) at the Royal Conservatoire of The Hague (KC). He conducted different choirs such as children, chamber and oratorio choirs. At the moment he conducts the Young Talent Choirs and the First Year’s Choir of the KC and Concertkoor Rijswijk. He teaches Musicianship and Solfege for the Singing Department of the KC. He also teaches Solfege and Kodály-methodology for the Saturday-course “Music as a Subject” and the Master “Music Education according to the Kodály-concept”. He also teaches Musicianship and Music Theory at the School for Young Talent of the KC.
how musicians use their brains
(2014)
author(s): Enno Voorhorst
published in: KC Research Portal
When our modern brain developed 100,000 year ago, it perfectly suited the circumstances of that time. Therefore, we remember some things very easily like faces, tastes, routes and also music as a part of the social interaction. Music is an essential feature of the human existence and that is why when we hear a song we like, we will most likely recognize it easily the next day. This is why commercials use images, logos and rhyming texts together with jingles. The information stays in our minds easily, and more completely when it is repeated often. I will refer to this as the natural memorization path.
Memory athletes are able to learn the order of cards in 30 decks within an hour. What they use is the natural memorization path. Simply put, they take a route in their own house, and place images on this route. After learning this they walk along this route and find all the images in the right order. This system is called the Loci-system and was used already by the Greeks.
Musicians can also use the natural memorization path because music also settles easily in our mind. Hearing a song even once is often enough to have it settle in our brains. For musicians, this is a very practical tool for memorization but first some work has to be done. I will go into this later. We can learn more easily, more quickly and, above all, with much more enjoyment. The work that has to be done is developing a solid and immediate translation from the music in our mind to the instrument. For this solfeggio, harmony and analysis are essential tools.
Finally, I will provide some practical tips for a high-functioning brain to learn and to memorize music.
To understand staff notation aurally
(2014)
author(s): Suzanne Konings
published in: KC Research Portal
Name: Suzanne Konings
Main subject: Master of Music Theory
Research coach: Lázsló Nemes
Title of research: What's in a name? The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notation
Research questions:
Are absolute note names necessary in sight singing, when reading pitch notation on the stave relatively? Mental process: one sees ‘do’ (a name that indicates a function) and thinks ‘F’ (indicating a pitch).
Are relative note names necessary in sight singing, when reading pitch notation on the stave ‘absolute’? Mental process: one sees ‘F’ (a name that indicates a pitch) and thinks ‘do’ (indicating a function).
Abstract:
Sight singing is a part of almost every music theory curriculum in conservatoires. But one might ask oneself why lessons in sight singing are needed for students who can already read music notation? The answer usually is: to develop the aural imagination in relation to music notation. The way students have learned to read music notation in the first place did not develop this skill well enough then?
Experiences in teaching made me think that we need functional note names (unique sound names) to be able to aurally understand pitch in staff notation, and that the absolute note names (unique pitch names) may be an instrumentally useful, but less effective step ‘in between’ in aural imagination. From existing literature and recorded tests with students performing special designed scores I hoped to learn more about connecting the inner hearing world to music notation in the most effective way.
Biography
Suzanne Konings studied music theory and musicology and has been the head of the music theory department in the Royal Conservatoire The Hague since 2004. From 2009 she has been specialising in teaching music according to the Kodály concept. Together with colleagues in and outside the conservatoire she is organising training programmes for teachers and musicians in elementary schools, music schools and higher music education. She teaches musicianship classes for students in the Royal Conservatoire and the National Youth Choir of the Netherlands.
How Obvious is the Artistic and the Musical Expertise of the Music Teacher?
(2014)
author(s): Adri de Vugt
published in: KC Research Portal
Artistry is often regarded as one of the core aspects of music education. It is important, however, to realize that the concept of artistry has to be observed in many different contexts. When doing a modest research into this concept in the context of music teacher training, I became more and more aware of - on the one hand the ambiguity of the term and the ease of the use of it on the other hand. Many teacher-training programmes claim to develop the artistic and musical expertise of students on the basis of the idea that music teachers should be artists in the first place. By my research I have tried to understand why music teacher trainers and others are so convinced about the obviousness of the artistry and musical expertise of music teachers.
After organizing a conference with the title "Craftsmanship and artistry" (EAS Conference 2012), I had the opportunity to compile a book on artistry in music education. When finding the authors for the book, we had in mind to find contributions from different perspectives. Ultimately the book did focus on three main areas: the concept of artistry, pupil's artistry and the artistry of music teachers. Besides editing the book with a colleague, I was a co-author of an article on the competencies of music teacher and did write and article on artistry. I offer critical remarks on the seemingly obvious idea that music teachers should be musicians. He argues that content knowledge and skills in themselves are probably not that important for teachers, emphasizing instead that musical knowledge and skills in a pedagogical context should be a priority for educators. A second topic I raise is the role of musical identity. The fact that many music teachers would like to see themselves as musicians or think they should be, may well be influenced by the way music teachers are educated and trained. The question of what the kinds of musical expertise we should expect from music teacher is related to the opinions we have on music and music education. Finally, I discuss the complex connotations of the terms ‘musical’ and ‘artistic’ and comes to the conclusion that we had better use them critically.
Help! A Talent! The Student-Teacher Relationship in Higher Music Education
(2014)
author(s): Paul Deneer, Gerda van Zelm
published in: KC Research Portal
Faculty research at the Royal Conservatoire The Hague focuses on a wide range of topics relevant to the artistic practice of its teaching staff, to the artistic develop- ment of its students and to the world of musical practice at large. Areas covered include informed performance practice, creative (artistic) research, instrument building, educational research, and music theory.
One strand within the faculty research programme is directed towards the under- standing and the enhancement of the student-teacher relationship in higher music education. Two investigations within that strand – ‘Making Music: Being Heard
and Seen’ by Paul Deneer, and ‘The Teacher-Student Relationship in One-to-One Teaching’ by Gerda van Zelm – were performed in close collaboration. This publica- tion brings together the outcomes of both research projects, including an appendix ‘Reciprocity: The Two Studies Combined’, which offers conclusions and recommen- dations to further enhance the student-teacher relationship in conservatoires.
Help! A Talent! documents and communicates knowledge, understanding and practical recommendations, based on accumulated experiences, theoretical insights and data collection. Its empirical base is the practice of teaching and learning at the Royal Conservatoire in The Hague. The relevance of the findings, however, reaches beyond the confines of this institute. Other conservatoires and music departments might benefit from the insights and suggestions offered. Research into the student- teacher relationship in higher music education is gaining more and more attention lately. This publication is both a contribution to this emerging research field and an invitation to further research.
Help! A Talent! is part of Royal Conservatoire Publications. With this series the Royal Conservatoire aspires to contribute insights and experiences, embedded in its higher music education culture and embodied in the professionals who study and work here. With the publication of Help! A Talent! we support the dissemination of knowledge and understanding, but we also show our commitment to research and our readiness to be in front of the development. In doing so the Conservatoire ma- nifests awareness that today’s higher music education is in constant need to refine and attune its programme to an ever-changing world.
Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education
(2014)
author(s): Ida Vujović
published in: KC Research Portal
While in some educational systems solfège is taught systematically from a young age (whether in specialized music schools or in classroom music), in other countries it is a compulsory discipline only in professional education. In the latter case, students start learning solfège as teenagers or young adults but by that time they have already developed some of the solfège skills through years of playing an instrument. What these skills exactly are, and what overall musical knowledge students already have, differs from one student to another. Some are already familiar with certain chord progressions, some have general knowledge about keys and intervals, some have never sung before, and some can already play by ear on their instrument. Students themselves are not always aware of the level of their skills or may have the wrong impression about them. Teachers need time to obtain an objective picture of each student’s abilities. If the teacher wants to build on the students’ pre-knowledge, it can be difficult to decide exactly where to start and which route to take towards the goal. Starting at the level of basic skills makes this much longer and might demotivate students; starting at too high a level will unavoidably leave gaps in knowledge. Many music theory pedagogues choose to start “half way,” after first having systematized all the knowledge and skills that should already have been developed—which might turn out to be both too low and too high at the same time.
While there is much research in the domain of solfège issues in music psychology and there are many publications concerning classroom music, almost the only sources of information about solfège methodology for college-level students are solfège method books and textbooks. Conservatory students without previous solfège training are not problematized as a specific group of solfège-learners. In this article I am proposing that conservatory beginners are seen as a specific group of learners who are experienced and novice at the same time. I will point out and discuss several issues that are relevant to the design of the solfège method for this group, especially concerning the first months of learning where the foundation is being built. I will argue that learning solfège in general is a process with its own particularities, and that the awareness of these should be the starting point for the planning of the learning sequence. A solid foundation is seen as the requirement for any further learning, and the role of the teacher is crucial in developing or strengthening it in students. In this context the concepts such as preparation, readiness for learning, repetition, routine, challenge and independent learning are discussed.
Through a comparison of methods for children and adult beginners, I aim to explain some of the problems that are encountered in the solfège pedagogy.
From Potential To Performance. Training Practice and Performance Preparation in Conservatoires
(2014)
author(s): Wieke Karsten (older account), Susan Williams
published in: KC Research Portal
Faculty research at the Royal Conservatoire The Hague focuses on a wide range of topics relevant to the artistic practice of its teaching staff, to the artistic development of its students and to the world of musical practice at large. Areas covered include informed performance practice, creative (artistic) research, instrument building, educational research, and music theory. One strand within the faculty research programme is directed towards the enhancement of the learning, practice and performing strategies of instrumentalists and vocalists. Two projects within that strand – ‘Mental Training for Performers’ by Susan Williams, and ‘Making Music, Practising and the Brain’ by Wieke Karsten – formed the occasion and motivation to organise the international conference ‘From Potential to Performance: Training Performing Musicians in Conservatoriums’ at the Royal Conservatoire, 11-13 October 2013.
This publication collects knowledge, insights and practical recommendations addressed at the conference by an outstanding group of scholars and practitioners. Some contributions to this volume were published earlier as articles in their own right, some have been written for the occasion. Combined in this publication they offer a rich and thorough account of the state of the art in this emerging research field.
The study of the relationship between musical practice and the physical and mental condition of its practitioners goes back to ancient Greek, to Plato’s Politeia or Artistotle’s Politika, where music, body and mind were conceived of as constitutive of ethos, i.e. of character, behaviour and morality. And throughout history that relationship between music, body and mind was thematised in ever-different ways; from the proto music psychology of the Baroque Affektenlehre to the Musico- Medizin speculations of the early 20th century. Only in recent decades the study of ‘performance science’ has advanced to the level of a serious research programme, rooted in both artistic practice and in cutting-edge scholarly and scientific work, combining insights from sport science, neuro-psychology, brain science, pedagogy and musical practice.
The Royal Conservatoire does not only want to profit from this emerging field of research, but also aspires to contribute insights and experiences, embedded in its higher music education culture and embodied in the professionals who study and work here. With the publication of ‘From Potential to Performance’ we support the dissemination of knowledge and understanding, but we also show our commitment to the research programme and our readiness to be in front of the development. In doing so the Conservatoire manifests awareness that today’s higher music education is in constant need to refine and attune its programme to an ever-changing world.
Finding the road less travelled [personal publication]
(last edited: 2019)
author(s): Niels Tausk
This exposition is in progress and its share status is: visible to all.
Master thesis by Niels Tausk.
This research focusses on harmony in jazz composition. It discusses the analysis of harmonic movement in several interesting jazz tunes. It also contains an interview with the composer Fred Hersch, regarding his writing proces.
The outcome can be interesting for my composition students, to give them tools to broaden their harmonic possibilities. Finally I will discuss some of my own jazz compositions.
Improvisation in 19th century music
(last edited: 2014)
author(s): Bert Mooiman
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Name: Bert Mooiman
Main subject: Music Theory
Research coaches: Prof. dr. Hans Fidom (VU), Dr. Marcel Cobussen (UL)
Title of research: Historically Inspired Improvisation - Improvising on basis of 19th-century music making
Research question: Which was the role of improvisation in 19th-century music?
Abstract:
The average modern classical musician, the performer of music from the common practice era, tends to perform from scores only, and to treat a score like a text that should be converted into sound as precisely as possible. This is usually a one way process: without a score there will be no music. As a result of this attitude the musical languages of the common practice period have become dead languages, more or less like Latin and Ancient Greek, which are (with very few exceptions) no longer spoken actively but only translated into modern languages. More and more musicians become aware of the artistic limitations of this approach. In order to become, like musicians from the past, creative performers who are able to enter into a living relationship with the music, learning how to improvise seems to be a valuable means.
The Royal Conservatoire in The Hague (The Netherlands) invests in ‘classical’ improvisation. An environment has been created which fosters the idea that improvisation is important for classical musicians, and a lot of experience has been gathered in teaching improvisation to those students.
But what precisely do we mean with the word improvisation? And how exactly do we argue that improvisation is important for the new generations of conservatoire students? Improvisation by classical musicians is often referred to as ‘classical improvisation’ or ‘improvisation in a classical style’. These terms are not without problems, though. I would like to propose the notion of ‘historically inspired improvisation’ instead, indicating improvisation which uses thorough knowledge about music making in the past as a source of inspiration. ‘H.I.I.’ doesn’t necessarily aim for style imitations; rather, it works the other way around: integrating what we can use from historical music practices into our own creative music making. In this way, improvisation has the potential to fertilize all our ‘musicking’ (Chr. Small) – even when we play from scores.
In my essay, a recorded student improvisation will be taken as a starting point. I will analyse and comment upon this recording, developing the idea of musical ‘loci communes’ which enables us to connect improvisation with the interpretation of a score. It is interesting to compare such insights with original treatises on improvisation, especially Carl Czerny’s Anleitung zum Fantasieren auf dem Pianoforte (1829). Czerny turns out to presume skills that are no longer self-evident to musicians of today, while on the other hand issues which are nowadays important are not addressed in his text at all. Drawing upon the theory of loci communes, I will work out an example of how I think Czerny’s book can still be a valuable source of inspiration today.
During the presentation, I will focus on the concept of the locus communis, highlighting its double function as a way to recognize musical meaning in a score, and as a source of Historically Inspired Improvisations. The presentation will have the form of a lecture-recital.
Biography
The Dutch pianist, organist, improviser and music theorist Bert Mooiman studied at the Royal Conservatoire in The Hague, The Netherlands, where he took his certificates as a solo pianist and organist cum laude. After completing his Music Theory studies in 2003 he started teaching music theory (principal subject), improvisation and piano at the Royal Conservatoire. He performs both on piano (solo, chamber music) and on organ (solo, basso continuo). His work as a researcher and his activities as a performer meet in his lifelong interest in improvisation, which also became the topic of his current PhD research at Leiden University.
A six-part polyphonic setting of the ordinary of the Mass survives as a unicum in manuscript 1967 of the Biblioteca Central de Barcelona, Spain. Although it is clearly the most significant piece in the manuscript, it has received considerably less attention from specialized ensembles than the rest of the repertoire contained therein. This may be due to several factors, chief among them being that the manuscript provides no indication of the composer’s identity. Such anonymity is quite common when dealing with early repertoires. This research aims to address this situation critically and offer several practical, performer-oriented strategies to overcome it.open exposition comments (1)
How can Kodály music methodology contribute to the already existing Waldorf music education in giving the children ownership in music.open exposition comments (1)
Master thesis by Niels Tausk. This research focusses on harmony in jazz composition. It discusses the analysis of harmonic movement in several interesting jazz tunes. It also contains an interview with the composer Fred Hersch, regarding his writing proces. The outcome can be interesting for my composition students, to give them tools to broaden their harmonic possibilities. Finally I will discuss some of my own jazz compositions.open exposition comments (0)