LEADING FROM THE HARPSICHORD: A HISTORICAL INFORMED APPROACH TO EARLY MUSIC 'CONDUCTING'
(2023)
author(s): Pablo Devigo
published in: KC Research Portal
The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument "entrusted [...] with full command" and "in the best position to assist [...] the entire ensemble in maintaining a uniform pace."
The following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.
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.
Basso continuo sources from the Dutch Republic c. 1620-c1790
(last edited: 2023)
author(s): Kathryn Cok
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The results presented in this dissertation, written by Kathryn Cok, demonstrate the generous contribution that the Dutch Republic has made to the genre of basso continuo, including a survey of twenty-six Dutch sources from the 17th and 18th centuries. Focus has been made on the written record of the practice in the Dutch Republic of the time, including method books, music books where mention is made of basso continuo, dictionaries with detailed descriptions of the practice, and translated foreign treatises, all helping to paint a picture of how the practice was put into effect. Special attention has been given to a relatively unknown manuscript by Jan Alensoon.
The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument "entrusted [...] with full command" and "in the best position to assist [...] the entire ensemble in maintaining a uniform pace." The following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.open exposition comments (2)