Performing Music Theory
(2022)
author(s): Bart de Graaf
published in: KC Research Portal
In my thesis Performing Music Theory, I will examine how listening to recordings of musical performances may influence my analysis of Chopin’s First Ballade. Therefore, I take the music as heard in performance as the starting point for the analysis, rather than the score. By consulting recorded performances by various pianists, I will analyze how different performances may lead to different analyses. These analytical observations will concern phrase structure, harmony, topical analysis and form. The interpretation of form in particular is highly dependent on tempo choices that pianists make. In the case of the First Ballade, a piece with very few tempo indications, these choices vary widely.
I will show that in some cases clear analytical conclusions can be drawn from performances. And in other cases, rather far-fetched theoretical analyses must be made to describe the performer’s choices, demonstrating how problematic it is to base an analysis entirely on performances. What does that mean for the relationship between performer and theorist, and more particularly for the position of the ‘prescribing’ theorist, who considers analysis as a starting point in a musical interpretation? And what does this mean for the importance of the Analysis course at conservatories?
An Analytical Study on Pierre Boulez’s Le Marteau sans maître
(2020)
author(s): Saman Samadi
published in: Research Catalogue
Since its 1955 premiere, Le Marteau sans maitre, by Pierre Boulez, has consistently been regarded as one of the more important modernist compositions of the post-war era. Certainly, it ranks among the best-known works of Pierre Boulez and our purpose is to see if we can uncover some of its structures. This composition, based on a text by René Char, was written for alto voice, flute, viola, guitar, vibraphone, and percussion. Before Le Marteau, Boulez had created some other serial works: Structures I for two pianos, Polyphonie X for eighteen instruments, and another tour-de-force, known as the Second Piano Sonata which gained him an international reputation back in 1950. Although many have attempted to analyze Le Marteau's serial organization, Lev Koblyakov has been considered successful in analyzing it. Boulez’s multiple serial compositional techniques have been greatly illuminated through Koblyakov’s work; taking this as my touchstone, I will herein discuss a few of the compositional strategies utilized by Boulez.
Historically Inspired Improvisation - Improvising on basis of 19th-century music making
(2019)
author(s): Bert Mooiman
published in: KC Research Portal
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.
De ontwikkeling van de muzikale taal van Arnold Schönberg tussen 1899 en 1908
(2016)
author(s): Patrick van der Linden
published in: Codarts
Met dit onderzoeksverslag sluit ik mijn studie Theorie der Muziek aan het conservatorium af. Deze Masterstudie vormde een uitbreiding en intensivering van mijn bachelorscriptie. Dit schrijven handelde over tonaliteit in de koorwerken Friede auf Erden (opus 13, Arnold Schönberg) en Entflieht auf leichten Kähnen (opus 2, Webern).
Mijn uitgangspunt was dat ik me zowel in de theorie rondom Schönberg als de muziek van Schönberg wilde verdiepen. Ik wilde onderzoeken of analyse van zijn werk ons kan helpen zijn muziek beter te begrijpen en te waarderen. De keuze voor het onderwerp is ingegeven door nieuwsgierigheid naar Schönberg en zijn werk enerzijds: aan den lijve wilde ik ondervinden hoe zijn composities vanuit een Brahms/Wagner-traditie in amper tien jaar tijd zijn geëvolueerd naar een strikt persoonlijke stijl, in de literatuur meestal met vrije atonaliteit aangeduid. Anderzijds is de keuze gegroeid vanuit mijn werkveld als dirigent: binnen dit veld heb ik veel te maken met concertprogramma’s van koorwerken na Brahms (1833-1897) en Wagner (1813-1883). De Duits georiënteerde koormuziek van de tweede helft van de negentiende eeuw tot en met de Eerste Wereldoorlog raakt me als musicus en als mens. Het is dan ook uitermate bevredigend om te proberen te achterhalen hoe een componist als Schönberg te werk is gegaan, op welke wijze hij bij de traditie aansluit en hoe hij vanuit deze traditie zijn eigen lijn trekt. Het verwerven van kennis en inzicht en de praktische toepassing daarvan in mijn werk als docent en dirigent gaan gelijk op.
De centrale onderzoeksvraag is: hoe ontwikkelt zich de muzikale taal bij Schönberg in het eerste decennium van de twintigste eeuw? Hierbij is de studie gewijd aan een specifiek, wat minder belicht genre uit Schönbergs rijke scheppingsperiode: de klavierliederen uit 1899-1909. De keuze voor juist zijn vocale repertoire zal verder worden toegelicht in hoofdstuk 3.
In het verslag wordt vanuit de probleemstelling antwoord gegeven op onderliggende vragen, zoals:
- Wat is tonaliteit? Wat is functionele tonaliteit?
- Wat is atonaliteit? Voor Schönberg was dit een negatieve term. Is dat terecht? Bestaat atonaliteit?
- Ondermijnt Schönberg de tonaliteit? Met andere woorden: verdwijnt deze? ? Of verrijkt Schönberg de tonaliteit?
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.
Practical Solfège and Music Theory in Violin Education
(2016)
author(s): Eszter Viczian
published in: Research Catalogue
Nowadays, violin students in conservatoires often learn solfège and music theory by singing and using the piano. For some instruments it is difficult to apply the acquired knowledge because it needs to be ‘translated’ into a different context. The main goal of this study is to get more information of working with an approach where violin playing is integrated into the teaching of solfège and music theory.
At the beginning of the research a literature study was done to consider music learning theories and to analyse violin methods. Then an action research was conducted to take into account the ways in which solfège and music theory can be taught in a group violin lesson context. The lessons took place in the Young Talent Department at the Royal Conservatoire in The Hague among 7- to 17-year-old students. The action research consisted of three cycles.
The findings are that students in general had no difficulty with playing by ear and singing with relative sol-fa names. Results from the analysis of the transposition, note naming and writing exercises indicated that students’ knowledge of absolute pitch letter names and the tone- semitone relationships between neighbouring notes were not at the same level. During the evaluation process of students’ answers to these exercises, some violin and theory teachers presumed that the difficulties could emerge partly from the fact that in most violin schools the first note reading exercises are not in C major but in G, D or A major. Hence students easily get confused when they become familiar with some augmented notes (e. g. f sharp, c sharp, g sharp) before they learn how to play and read their natural versions.
My conclusions are that playing by ear and singing with relative sol-fa names can be good basis for teaching the connection between sound and notation. When introducing absolute pitch names it is advisable that violin and solfège teachers compose the content of the lessons together. Transposition exercises from the very early stages using just two-note melodies give good opportunities for applying knowledge into violin playing. For illustrating the tone- semitone relations between the notes Lego models can be used. Singing with ABC or sol-fa names while playing and subsequently notating these transposed notes gives a multimodal experience for students.
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.
Barry Harris: Exploring the Diminished
(2014)
author(s): Vera Marijt
published in: KC Research Portal
Name: Vera Marijt
Main Subject: Jazz Piano
Research Coach: Jarmo Hoogendijk
Title of Research: Barry Harris: Exploring the Diminished
Research Question:
How can the transcriptions I made of Barry Harris' workshops and recordings be incorporated in my playing, in order to develop myself in a bebop style?
Research Process:
I transcribed two DVD boxes containing 8 discs of over 8 hours of workshops by pianist Barry Harris that were recorded and published by Howard Rees. Furthermore, I transcribed about 54 video's of Barry Harris that were published on the website, www.franselsen.com, and several solo's of him.
This resulted in about 35 pages of transcribed material, that I sorted and practiced during my Master studies.
Summary of Results:
Barry Harris talks in his workshops a lot about one important chord; the diminished. He explained how chords are related to the diminished and how we can use the diminished to connect chords and create 'movement'.
Two important scales are the major and minor 6 diminished scales. Exercises I got out of the transcriptions and experimenting with this, opened a new world of sounds, voicings, harmonic knowledge and ideas for improvisational lines for me.
I apply the material to existing pieces and wrote a composition in which these techniques are used.
In the presentation I will explain about the major and minor 6th diminished scales and how they can be applied to tunes.
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.
In flux
(last edited: 2023)
author(s): Tobias Andersson
This exposition is in progress and its share status is: visible to all.
In this research project, guitarist and improviser Tobias Andersson investigates compositional tools and techniques to create flexible harmonic frameworks for improvisation. In a strive for music that stays in an improvisational state the reseach project also adresses questions on the quality of coherence in the music. The research project investigates how the application of theoretical concepts associated to the 20th century western classical music and post-tonal theory can be useful when composing for improvisation. By taking a close look on the musical material itself, the author starts to compose music where all harmonic and melodic material is derived from a small original set.
The results of the investigation is a series of compositions for different ensembles, spanning from solo work, via smaller settings a large ensemble of wind instruments. The compositions are analysed in regard to the initial questions of coherence and harmonic flexibility, sharing insights to how the compositional approach influenced the musical results.
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.