Cello Meets Soleares
(2022)
author(s): Candela Mier-Terán
published in: KC Research Portal
Flamenco is still a mystery and although there is a growing body of academic literature seeking to understand it, there is still a long way to go. In addition, flamenco is opening up to such variety and innovation that various instruments have been included in the traditional ensemble of guitar, cajón, clapping, cantaor/a and dancer. For these reasons, this research aims to bring cante por soleares closer to anyone interested in the world of flamenco, although perhaps with special attention to string musicians, and cellists in particular. This work, together with my analysis of the rhythm, melody, harmony and structure of the soleares, seeks to offer reflections, tools and conclusions for those looking to imitate soleares singers on the cello. This work is carried out through the transcription and analysis of six soleares, carefully selected for the purpose of being played on the cello [having done so much work with flamenco experts, it is a pity not to mention this as one of your key methods]. With these insights, I seek to better understand the characteristics of cante por soleares, to propose different forms of imitating it on the cello, and to offer options more suitable to the instrument when close imitation is not possible.
Coded Perception: 'Out of the Corner of One's Eye'
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition concerns how aspects of perception, mainly visual but not excluding other senses, are encoded within the artist’s drawing-based practice. Such coding is increased due to the artist's use of speech and its recording to eventually produce textual transcripts, and video evidence of the process of drawing while drawing. More inclusively stated, the artist’s practice oscillates between visual and linguistic means, and analogue and digital methods. As research, the exposition questions where and how coding is implicit in the artist’s perception during his approach to his work. Such questioning is enabled by a split between the artist in his reflexive involvement presented as speech transcripts and supporting screenshots from the video recording, and his reflective observation on the content of the transcript as if made by another-person interlocutor. The exposition is presented as a textual introduction and conclusion, between which is access to the full audio-visual recording of the drawing process and a flip-book presentation of the transcript and interlocutor interventions. The exposition's main image is the artist's finished drawing.
Violin Baroque Pieces on Soprano Saxophone
(2018)
author(s): Benjamin Falces Vaquero
published in: KC Research Portal
Name: José Benjamín Falces Vaquero
Main Subject: Classical Saxophone
Research Supervisor: Jarmo Hoogendijk
Title of Research: Baroque Violin Pieces on Soprano Saxophone;
Transcription of Caprice No. 26 for Violin Solo by Pietro Locatelli
Research Question: How should a baroque violin piece be transcribed and played on a soprano saxophone?
Summary of Results:
There are so many baroque pieces for violin which have been transcribed for soprano saxophone, but there are even more performances of these pieces by almost all classical saxophonists. The reason is that saxophonists often need to improve their repertoire and that these pieces were already frequently transcribed during the period which were made. Also, there have been many saxophonists who have thought that this instrument can give something special to these kinds of works. Based on interviews, questionnaires, comparison of baroque transcriptions and my own experience documented through the whole process of a transcription, this research investigates what is the best way to transcribe and play violin baroque pieces for soprano saxophone. My main conclusion is when writing for these arrangements it is allowed to make many modifications from the original version but always depending on the characteristics of the instrument and the baroque transcription criteria and keeping the original intention of the composer. These results will give the saxophone world more sources of how to transcribe and play these pieces, keeping in mind the original idea of the composer in the baroque style and making it more useful for the instrument.
Biography:
José Benjamín Falces Vaquero has had lessons with teachers like Vincent David, Ensemble Squillante, Berlage Saxophone Quartet, Arno Bornkamp and others. He won national prizes in Torrent, Xativa and Lliria. He now collaborates with a few Young Orchestras: JOGV, IYPO and ORSAXCOVA. In 2017 he received a Scholarship from the Government of Valencia.
As a jazz performer he has had lessons with teachers such as Perico Sambeat, Jerry Bergonzi, Bob Mintzer, Gregory Fritze, and recorded a CD with Big Band Talleres Sedajazz.
Transcribing Rachmaninoff’s Variations on a Theme of Corelli for Orchestral Ensemble.
(2017)
author(s): Raquel Garzás Garcia-Pliego
published in: KC Research Portal
Name: Raquel Garzás García-Pliego
Main Subject: Classical Piano
Research Supervisor: Anna Scott
Title of Research: Transcribing Rachmaninoff’s Variations on a Theme of Corelli for Orchestral Ensemble
Research Question:
Can creating orchestral transcriptions of this piano piece confirm or change current perceptions of its character and meaning; and can studying the relationship between the orchestral and piano duo versions of Rachmaninoff's Symphonic Dances help inform my arrangements of his Variations?
Summary of Results:
This research paper focuses on the process and effects of creating orchestral transcriptions of Sergei Rachmaninoff's piano work Variations on a Theme of Corelli. The goal of this research has been to build more than one orchestral version of some of these variations in order to help piano students (as well as myself) arrive at more than one interpretation of the piece. In order to explore this idea of interpretive multiplicity and flexibility in the Variations, I based my transcription process on Rachmaninoff's Symphonic Dances: a work that the composer produced first for orchestra and afterwards for piano duo. During my analysis of the Symphonic Dances I tried to understand the composer's view of the relationship between orchestral and pianistic timbres so that I could then apply similar characteristics to my own transcriptions.
As pianists we are frequently asked to think and play orchestrally, but sometimes we do not have the inspiration or tools to experiment with new sonorities and modes of sound production. In making these transcriptions, I have been able to explore and expand my own relationship with this work, while also opening up my mind to the interpretive possibilities inherent in other familiar piano works. In my presentation I will highlight elements of my analysis and transcription process before demonstrating their effects on my interpretation of Rachmaninoff's Variations at the piano.
Biography:
Raquel Garzás was born in Spain in 1992. After finishing her Bachelor Degree in Zaragoza, Spain, she continued her studies by pursuing a Master's Degree at the Koninklijk Conservatorium in Den Haag with David Kuyken. Raquel has a special affinity for chamber and contemporary repertoires, and is a member of the chamber group Camus Trio. In recent years she has performed as a soloist with several orchestras, including the "Chamber Music Orchestra Andrés Segovia" together with the "Orfeón Donostiarra" in the National Auditorium of Madrid.
Adapting Telemann’s unaccompanied violin fantasias to the guitar - an investigation of transcriptional methods
(2015)
author(s): Thomas Heimstad
published in: KC Research Portal
Name: Thomas Heimstad
Main Subject: Classical Guitar
Research Coach: Patrick van Deurzen
Title of Research: Adapting Telemann’s unaccompanied violin fantasias to the guitar - an investigation of transcriptional methods
Research Question: “Which considerations does a guitarist have to make when playing and transcribing G. P. Telemann’s 12 Fantasias for unaccompanied violin?”
Research Summary: Transcription is a very important part of the classical guitar tradition, as most of the original repertoire for the guitar has been transcribed from the manuscript. This is because the composers did not always have complete mastery of the guitar. The transcriptions of early music provided guitarists in the early 20th century, with a valuable addition to an otherwise sparse repertoire. This contributed to bring the guitar into the classical limelight, and its recognition as a serious instrument ensued. One genre of music which has been, and still is, popular to adapt to the guitar, is the unaccompanied solo pieces from the Baroque era. The implied polyphony of the solo violin music is often possible to realise on the guitar. This research investigates the different aspects of the transcriptional methods, specifically when working with music for unaccompanied violin. By using Carlo Marchione’s transcription of G. P. Telemann’s first Fantasia as an example, an analysis of and a comparison with the urtext sheds light on the different decisions, which are involved in the process of making a functional version for the guitar. The presentation will include visual and auditory explanations of the different possibilities, excerpts from an interview with Marchione, and examples from the score analysis presented through PowerPoint.
Biography: Thomas was born in 1989 in Bergen, Norway and started playing the guitar at the age of 7. His guitar lessons started with Tino Andersen, continued with professor Stein-Erik Olsen at the Griegacademy of Bergen, followed by one year of Erasmus exchange with professor Marco Socías at Musikene in San Sebastián, Spain, and finally he enrolled in the master class of professor Zoran Dukic at the Royal Conservatoire in Den Haag, The Netherlands.
Victor Feldman, from Piano to Vibraphone
(last edited: 2024)
author(s): Demetrio Schintu
This exposition is in progress and its share status is: visible to all.
How Victor Feldman, prolific pianist and vibraphone player of the jazz/hardbop scene in the second half of the twntieth-century, managed to transfer his concept of piano playing to the vibraphone.
The similarities and applications of motives, transcriptions and language learning.