Research Catalogue

an international database for artistic research

• 3. Internal publication Research published in this issue are only for internal circulation within the Royal Conservatoire, The Hague.
• 2. Royal Conservatoire Investigations Royal Conservatoire Investigations
• 1. Master Research Projects All research in KC

• Symphony of Senses: Fostering Creative Expression through Multisensory Imagery (2025) author(s): Travis Urban Limited publication. Only visible to members of the portal : KC Research Portal
  This study explores how multisensory stimuli can be used to inspire expressive performance in young strings students. While traditional music instruction in a large group or classroom setting often emphasizes technical accuracy and ensemble cohesion, it frequently overlooks the development of expressive interpretation in the individual. To address this gap, the research investigates whether engaging the senses of sight, touch, taste, smell, sound, and body awareness can stimulate students' imagination and foster more expressive playing. A group of 13 strings students participated in a series of interventions, where they experienced a range of sensory stimuli and then re-interpreted a melody in response to each. The methodology prioritized intuitive, student-led interpretation over explicit instruction or imitation, encouraging learners to translate internal sensations into sound. Findings suggest that multisensory prompts enhanced student engagement, stimulated musical imagination, and led to increased expressive nuance in performance. Students often demonstrated more awareness of tone, phrasing, and dynamic contrast following sensory exposure, even in the absence of technical directives. The results support the idea that multisensory learning can awaken musical imagination, promote autonomy, and enrich expressive development in young musicians. This research has implications for reimagining string pedagogy, not only as a technical pursuit, but as an embodied, imaginative, and sensory-rich experience.
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• Playing with Challenge! (2025) author(s): Niki SoJin Perdok Limited publication. Only visible to members of the portal : KC Research Portal
  Many teachers would agree that getting children to want to practice can be a real challenge. Children should feel motivated to play their instrument, so how can we get students to actually practice, and more importantly, want to practice? This research explores how choosing the right kind of challenge can affect a students’ motivation, autonomy, self-regulation, and practice behaviour. A design-based intervention was carried out in two phases, based on key theoretical concepts: motivation, autonomy, flow, mindset, and self-regulation. The study was conducted in two phases, and data was collected from teaching notes, student practice logs, conversations with parents and observation notes during lessons. After each phase, the data was analysed using qualitative coding to identify patterns in motivation, engagement, and student responses to different forms of challenge. Results indicate that both too little and too much autonomy led to frustration or disengagement. When students had space to approach tasks creatively, (e.g. through drawing, storytelling), or keep track of their practice in their own way (e.g. Colouring, drawing, writing), they stayed motivated and more involved for a longer period of time. Adjusting the level of challenge helped students engage more deeply in practice. Parents noted increased independence and reduced need for their involvement. In some cases, students reused their approach (practice strategies) and applied them to new material. This research suggests that providing challenge creates space for autonomy and creativity strengthens engagement and facilitates self-regulated learning as a side effect. This leads to the question: How can I provide the right type and amount of challenge for my students to stay motivated to practice? Future research could explore effects of challenge on learning behaviour and student confidence
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  Learning rhythm through Mallorcan folk music (2025) author(s): Marga Sabater Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores how young musicians can develop an internal sense of rhythm through Mallorcan folk music, with a focus on the rhythm of the bolero. Two interventions were carried out: one in individual classes and the other in two group lessons, with the aim of evaluating the effectiveness of exercises based on movement and embodiment. The results indicate that students with experience in ball de bot have a greater rhythmic integration. However, the proposed exercises allow any student, regardless of their previous training, to internalize this rhythm to varying degrees, highlighting repetition as a key factor in the learning process. Play-based activities, especially those involving objects like balls and cups, were particularly effective in maintaining student engagement and reinforcing rhythmic concepts in an intuitive way. Although this approach is based on the bolero, it could be applied to other rhythms and musical styles to develop a better perception and integration of rhythm. The decision to use traditional music in teaching was to highlight Mallorca's musical heritage.
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• The SDT in ME: Self Determination in Music Education and Cultural Inspiration (2025) author(s): Sara Darwish Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores how the Self Determination Theory can be catered to music education to keep both teachers and students motivated in the learning\teaching process by intentional application of the three main elements: autonomy, competence and relatedness. I dive deep into motivation, what SDT has to offer, and how I can design my piano lessons to the specific needs of my students by having them answer a carefully formed questionnaire. The goal is to create a meaningful learning process that is both educational, adjustable and motivating for my piano students. In this research, I conducted experiments on two students, one 8 and the other 30 years old. I taught and filmed three lessons for each student after designing lesson plans that were specifically tailored to their wants and needs. After observing the lessons as they progressed, I was able to specify which element of SDT worked best for the student, which helped me adapt the activities further. The strategies that proved to be effective were: 1) Getting to know the students through a questionnaire and customizing the lessons through the relation of their interests to SDT. 2) Feedback and reflections from my students after each lesson, and with my critical friend. 3) Learning SDT by consciously applying it, helped me design a teacher training workshop that I conducted in Jordan to introduce SDT to Jordanian Educators.
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  "Cultivating Ownership through Creativity: Three Curriculum-Integrated Activities for Beginner Clarinetists" (2025) author(s): Chelli Sara published in: KC Research Portal
  Cultivating a sense of ownership in beginner music students is important for fostering engagement and self-confidence in their educational journey. This study explores how integrating creative activities into a beginner clarinet curriculum promotes ownership among students aged 9–11. Focusing on three specific activities tested in multiple case studies, the research investigates students' relation with their musical development. Findings reveal that using creative activities as part of a personalized, student-centered teaching approach enhances students' motivation and engagement, ultimately fostering a stronger sense of ownership in their learning experiences. The study also offers practical insights for music educators seeking to creatively teach instrumental skills while creating a meaningful musical experience for young clarinetists.
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  Developing the ability of playing by ear to become an integral musician. Strategies for the piano teacher. (2025) author(s): Joana Maria Riera Grimalt published in: KC Research Portal
  This project aims to explore the ability of playing by ear in order to design a creative and stimulating teaching approach for the development of the skill in piano lessons. The goal is to devise effective strategies for piano instructors, offering guidance on how to effectively advance the abilities of their students. Consistent with Woody’s ideas, playing by ear has been described by educators as a relevant developmental prerequisite to becoming a truly fluent music reader. Nevertheless, making sounds by ear is often just the initial and playful approach to music, and its significance diminishes considerably in education as the skill level increases. In fact, one must not forget the crucial role of the skill, that is the direct connection between music and player (without any interference like the score).
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