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

• Spatial awareness in instrumental music: Transformations of attention in a situation, becoming musical structure. (2016) author(s): Nikos Kokolakis published in: KC Research Portal
  Even though the idea that “space and spatial experience as aesthetically central” regarding its sonic attributes is a central topic in acousmatic music, it is also of interest for orchestral composers, especially from 20th century onwards. The sound of the 20th century is so broad that gives today’s composers the potential of exploring a vast richness of “first heard” structures, that came as a result of the experiments and achievements of the past, and consequently to form their personal voice which can be relevant to it and capable to converse with it. A greater level of abstraction is needed in order to manage to condense what this knowledge offers to us and the consideration of space during the composition procedure seems to provide us a good starting point since many of the attributes of contemporary music could be included in it. Additionally it seems that a greater level of abstraction would not necessarily make the music less accessible to the audiences if such systems of abstraction take into account research into human physiology and considers the every-day environment. Regarding space in a macro structural level can provide us with the appropriate means to create an experience based on its phenomenology while contemplating its micro structure can lead us to results which are unifying sound qualities that otherwise could be considered to belong in different scopes.
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  Catch and Release: Field Recordings as Source for Instrumental Composition (2016) author(s): Yvonne Freckmann published in: KC Research Portal
  The richness and variety of sound in field recordings has inspired numerous electro-acoustic and soundscape compositions, but what about the traditional composition realm? Is there a way to translate for and combine soundscapes with another medium? “How can field recordings be used as a source for instrumental compositions?” is the main research question under investigation here, which developed out of my creative pursuits in composing for instruments and field recordings. The first method I personally applied was to transcribe a field recording by ear for a mixed ensemble for Train, which simultaneously played the transcription with the original audio. The process and results of this piece prompted me to think and read more about mimesis in music, and how the two worlds of electro-acoustic/soundscape and instrumental music can combine. This research paper contains a short introduction to the historical context of mimesis in music (vocal/instrumental and electro-acoustic) to provide the connection of current trends to the past. To investigate the main approaches I proceeded to analyze and categorize music of field recordings with instruments. Using these analysis tools and categories, I investigated examples within roughly the past sixty years of pieces that use field recordings as source for instrumental music, be it for transcription, score, background, or for live interaction. The research results are detailed in four chapters, “Analysis Tools”, “Five Categories”, and two chapters on original compositions. The concepts of place and live versus pre-recorded sound were interesting to investigate as well.
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• Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia (2016) author(s): Andrius Arutiunian published in: KC Research Portal
  The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.
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• 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.
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• 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.
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  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.
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