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

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  'The great Dooble Basse' (2016) author(s): Carina Cosgrave Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Carina Cosgrave Main Subject: Violone Research Supervisor: Wouter Verschuren Title of Research: The ‘Great Dooble Basse' Research Question: How was the violone used during the 17th century in England? Summary of Results: Having thought the violone had no place in early English repertoire until the 1700s Maggie Urqhaurt introduced me to the fantasias of Orlando Gibbons written for ‘the Great dooble basse’ This was a fascinating moment in my studies as If Orlando Gibbons was music writing for the violone, and there were players and instruments in England, then which other composers may have written repertoire specifically for this instrument? In which setting would the violone have been used in? Where else might the violone have been employed? This presentation will look at evidence of the arrival and use of the violone in England up until 1700, the period between the death of Purcell (1695) and the arrival of Handel in London in 1710. Around 1700 the use of the violone declined and the lowest stringed bowed bass instruments began doubling the bass line an octave below. It will look at some specific examples from the repertoire that seems to ask for a violone as the bass instrument. Biography: Carina studied Double Bass and baroque bass with Peter Buckoke at the Royal College of Music, London, supported by a Douglas and Hilda Simmons study award. Carina’s passion for historical performance has grown since her first encounter with historical instruments performing Biber’s Battalia and has seen her continue her studies in this field with Maggie Urqhuart at the Koninklijk Conservatorium in The Hague. Carina is a founder member of the New Century Baroque orchestra and plays with early music ensembles in the UK, France and The Netherlands including the English Concert, Florilegium, Les Siècles, and La Serenissima.
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  The Electronic Trombone (2016) author(s): Samuel Terence Nolan Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Samuel Terence Nolan Main Subject: Bass Trombone Research Supervisor: Pete Saunders Title of Research: The Electronic Trombone Research Question: What is the best way to create an Electronic Trombone capable of participating in the creation of electronic music across multiple genres? Summery of Results: By following the development of electronic music throughout history and analyzing its use in the present environment, my research paper outlines the artistic potential of an electronic trombone. Though interviews with leading electronic brass artists my paper then goes onto deconstruct the two main brass electronic interfaces, determine the benefits and weaknesses of each. These results are then collated and a new interface with the capability of working across all genres of electronic music is designed. This new interface gives Electronic Trombone artists a new tool which they can use to greatly enhances their creativity and the opportunity to create deeper emotional connections with their audiences. Biography: Sam Nolan is an Australian bass trombonist born in Brisbane. After graduating from the Queensland Conservatoire of Music, Sam became a member of Musica Viva’s Best of Brass quintet and a freelance musician working with ensembles and artists such as Jeff Mills, Natalie Cole, David Campbell, Bill Watrous and the Queensland Symphony Orchestra. Since moving to The Hague in 2014 Sam has spent his time between studying at the Royal Conservatoireworking as a bass trombone and bass sackbut player throughout the country with ensembles including the Residenti Orkest and the Orchestra of the 18th Century.
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  The 'cello in Prussia under Frederick the Great (2016) author(s): George Ross Limited publication. Only visible to members of the portal : KC Research Portal
  Name: George Ross Main subject: baroque cello Research supervisor: Maggie Urquhart Title of research: The 'cello in Prussia under Frederick the Great Research questions: - Who were the cellists active at the court of Frederick the Great? - Did they write any repertoire for their instrument? - What other repertoire is there, written by musicians working at the court during this time? Research format: Research paper Summary of results: When starting out on this subject I had no idea how little information there would be about the cellists who were active at the Prussian court leading up to and during the early reign of Frederick the Great. When I established who these two cellists were, I was hoping to find more information on each of them. It was at this slightly disheartening point in my research, that I decided to look into the other musicians that would have worked in the Hofkapelle with Ignaz Mara. I was incredibly pleased whilst researching the two families, which played an important role in the musical goings on, not only in the court, but also in the more private events, that my research into both the Benda and the Graun families led to three unknown works that I could add to my repertory of this period in Berlin. It was obviously not what I had hoped for, but it was a result, nonetheless and one that still had room to build on. Having decided on eliminating certain areas of research for the sake of focusing on a narrower period of time and within a smaller geographical area, I have still become far more aware of the other musicians around Germany at the time, and have begun to build the connection between a time in Berlin when there was practically no music-making happening, under Friedrich II’s father, Friedrich Wilhelm I’s leadership, to a period when the cellistic development in Berlin flourished, under Friedrich Wilhelm II’s reign (a cellist himself), during the late eighteenth century. Biography: George Ross is a British cellist, specialising in period instrument performance, currently in the second year of his master’s studies at the Royal Conservatory in The Hague where he receives lessons from Jaap ter Linden. Having attained a first class honours for his Bachelor of Music degree at the Royal College of Music in London, George has worked with such groups as The King's Consort, the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, and the Hanover Band. As well as performing orchestrally, in July last year his string quartet, the Consone Quartet was awarded two prizes at the International Young Artists Competition in York; the EUBO Development Trust prize, and a place on the Eeemerging Scheme 2016. In March this year (2016), the Consone Quartet won the Royal Over-Seas League competition.
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  Research – Jewish composers in a social context (2016) author(s): Marc Wielart Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Marc Wielart Main Subject: Piano Research Supervisor: Gerard Bouwhuis Title of Research: Jewish composers in a social context Research Question: Should Jewish composers be programmed under the heading of their identity, considering their position in society and their artistic influence? Summary of Results: This research paper is a personal subject; belonging to a minority means to conceal a part of your identity when necessary. Ultimately, Jewish individuals who deepened their social awareness, contributed disproportionately by expressing their inner richness to the arts. Quite often composers of Jewish descent are being programmed because of their presumed identity. German speaking Jews shared in general a deep respect for German culture, language and national identity. Almost all of Jewish intellectuals identified themselves above all as ‘German’. In order to outline the social context of several influential Jewish composers, a journey leads us through correspondence and thoughts by intellectuals from the nineteenth century to the landmark of the Second Viennese School and Expressionism. Everyone’s artistic and personal development is an individual occasion. Jewish composers shared in general a high awareness of their social position and the political developments in the societies they were part of. The historical background of German-ruled Europe in the nineteenth century is important to understand the eventually cruel fate. German culture was both inclusive as exclusive, as I described in an introducing chapter on historical and social developments. Gradually artists of Jewish descent and loyalty were confronted with the downside of their culture: Exclusion. Today, we have access to an enormous amount of information, such as musical sources, correspondence, publications and interviews. While using the direct sources, we are able to set eyes on expressions of hatred, anxiety and alienation. Biography: Marc Wielart (1990) studied with pianists Ton Hartsuiker, Rian de Waal and Ellen Corver. Before this research he studied subjects as the relation of music to the fine arts, wrote a dissertation on the influence of Immanuel Kant on modern European artists and is active at informing on modern anti-Semitism.
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• Tony Williams - a drummer who has changed a way of my drumming (2016) author(s): Pavol Blaho Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Pavol Blaho Main subject: Jazz Drums Research Coach: Yvonne Smeets Title of Research: Tony Williams - a drummer who has changed a way of my drumming Research Question: How can I through researching , transcribing and analyzing of Tony Williams became a better drummer, who is able to play more "open", react on specific moments and be more helpful - conductive for the band? My master research is fundamentally about myself and how can I become a better drummer influenced by Tony Williams. I did transctriptions of "short - licks ", drum solos and drum comping. Than I created drum exercises which are inspired by Tony Williams playing. By practising these exercises /not only/ I want to become a better drummer. These ones could be use for another drummer to study this kind of drum work. Short biography about myself: My first contact with music happened when I was 4 years old kid. It was behind the drums. When I was 9, I started to study classic clarinet on basic music school in my town. Than I went for secondary school to Conservatory in Banska Bystrica. After six years of studies at Classic Conservatory Banska Bystrica - music instument Clarinet, I decided to go to study Drums at Royal Conservatory in Den Haag. I have at least 10 years of teaching experience. In these days I am playing with Martin Uherek Quartet.
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• Acquiring the skill of keeping a steady beat as an older beginner (2016) author(s): Merit Verbeij Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Merit Verbeij Main Subject: Music education according to the Kodaly Concept Research Supervisors: Ewan Gibson and Suzanne Konings Title: Acquiring the skill of keeping a steady beat as an older beginner Research Question: What is steady beat and how can the skill be developed when pupils are “older beginners”? Summary of the results: The steady beat is an ongoing movement in time and is necessary to be able to communicate through the music and to experience the music in all its layers. The development of the skill of keeping a steady beat shows roughly three different stages: awareness of beat, being able to play along with support of an external beat and being able to internalize the beat. In order for the right experience of beat to happen the activities demand beat relating repertoire, movements corresponding with the beat and the right support from the teacher. Biography of the student: Merit Verbeij is a music teacher who lives in Rotterdam and teaches at a Dutch International Primary School. After her BA in Music Education at Codarts, conservatory of Rotterdam she studied the MA in Music Education according to the Kodály Concept at the Royal Conservatory at The Hague.
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