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

• Arranging the Mystery Sonatas by H.I.F. Biber for the guitar (2016) author(s): Antero Pellikka Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Antero Pellikka Main Subject: Classical Guitar Research supervisor: Patrick van Deurzen Title of Research: Arranging the Mystery Sonatas by H.I.F. Biber for the guitar Research Question: What strategies can I take when arranging pieces with melody and continuo for the guitar? Research Summary: Throughout the existence of our instrument, guitarists have been arranging and transcribing music written for other instruments. Many compositions that are not originally written for the guitar have gained a place in the standard repertoire. Especially making arrangements of Baroque violin music is a long established tradition. My research aims to continue this tradition by presenting three arrangements of the Mystery Sonatas by Heinrich Biber, who was undoubtedly one of the most famous violinists and composers of the 17th century. This research describes the arranging process of these compositions and how a classical guitarist can use the basso continuo practise as a central tool when arranging pieces with melody and continuo. Some performance aspects of 17th century music will also be discussed as well as different arranging methods for the guitar. The final product of this research is the arrangements of Mystery Sonatas III, IV and V by Heinrich Biber, which show the information gathered in the research paper in practice. The presentation will go deeper into different methods I used in making these arrangements visually through PowerPoint and contain audible examples of my arrangements. Biography: Antero Pellikka (born in 1988) is a Finnish guitarist. He had his first guitar at the age of 7 and soon after that he started his guitar studies at Juvenalia Music Institute under the guidance of Esko Virtanen. After graduating from music institute Pellikka studied with Petri Kumela at the Helsinki Conservatory and Metropolia University of Applied Studies. Currently he is completing his Master’s degree at the Royal Conservatoire in the Hague under the guidance of Zoran Dukić and at Sibelius Academy in Helsinki with Jukka Savijoki.
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• An E-flat Major Clarinet Concerto. The authorship issue between James Hook and Jean-Xavier Lefèvre (2016) author(s): Juan Jose Molero Ramos Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Juan José Molero Ramos Main Subject: Clarinet (Early music) Research supervisor: Charles Toet Title of Research: A Concerto for Clarinet and Orchestra in E-Flat Major. The authorship issue between Mr. James Hook and Mr. Jean-Xavier Lefèvre Research Question: After discovering the same music written by two composers (J. Hook and J. X. Lefèvre), Who would be the authentic composer of the piece? Summary of Results: James Hook composed a Clarinet Concerto in E-flat Major in 1812 which seems to be the first English clarinet concerto in 19th century. Nobody realized before this concerto is the same music as Lefèvre’s Clarinet Concerto in E-flat Major. The reason is Lefèvre’s Clarinet Concerto was lost untill now. Internet Data systems (like RISM) make possible to locate Lefèvre’s score in the Russian State Library in Moscow. During the research process I discovered similarities between both concertos and I focused my research to clear this authorship issue. The tools used to be successful in my target was the comparison of the music itself from both composer between them and with the concerto, but also and more important, the bibliographic data of both original sources by using archives and documentation techniques.
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• From Song to Rhythm Notation (2016) author(s): Anouk Vinders Limited publication. Only visible to members of the portal : KC Research Portal
  About this exposition Two years ago I visited music lessons in the Kodály Iskola in Kecskemét (Hungary). While I was sitting in the back of the classroom, twenty-five children (age 7) walked in while singing a song. During the music lesson all the children sang in tune, were continuously involved, were motivated to sing on their own and were enjoying the class. I was impressed about the way these children were making music. They performed music with quality and care. The children were reading music almost at the same level as they read and write language. In this school, music lessons belong to the regular curriculum and are as normal as mathematics or history. There, music belongs to the development of the human being. In what way is the music teacher teaching these children, so that they became this highly-skilled in music? And could this way of teaching music be adapted to other countries, for example to the Netherlands? In this research I would like to find answers for suitable musical repertoire, teaching strategies, methodology and teaching tools to develop a sequence for teaching rhythm notation. Biography Anouk Vinders graduated from the Bachelor of Music Education in 2013 (Codarts, Rotterdam). From 2013 she was a music teacher at different primary schools in Rotterdam and The Hague. From 2014 till 2016 she studied at the Master of Music Education according to the Kodály Concept (Royal Conservatoire, The Hague).
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  “Play like a singer and sing like an instrumentalist!” (2016) author(s): Sven Weyens Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Sven Weyens Main Subject: Classical Singing Research Supervisor: Kathryn Cok Title of Research: ‘Play like a singer and sing like an instrumentalist!” Research Question: What are the main differences between vocalists and instrumentalists? Is it an advantage to have an instrumental background as a singer and vice versa? Summary of Results: I am a professional cellist in the Residence Orchestra of The Hague, but I have always been singing next to my career as a cellist. When I started my Masters in classical singing in 2014, I was confronted with the fact that in many ways singing is really different from playing an instrument, as well physically, technically as mentally. But in some ways it feels the same. The question arose: are there real differences between singing and playing an instrument, and what are they exactly? This Research paper gives an answer to the question what the differences are between playing an instrument and singing, and explains them. In seven chapters I compare the physical instrument, the location of pitch, text versus musical language, personality, etc… I found that it is an advantage to have an instrumental background as a singer and vice versa. There are also big differences between singing and playing an instrument. The research is based on a questionnaire, interviews, books and my own experiences as a cellist and singer. Biography: Sven Weyens (°1974, Antwerp) started playing the cello at the age of ten with Frieda Celis. He studied in Antwerp, Leuven, Ghent, Zwolle and Detmold under Jaap Kruithof, Hans Mannes, France Springuel, Jeroen Reuling and Marcio Carneiro. In 1998 he obtained his Masters Degree with great distinction. He also took masterclasses with Harro Ruysenaars, Schmoel Magen, Francois Guy, Wolgang Laufer, Valentin Erben and Thomas Kakuschka. He is a member of the Residence Orchestra (The Hague Philharmonic) since 2004. Besides that, he has specialised in chamber music. He performed with a.o. the Josef Aschtak Trio, with whom he toured in the U.S. and Portugal. Sven gave masterclasses in the U.S. and Switzerland. In September 2014 Sven Weyens started a masters in Classical singing with Sasja Hunnego at the Royal Conservatoire of The Hague. Since then, he has performed regularly in the chamber music series of the Residence Orchestra and sang the part of “Te fish” in the summer of 2014 in "Vom Fischer und seiner Frau" by Otmar Schoeck, at the Grachtenfestival Amsterdam. In November 2014, Sven performed “Dover Beach” by Samuel Barber live for NPO4. In January 2015 he sang the role of Bartolo in a production of Le Nozze de Figaro at the Dutch National Opera Academy, and the role of Don Alfonso in Cosi fan Tutte in Festival Opera Aan Zee. He also sang the part of Moses in C.P.E. Bach’s “Israelieten in der Wüste", the bass arias in J.S. Bach’s Christmas Oratorio, the baritone soli in the Fauré”s Requiem and in the 9th Symphony of Beethoven. He is currently preparing his master's final recital, where he will perform “Kindertotenlieder” of G. Mahler, accompanied by members of the Residence Orchestra The Hague.
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• Research Proposal - Johannes Brahms Third Piano Sonata (2016) author(s): Pablo Moreno Limited publication. Only visible to members of the portal : KC Research Portal
  I found a very strong stylistic connection between Brahms Third Piano Sonata and his symphonic music when I started to learn the piece. There are some aspects, such as the doubling of the notes, the use of an extense texture or the variety in the articulation, which look for a grandiose sound closer to the sound of the symphonic pieces. A fact which makes me sure about this idea is the impression that Robert Schumann had when he listened first time Brahms Piano Sonatas in Düsseldorf. He said there were “hidden symphonies inside the sonatas” .I had a similar feeling when I started to learn the piece. Being very interested in the orchestration and the imitation of the instruments trough the piano, I decided to do my Research about this topic. My Research Question is: How can we, imaginatively, orchestrate the Brahms Third Piano Sonata trough the piano and how does it affect how we play it?
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• The Voice and the Violin, Or How to Use the Voice in the Violin Practice (2016) author(s): Nathalie Verdon Limited publication. Only visible to members of the portal : KC Research Portal
  How the voice can be use as a tool in violin practice
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