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

• In what ways does the sing-along book improve a music lesson? (2016) author(s): Pilar de Sena Tomas Limited publication. Only visible to members of the portal : KC Research Portal
  The Sing-Along Books as an important tool in the Music lessons. The creation of my own Sing-Along Book in Spanish: "El Señor Don Gato".
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• What can be the role of the viola in Senegalese music? (2016) author(s): Rosa Welker Limited publication. Only visible to members of the portal : KC Research Portal
  Name : Rosa Welker Main subject : Viola Research coaches : Patrick Schenkius and Arno Willekes Title of research: What can be the role of the viola in Senegalese music ? Summary of Results: This research involves a possible viola’s role in Senegalese music including some knowledge on Senegal, African music and Senegalese instruments. Viola can have two functions in this musical style: melodic and harmonic. These latter are explained through ideas and examples such as audio illustrations or musical scores. This research can help classical musicians interested in playing or discovering a rich musical culture. Biography : Born in 1991 in Switzerland, Rosa Welker got in touch with the musical world at six years old. After two years of musical initiation, she began to learn violin. Admitted in a special highschool program for music, she was able to focus even more on her passion, which expanded through meeting and sharing with others musicians. She started playing viola six years ago. In 2011 she entered at the Haute Ecole de Musique of Lausanne in Christine Sörensen’s class and acquired her Bachelor’s diploma in 2014. From two years she studies with Asdis Valdimarsdottir at the Royal Conservatoire of The Hague.
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• How to become the ultimate sideman as a jazz drummer? (2016) author(s): Eric Ineke Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Eric Ineke Subject: Jazz Drums Research Supervisor: Rein de Graaff Title of Research: How to become the Ultimate Sideman Abstract In 2009 I started writing my book 'The Ultimate Sideman', which was published in 2012. So when later given the opportunity to undertake a Masters Research project, I immediately knew my research question: "How does one to become the ultimate sideman as a jazz drummer?" This is not an easy question, and I think that in my book the answer is hidden behind the story. The main part of my book consists of two long interviews I did with the American soprano/tenor saxophonist and educator, David Liebman. Prior to these interviews I wrote roughly one hundred portraits of the musicians I've played with and the experiences I've had with them both on and off stage. I sent these writings to David, who used them to compile some very interesting questions on which we based the interviews. The first interview was conducted in 2009 and the second in 2010. Alongside the interviews, all of my portraits were also published in the book. From these interviews/conversations emerged the topics of influences, awareness of certain styles, the quarter note groove, interaction, and how to deal as a drummer with different soloist's varying approaches to the time-feel. I wrote this book especially for young and upcoming jazz drummers/students to give them some insight into real life situations through the eyes of an experienced drummer/sideman. There are hundreds of books written with great drum exercises, and I felt that another book of exercises would not add anything more to what is already available on the market. In order to collect extra feedback and to have points of comparison from the careers of my drummer colleagues, I also conducted interviews with two other well-known ultimate sidemen, Adam Nussbaum from New York and Joe LaBarbera from Los Angeles. These two interviews can be found in appendices i and ii. Biography Eric Ineke started his career in the sixties. Drummers like Philly Joe Jones and Elvin Jones were his inspiration. In 1969 he made his first record with Ferdinand Povel. From the seventies on Eric played in the legendary Rein de Graaff/Dick Vennik Quartet, The Ben van den Dungen/Jarmo Hoogendijk Quintet and The Piet Noordijk Quartet. During his career he recorded numerous CD’s and toured with many great American jazz musicians like Dexter Gordon, Johnny Griffin, George Coleman, Al Cohn, Jimmy Raney, Barry Harris, Eric Alexander and David Liebman. For more then 40 years he is a member of the Rein de Graaff Trio and appeared on numerous jazzfestivals like Nice, Pescara, San Remo, Athens, Toronto, Montreal and New York. Since 2006 he is leading The Eric Ineke JazzXpress, a swinging band in the hardbop tradition. In 2012 he published his first book ‘’ The Ultimate Sideman’’, which he wrote together with David Liebman, for Pincio Publishers. He teaches at the jazz department of the Royal Conservatoire in The Hague.
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  The Piccolo Flute: a Storyteller through Zephyrus Voice (2016) author(s): Ana Catarina Da Silva Costa Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Ana Catarina da Silva Costa Main Subject: Orchestra Master – Flute and Piccolo Research Supervisor: Susan Williams Title of Research: The Piccolo Flute: A Storyteller through Zephyrus Voice Research Question: An Artistical Approach to (re)discover the Piccolo Flute Summary of Results: The use of Fairy Tales or Myths is often used in psychoanalysis to represent the psyche. The research project about the Piccolo Flute, presented in this Research Paper, was developed in order to tell a story through the music, exploring its sounds and techniques, and creating sound metaphors to express emotions. Zephyrus, the west wind God, blows different kinds of wind and can be used as archetypes for many emotional states and affects. This artistic approach to (re) discover the Piccolo Flute is a storytelling that pretends to express some of the Zephyrus emotions and simultaneously show some of the Piccolo sound resources. Biography: Ana Catarina Costa began her flute studies at the age of 12 with Ana Maria Ribeiro in her hometown conservatoire – Aveiro, Portugal, continuing her studies with Felix Renggli in the Musik-Akademie Basel. Since 2014 she is Orchestra Master student in the Royal Conservatoire The Hague, working with Jeroen Bron and Dorine Schade. During the past few years she regularly performs as a chamber music and orchestral player, working with conductors such as Vladimir Ashkenazy, Valery Gergiev or Kent Nagano. Ana Catarina was invited in October 2015 for a trial as Solo Piccolo in the Gothenburg Symphonic Orchestra in Sweden.
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• Research 'Advocaatje ging op reis' (2016) author(s): Emma van Dobben Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Emma van Dobben Main subject: ‘Music Education According to the Kodály Concept’. Research coaches: Renee Jonker, Ewan Gibson Title of research: ‘Advocaatje ging op reis.’ Research question: ‘How can music education for children at an early age benefit from using singable picture books?’ Summary of results: This research is about singable picture books: a picture book with one (children’s) song accompanied by illustrations for every verse, chorus or sentence. Singable picture books can have many positive effects on the singing voice, linguistic and reading skills, improvisation skills, social skills and narrative skills. Singable picture books can become a ritual and a moment of concentration in the lesson. It is an attractive way to present and prepare a song for the children. Folk songs are very suitable for singable picture books because of their narrative character. The children will have a more lively experience by looking at the story while singing or listening to a song. In this study I will explore the benefits of using singing and illustrations combined in a picture book. Also I have made a list with criteria what makes a good singable picture book. In the Netherlands there are not many singable picture books. I have made two books with a folk song in Dutch and a musical activity suitable for age 4-7. These books are meant for music specialists, but can also be used in other lessons or at home. Method Literature study about the benefits of using singable picture books: singing voice, folk songs, picture books, multisensory learning, reading and linguistic development. Practice based study: analysis of the singable picture books by trying them out in the music lessons, and write down features of the songs, books, and illustrations. Criteria list: based on my findings according to this analysis, what works well? What makes a good singable picture book? According the criteria list search for suitable Dutch repertoire.I will make two books with a folk song in Dutch and an extra musical activity. I have to find two illustrators who are willing to illustrate the book. Results: findings of my observations and observations of colleagues. What are the children’s reactions? Biography Emma van Dobben is a music specialist on different primary schools in the Netherlands. After she finished her Bachelor Music Education she worked at a youth theatre in Dordrecht as a singing teacher for children. In 2009 she started her Master of Music at the Conservatoire Utrecht and did her research in folk music. After that she wanted to specialize more in music education for primary schools and started the Master of Music according to the Kodály concept.
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• Sing, Move, Play! Training Inner Hearing and Polyphonic Hearing in the Violin Lesson (2016) author(s): Estela Benita Bernes Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Estela Benita Bernés Main subject: Music Education According to the Kodály Concept. Research supervisor: Liesbeth Ackermans Title of Research: Sing, Move, Play! Training Inner Hearing and Polyphonic Hearing in the Violin Lesson Research Question: How to introduce the use of relative solfa and movement activities in the violin lesson using specific violin repertoire in order to train inner hearing and achieve polyphonic hearing? Summary of Results: With this paper I aim to raise awareness on the importance of training the inner hearing and polyphonic hearing in the violin (or instrumental) lesson. The violin is a melodic instrument; traditionally we primarily work on the violin solo part of the pieces during lessons, focussing sometimes mainly on technical difficulties, which leads to a poor understanding of the music that is being played. The goal in this case is working towards the achievement of polyphonic hearing, that will enable the students to understand in a deeper level the pieces of their repertoire regarding form, phrasing, harmony/polyphony, rhythm and articulation; therefore allowing them to be independent musicians that can make their own musical decisions when playing. I have designed a series of activities related to different pieces of the violin repertoire – from beginners to advanced – using movement, singing, relative solfa and improvisation on the instrument. These activities work as well as a bridge between the general musicianship lessons and the violin lessons. Biography: Estela Benita Bernés is a violin player and teacher from the area of Barcelona, Spain. After completing a Bachelor in violin in ESMuC (Barcelona's Music College) in 2010, she moved to The Hague, The Netherlands, where she has studied violin and music education at The Royal Conservatoire. Estela has performed with various professional and student orchestras and ensembles playing from classical music to jazz or experimental contemporary music. Currently she is developing her Kodály-inspired teaching practise in the area of The Hague, where she works for different music education programs.
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