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

• Jazz Drummer Elvin Jones: His Musical Heritage (2016) author(s): Peter Primus Frosch published in: KC Research Portal
  Abstract Name: Peter Primus Frosch Main Subject: Jazz Drums Research supervisor: Patrick Schenkius Title of Research: Jazz Drummer Elvin Jones – His Musical Heritage Research Question: What are the methods of Elvin Jones' playing and how did famous jazz drummers deal with his heritage? Summary of Results: The American jazz drummer Elvin Jones is one of the most famous musicians in jazz history. Nevertheless due to the writers' lack of ability to play the drums the existing research is very unsatisfying from a jazz drummer's perspective. Based on a wide array of transcriptions I put together several methods and concepts for accompaniment as well as drum solos developed by Elvin Jones. I also identified two predecessors to specfic stylistic approaches. The second chapter is about Jack Dejohnette, Jeff 'Tain' Watts and Brian Blade and how they dealt with his heritage. My main conclusion is that aspects of Elvin's style especially the method of 'play the drum set as one instrument' completely changed the approach of playing the drums in Jazz. Specific characteristics can be found in the better part of contemporary jazz drummers and therefore it is essential to deal with his concepts and ideas. This research helped me to increase my awareness of various stylistics of modern jazz drum set playing and at the same time I got an idea on how to apply those methods. CV: Peter Primus Frosch (drums) born on the 11.12.1990 He started playing drums at age 5. After school in 2010 he enrolled at the Konservatorium Wien Privatuniversität studying with the likes of Mario Gonzi and Walter Grassmann. Since fall 2014 he is now continuing his master studies at the Royal Conservatory in The Hague, where he is under the guidance of the great dutch jazz drummer Eric Ineke. Awards: Fidelio competition finalist in 2012 and 2013, winner of the audience award in 2012; Most promising award“ by Marianne Mendt Jazznachwuchsförderung; winner of „New faces of Slovak Jazz“ 2014 best drummer at Generations International Jazzfestival Frauenfeld (Switzerland) - Jury: Lewis Nash, Seamus Blake, Don Friedman 2015: Winner of the Herbert Schedlmayer Jazz Stipendium workshops with Louis Hayes, Jimmy Cobb, Lewis Nash, David Hazeltine, Don Friedman, Seamus Blake among others; played with: Roman Schwaller, Clemens Salesny, Stephan Plecher, Jure Pukl, Daniel Nösig, Oliver Kent, Franz Hautzinger, Adrian Mears, Peter Herbert, Reinhard Micko, Klaus Gesing etc.
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• Fingering of the Viennese Double Bass (2016) author(s): Feng Zhou published in: KC Research Portal
  ame: Zhou Feng Main Subject: Violone Research supervisor(s): Kate Clark Title of Research: Fingering of the Viennese Double Bass Research Question: What was the historical fingering of the Viennese double bass? Which different effects it would have on different fingerings? What’s the modern solution of fingerings and its influence? Summary of Results: The Viennese Double Bass was a dominant type of double bass used in the Classical Period in Vienna. It usually has 5 string, tuned in F1-A1-D-F#-A, with frets. Unfortunately, we can barely find any historical material that was written down on the fingering of this instrument. Through the analysis of the history of fingerings on various double basses documented in historical methods, I can find the pattern of fingering that is often related to the tuning intervals of the instrument. The Viennese double bass was possibly using a '1-2-4' fingering system. In my research paper, I give the suggestions of specific fingerings, including basic fingerings (scales, arpeggios), exception fingerings (chordal fingering, octave fingering). For octaves, I find the possible solutions by using basic, chordal, extension fingerings and shifting strategy. With excerpts of solo works and orchestral parts, I give further explanation of the fingerings. Finally, I try to point out that the modern tuning of the Viennese double bass could cause alteration of the historical fingerings. Furthermore, it would also change the timbre. Biography: Master student of Violone (Koninklijk Conservatorium, Den Haag) Artist Diploma of Double Bass (China Central Conservatory, Beijing) Master Degree of Journalism (Tsinghua University, Beijing)
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• A Study of Basso Continuo Instrumentation in Baroque Cello Sonatas With a Focus on Jean-Baptiste Barrière (2016) author(s): Evan Buttar published in: KC Research Portal
  Main Subject: Baroque Cello Research Coach: Johannes Boer Research Question: What basso continuo instrumentation possibilities exist in baroque cello sonatas, and specifically in the works of Jean-Baptiste Barrière? Basso continuo is an essential part of baroque music, but the instrumentation of it is often ignored or dismissed. All too often, modern performers play with harpsichord and cello without considering the other options. This research paper investigates what the most common instrumentations for the basso continuo were in France and Italy, as well as what exceptions were made. The goal of the paper is to have a better understanding as to what instrument combinations can be added to baroque cello sonatas, and specifically to those of Jean-Baptiste Barrière. This composer was chosen because of the inventiveness, virtuosity, and unique nature of his music. Since there is little evidence relating directly to the cello, the continuo groups in orchestral, chamber, and solo music are investigated. The sources used include treatises and instrument manuals from the time, indications in the scores, records of basso continuo groups in concerts, and the opinions of present scholars on the subject. This information is then applied to practice through a series of instrumentation experiments on sonatas of Barrière, with a second cello, double bass, archlute, guitar, and harpsichord. Recorded samples of this process are supplied and discussed. The presentation will include an overview and discussion of the sources and evidence found, and live musical demonstrations will be presented by myself and colleagues.
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• Exploring the space within intervals: an approach on different ways of shifting on cello (2016) author(s): Alexis Bove published in: KC Research Portal
  After listing the different ways of shifting and looking for direct applications in the repertoire, my goal was to enhance the accuracy of my shifts. Looking for different approaches in order to raise accuracy brought me to three different conceptions about practicing. The first approach refers to have a clear idea of the body movement required to achieve the different types of position change. However, according to recent studies, this approach using an internal focus (focus directed to the movement itself) tends to be less effective than using an external focus (focus directed to the effect of the movement on the environment). Therefore the second approach consists in anticipating the sound as an external focus as well as developing the geography of the instrument. Nevertheless, anticipating the sound and knowing where a sound is located on the instrument does not include a musical context. Consequently the last approach is related to the goal conception as well as the practice of the musical intention. My main conclusion is that musical intention should be the main concern of the artist in his practice, which will lead to a more authentic approach in his artistic development. Besides, I encourage musicians to use goal setting in their daily practice to develop awareness of their intention, which will help to have a better view of what method to use to reach the desired result. The last approach which is motivated by the musical intention should encourage teachers to use instructions based on an external focus in order to help the student finding his own voice in music.
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• Trombonists: Hazards o the Road (2015) author(s): Pete Saunders Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Pete Saunders Main subject: Classical trombone Research coach: Susan Williams Title of research: Trombonists: Hazards on the Road Research Question: What are the causes of playing crises in trombone playing, and what are the possible courses of action in response? Summary of Results: In their professional careers many trombonists encounter serious playing problems. This research has sought to find some of the causes and some of the possible actions to take in response. Through an extensive questionnaire and interviews with experts a number of ideas were found concerning the possible causes and various means to help those in crisis. It was found that it is important in the first years: to have free choice of instrument, to start playing and receiving lessons early, to have support in the decision to attend higher education in music. In the years of study it is important, among other things, to establish good practice habits, including an early start and more than one warm-up per day. A maximum of 4 hours practice per day and one free day per week are recommended. During the professional years discipline remains essential, and teaching trombone is strongly associated with not developing problems. Recommendations from the experts interviewed include: place focus on the music, never on the physical problems; always keep learning; let go of patterns and judgements; increase your awareness through breathing; be open and honest; stay in contact with yourself. Biography Pete Saunders began his career in Mexico. After two years in Germany he settled in the Netherlands where he has lived and performed for the last thirty-five years, including twenty-six years in the Netherlands Radio Philharmonic Orchestra. For fifteen years he was the trombonist of the famed Netherlands Wind Ensemble, and also performed with all the contemporary music ensembles of the Netherlands. Pete Saunders started teaching at the Royal Conservatoire in The Hague in 1991. He has also taught and given masterclasses in Portugal, Germany and Israel. Many former students are trombonists in the orchestras of this country and abroad.
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• Test scores for research (2015) author(s): Suzanne Konings Limited publication. Only visible to members of the portal : KC Research Portal
  These scores are used for testing the hypotheses in the research-project "What's in a name?"
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