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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  Prof. Dr. Dobri Paliev: traditions and innovations (2015) author(s): Kostja Napolov Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Konstantyn Napolov Main Subject: Classical Percussion Research Coaches: Paul Scheepers Title of Research: Prof. Dr. Dobri Paliev: traditions and innovations Research Question: Who is Prof. Dr. Dobri Paliev? Germany, France, Luxembourg, USSR, China - is this the complete list of countries which were influenced by Dobri Paliev’s exploring of percussion instruments? What exactly where his innovations? What do we know, and what materials can we find, about one of the most important percussion ensembles - “Polyrhythmia” which was founded and led by Dobri Paliev? Who are the contemporaries that inherited the legacy of Paliev’s, to which he devoted his entire life? Summary of Results: My interest in the personality of Prof. Dr. Dobri Paliev had been growing since my first rhythmic lessons at the music school in Odessa, Ukraine. I was 6 years old at the time. My teacher presented to me one of Paliev’s early works on a folk theme, and I was completely fascinated by rhythmic patterns, time signatures, changing of colours and simply beauty of the dance melodies. That was truly an unforgettable experience. That is why during my Master program at the Kiev National Music Academy in 2009 I decided to focus my entire energy on one of the most important figures when it comes to percussion instruments development and, generally, music in the 20th - 21st century. However, less than two years ago, when I was choosing the topic for my master research at the Royal Conservatory of The Hague, it became clear to me that I had not finished exploring the legacy which was created by Prof. Dr. Dobri Paliev and his followers. Therefore I started to research more about his private live, him as a composer, his performing activities. I was captivated by different qualities of this great personality. With this research I aim to provide answers based on unique facts, stories, video, audio, photo materials, live interviews and analysis of the famous works written by Dobri Paliev for his percussion ensemble “Polyrhythmia” and other world famous ensembles and systematic courses. Biography: Konstantyn Napolov (1987) received his Bachelor (cum laude) from the Royal Conservatoire in 2013. With his Percussion -Trio 'Davai Perkusion' Konstantyn he won the first prize during the Grachtenfestival Concours at Royal Concertgebouw Amsterdam. Twice he ended up as a finalist of the Kamermuziek Concours Almere, IPC Luxembourg, and won the first prize at 'Oh,Oh Intro' – popfestival The Hague. During his first year of Master he was accepted to do his Erasmus-study at the conservatory with the oldest percussion traditions – Cité de la Musique et de la Danse Conservatoire de Strasbourg with Emmanuel Séjourné. Together with Steve Reich, Kaija Saariaho, Martijn Padding, Unsuk Chin, John Luther Adams, Philippe Manoury (in person) he is working on solo and chamber music repertoire. Since 2014 Konstantyn Napolov is Haupt-Pauker (principal-percussionist) at Mannheimer Philharmoniker (Germany).
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• Cello Playing in Early-18th Century Britain (2015) author(s): Ester Domingo Sancho Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Ester Domingo Sancho Main subject: Oud-Barokcello Research coaches: Bart van Oort, Job ter Haar Title of Research: Cello playing in early 18th-century Britain. Research Question: Was there any school of cello playing during the first half of the 18th century in England? And in that case how far did the Italian Violoncellists influence the practice of cello playing in the 18th-century England and how this reflects in the repertoire for the instrument? Summary of Results: During the 17th century in England, the violin family instruments were considered by many of the noblemen and royalty as the instrument of pubs, village parties and fair-musicians. But, with the London performances of Italian and French cellists during the 30s of the 18th century, the popularity of the cello as a solo instrument grew considerably. Anyway, the cello, the bass instrument of the violin family, was built and played in England some years before that happened. It was designated with a different name (bass violin) and built in a different length than our modern standard but I believe it is still the same instrument. In this paper we will explore the terminology for the cello in Britain and I will try to proof that a bass violin is actually a cello by comparing the characteristics of some instruments made in England during the late 17th and 18th century, and paintings of the time. I will go also through the music and cello methods written and published in London for solo cello during the 18th century and I will analyze for what kind of musician was that music targeting, and what are the common characteristics of it. The presentation will include musical examples. Pictures and photos of instruments will be shown on a screen through a PowerPoint presentation. Biography: She began her musical studies at the age of eight in her hometown. She studied in the Conservatorio Superior de Aragón (CSMA) from 2006 to 2010. During 2011/12 she was a member of the JOA, a youth orchestra specialized in the performance practice of classical and romantic music with period instruments. In 2013 she finished a master degree at the Folkwang Universität der Künste in Essen, Germany, with Professors Alexander Hüllshof and Uli Witteler. Since September 2013 she studies a master's degree in Early Music at the Royal Conservatory of The Hague, under the guidance of Prof. Jaap ter Linden with a scholarship generously granted by the government of her city. She is a member of the Age of Enlightenment Orchestra Experience 2015.
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  Hoftrumpeter in central Germany (2015) author(s): Patrice Boileau Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Patrice Boileau Main Subject: Baroque Trumpet Research Coach: Bart van Oort Title of Research: Hoftrompeter in central Germany Research Question: What would have been the professional life of court trumpet players in Thuringia/central Germany from 1650 to 1750? What kind of music did they play? Summary of Results: The baroque era seemed to have been the apogee of the art of trumpet playing by slowly raising it to an instrument of art. The instrument become part of an elite, where only few people could play it well and had the right to do so. In this paper I aim to illustrate the life and role of trumpet players at court, in parallel to those of other court musicians and the Stadtpfeifer. By the numerous courts present in central Germany, the trumpet seems to have blossomed with a variety of composers writing for the instrument. What was the court life for a musician, what were the daily duties of the trumpeters, would they only play music, would they mix with the other musicians and how were their relations with the others? Those are all questions that I addressed in this paper. At the end of my paper you can find a list of composers active in central Germany that composed for the trumpet and my own edition of two pieces by one of these composers. Biography: Patrice Boileau is a young and dynamic trumpet and cornetto player native of the Province of Québec in Canada. After his studies at the Conservatoire de musique de Québec, he completed an Artist Diploma in orchestral performance at The Glenn Gould School. Patrice is currently completing a master in baroque trumpet at the Royal Conservatoire in The Hague with Susan Williams. Patrice has performed with several group in eastern Canada, such as the Orchestre Symphonique de Québec, Quebec City’s opera house, National Academy Orchestra, Sinfonia Toronto, the Sneak Peak Orchestra and the True North Brass. His passion for early music brought him recently to play with European ensemble such as Brabantsch Musyk Collegie, Elbipolis Barockorchester, The New Dutch Academy, The Wallfisch Band, Apollo Ensemble, Il Gardellino, and Les Agémens.
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• A personal way to internalize bebop language on the double bass through the blues-solo playing of Paul Chambers (analysis and exercises) (2015) author(s): Balázs Horváth Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Balázs Horváth Main Subject: Jazz Double Bass Research Coach: Jarmo Hoogendijk Title of Research: A personal way to internalize bebop language on the double bass through the blues-solo playing of Paul Chambers (analysis and exercises) Research Question: How can I find better improvisational language by analyzing Paul Chambers' solos on blues tunes, and through what methods and exercises can I apply those outcomes into my own practice when playing solos on the double bass? Summary of Results: The style we call “bebop” was developed in the 1940-s in the USA. This style is the basis of all new styles in modern Jazz, and this improvisational language is the starting point to the further, more extended languages in jazz. So for all of us Jazz musicians its deeper understanding and implementing to our own playing is more than essential. I always found the way Paul Chambers plays the bebop language on the instrument amazing. It's fluent, melodic, it has a natural flow and incredible variety, and the phrasing is really full of life. Since I knew he was among the first double bass players who entirely understood and transformed the bebop language for this instrument, it was logical to find him and his playing as the key for further studies in a more detailed way. The way to the deeper understanding in jazz is by making transcriptions. I have chosen a few blues tunes that he had solos in, then some more, to see the differences and possible similarities as well. Blues tunes seemed ideal to start researching: jazz players play them in great numbers, in more tonalities than a usual standard tune. I also tried to find blues solos of him in different tonalities, for comparison, in order to see how this factor can change his playing. The result of this research is better playing in not only the blues tunes, but in all bebop or standard tunes as well for me. Even the analysis and the continuous listening to the material gave a lot of ideas. Later on the development and the practice of the exercises also helped to get closer to the language and to the practical use of the analysis. I used to record the concerts I play usually, and if I listen back my blues solo playing before I started researching it, the difference is quite clear. Biography: I was born in Budapest, Hungary. I started to learn music after secondary school, first on the electric bass, and I received my first bachelor degree in Budapest on that instrument. I also started to learn the double bass as well, and became a professional musician on this instrument. I received my second bachelor on this instrument, studying also for a year at the Conservatoire National Superieur (CNSM) in Paris. I continued my studies with Wayne Darling in Graz privately in 2010-2012. I started my master studies at the KC in The Hague in 2013 with Clemens van der Feen.
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• Musician's Warm-Up (2015) author(s): Benjamin Marionneau Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Benjamin Marionneau Main Subject: Classical Cello Research Coach: Susan William Title of Research: Musician's Warm-up Research Question: Warming up, why and how? Summary of Results: Like in sport, warming up is the first thing a musician can do before a practice session or a performance. Playing an instrument requires a lot of involvement from the body and the mind, and can be very demanding. Therefore a session of practice or performance needs to be well prepared if the musician needs to play a long time in order to avoid all the problems that he can meet by the demands of practicing and performing. There is no need to spend a very long time on the warm-up, but important to do it in a good way, and in order to succeed in warming up it is good to have some knowledge about why and how to do it. In this presentation, we will approach the warm-up from the physical side and the mental side, without and with instrument. To do so, I will explain and give a few exercises and information that should be relevant for any musician who wishes to improve his knowledge in this field. Biography: Born in 1987, in Poitiers, France. Benjamin Marionneau began playing the cello around 7-8 years old in the music school of Bressuire in France, and then moved to Poitiers where he studied with Marc Benyahia Kouider for almost ten years. He obtained his diplomas of cello and chamber music there in 2005. Then he moved to Paris and studied four years there, first with Henri Demarquette in the conservatory of Saint-Maur-des-Fossés where he obtained diplomas of cello (2006) and chamber music as well (2007), and later in the conservatory of Rueil-Malmaison with Marie-Paule Milone, where he got a "prix d'excellence" (2008). After four years in the Royal Conservatoire in Den Haag he received a Bachelor with Jan-Ype Nota and Michel Strauss as main teachers. He is now studying with Lucia Swarts and Roger Regter in Den Haag. He also participated in masterclasses and received cello lessons with great teachers as Anner Bylsma, Janos Starker, Jerome Pernoo, Xavier Gagnepain, Marc Coppey, Philippe Muller and François Salque, and regularly with Harro Ruijsenaars for the past four years.
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• Shapes in Jazz Harmony: Tension and Release (2015) author(s): Rokas Jaunius Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Rokas Jaunius Main Subject: Jazz Saxophone Research Coach: Yvonne Smeets Title of Research: Shapes in Jazz Harmony: Tension and Release Research Question: How can I connect triads using the tritone key as an application method to create tension and release? Summary of Results: I started with a simple idea that I came up with by listening to some of my favourite musicians like Michael Brecker, Eric Alexander, Kenny Garrett, Brad Mehldau and many others. I noticed that a lot of interesting harmony movements they used were utilizing symmetrical structures that were using tritone, major 3rd and minor 3rd intervals so I decided to try and combine various shapes in these intervals. While not having a deep understanding of harmony I realized that I have to explore this topic and therefore i started to explore the possible applications of a shape that I found to be appealing for my exploration - the triad. This piece of work is going to focus on the possible applications of the triad shape in jazz harmony utilizing topics like "Reinterpretation" And "Tritone Key". A couple of common harmony movements are going to be explored with possible triad combinations in tritone, major 3rd and minor 3rd intervals. And a couple of etudes to display an actual result that was achieved by utilizing this method. The chosen format is a Research Paper. Due to some technical difficulties i was unfortunately unable to record the audio examples for this presentation, but instead they are going to be performed live in the presentation that is going to take place on March 25th 2015. Biography: Hello, my name is Rokas Jaunius. I am currently studying Jazz Saxophone in the Royal Conservatory of the Hague in the 2nd year of masters. I also finished a bachelor here in The Hague and a Bachelor in the Lithuanian Music and Theatre Academy. Alongside of studying and researching I also perform actively as a Jazz performer.
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