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

• The Joy of Practice. A Case study of Keren by I.Xenakis - The pursuit of happiness in our practice room (2015) author(s): Georgios Kachrimanis published in: KC Research Portal
  Name: Georgios Kachrimanis Main Subject: Classical Trombone Research Coach: Paul Scheepers Title of Research: The Joy of Practice: A case study of Keren by Iannis Xenakis Research Question: How can I bring the joy back into my daily practice? Summary of Results: Every musician perceives “hard work” differently in their career or education. For me it was something like weight lifting training with the motto “No Pain, No Gain”. This was my idea about practicing music for more than 15 years. Besides the hard work I was also dealing with anxiety and the outcome was that I was not progressing in my practice and performance. I noticed that I was not enjoying myself anymore as I did as a young boy, but that I was ‘working’ the trombone instead of ‘playing’. When I was accepted for the masters program of the conservatoire I knew I had to change something about my way of practicing. So I came up with my main question for my master research “How can I bring the joy back into my daily practice?” In my research paper I am exploring the flow theory of Csikszentmihalyi and the use of awareness from book of The Inner Game of Music. According to the Csikszentmihalyi flow can help musicians to experience more joy and achieve better work satisfaction. In order to explore this theory and the use of awareness I used a case study, Keren by Iannis Xenakis. Because joy and anxiety also got a lot to do with how you plan your practice and recovery I also made a practice plan. For this I used the information and planning techniques I got from Erja Joukamo-Ampuja, one of the speakers at the conference ‘From Potential to Performance’ in 2013. Putting all the information I gained during my research together, I came up with six conditions that I needed for my daily practice to be flow-like so I could gain some joy out of it: having a clear mind, a goal/outcome, good skill/challenge match, frequent feedback, physical/mental energy, relaxed concentration. During my presentation I will explain the concepts of flow, anxiety and joy in my daily practice and my case study. Biography: The Trombone came into Georgios’ life at the age of 15, although he had started playing music at the age of ten in his local fanfare band. Shortly thereafter he started playing in the Athens Student orchestra. The first time he played music professionally was at the age of 17, with the Radio Symphony Orchestra of Greece. In 2002 he won his current position as principal trombone of the Athens Philharmonia and in 2003 finished his studies with a 10 and first prize. During the next 10 years Georgios won other auditions and played with all the major and minor orchestras in Greece, appearing as a soloist on a number of occasions.
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  Latin Tinge and american jazz Drumming (2015) author(s): Jacopo Zanette Limited publication. Only visible to members of the portal : KC Research Portal
  Research abstract Name: Jacopo Zanette Main Subject: Jazz Drums Research coach: Jarmo Hoogendijk Title of research: “Latin tinge and american jazz drumming” Research question: -How can I expand my vocabulary in playing the latin rhythms of the american jazz tradition on the drums in order to have a concrete idea of the roots whose grooves are coming from? -What will I be able to play with them and in what situations will I use these grooves as a tool to improve my musical, compositional, technical skills? Summary of results: This research wants to prove how the latin music from central and south America influenced deeply the culture and the roots of the U.S.A jazz traditions. The gathering between the latin and jazz gave birth year by year to a new form of music that would incorporate: the innovations and difficulties of the swing and jazz world that was evolving in the US; the solid groove foundations coming from southern America. The result that was made alive by people like Dizzy Gillespie, Chano Pozo and many others was simply unbelievable. This latin tinge influence became more and more popular also in all the standards the american jazz players used to play and made them writing new compositions and arrangements using this new flavour. This book wants to go deep into the latin tinge grooves that made certain standards really peculiar and helped these songs to become something unforgettable drummingwise. The groove is the core of the music so this work aims to demonstrate how simple ideas and rhythms played in the right spot and in the right tune are everything that is needed to make the music sound good. Every groove described wants to give the drummer a reference to expand his vocabulary starting from the solid foundations that the master drummers of the XX century offered. The presntation will show how knowing history and the roots of the drumming is the most important thing to develop your own musical personality and in order to have a unique personality the basics and foundamentals of drumming should be really solid. The groove is the core and the latin tinge grooves are part of a chapter that no jazz drummer should underestimate. Biography: Jacopo Zanette (drums) Musician class '89, drummer, composer, teacher since 2010.Bachelor study in jazz drums and percussions at the Kartnerlandeskonservatorium of Klagenfurt(Austria)obtaining the degree cum laudae.In the same institute he studied musical pedagogy, obtaining a parallel degree also cum laudae.In 2010 records “Song for Jaco” with the Pordenone big band conducted by Juri Dal Dan.He Collaborates in 2012 with the austrian national radio ̈ORF in recording the cd Kuddelmuddel broadcasted in the austrian radio stations. Since 2013 lives in The Netherlands and performs in many concerts and festivals in Holland, France, Belgium,Greece and Italy playing from jazz to pop.
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• Focused Listening in Jazz Improvisation How can I create interesting musical lines by shifting my listening focus to specific instruments during improvisation? (2015) author(s): Felician Honsig-Erlenburg Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Felician Honsig-Erlenburg Main Subject: Jazz Saxophone Research Coach: Karst de Jong Title of Research: Processes, ways and habits of receiving jazz music Research Question: How do jazz performers listen in different situations? Summary of Results: Through a questionnaire and several interviews, findings were made in various areas of the jazz musician’s listening work: the difference between practice- and performancelistening, techniques for listening in live situations and the relevance of time and attention in the listening experience. On a practical level, this also included the experiment of performing music on a second instrument. Besides presenting an overview of the collected personal accounts, the research presentation will consist of demonstrating the impact of ways of listening on the live performance through musical examples. Biography: Felician Erlenburg was born in Klagenfurt, Austria in 1985. He studied saxophone at the Konservatorium Klagenfurt, the Berklee College of Music, and the Koninklijk Conservatorium in The Hague. Felician has also taught as a Teaching Assistant at the University of Oregon and he has been a private saxophone teacher, besides performing as a saxophonist in various jazz settings.
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  Frans Elsen: Harmonic Richness in Solo Jazz Piano Playing (2015) author(s): Laurence Fish (older account) Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Laurence Fish Main Subject: Jazz Piano Research Coach: Yvonne Smeets Title of Research: Frans Elsen: Harmonic Richness on Solo Jazz Piano Playing Research Question: How does Frans Elsen achieve harmonic richness in his solo piano interpretations of jazz standards and how can I implement aspects of his approach in my own playing? Summary of Results: This research explores the harmonic approach of renowned Dutch jazz pianist, Frans Elsen in his solo performances. Twelve complete transcriptions from his CD 'Live at the Pinehill' were made to form the subject matter. Information most relevant to addressing harmonic weaknesses in my own playing was then identified and analysed. Finally, practice exercises were constructed in order to help me integrate aspects of Elsen's approach into my own playing. The last of these exercises was to arrange the standard 'Close Enough for Love' in the style of Elsen. This arrangement was used in part to gauge the effectiveness of my research process as a whole. Biography: Laurence Fish (London, 1985) began playing piano at the age of 9 and trained as a classical pianist until 2007, when having completed a degree in Psychology and Music from Leeds University, he decided to specialise in Jazz Piano. In 2008 he emigrated to The Netherlands in order to study at the Royal Conservatoire of The Hague where he graduated cum laude in May 2013. He continues to be based in The Hague, where he is currently finishing his Master studies at the same institute as well as working freelance as a teacher and performer.
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• The Composer As Producer (2015) author(s): Kellen Mc Daniel Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Kellen McDaniel Main Subject: Viola Research Coach: Theo Verbey Title of Research: The Composer as Producer: Exploring New Music Technology Research Question: What are some examples of exciting new music technologies and how are they implemented? Summary of Results: Technological advances have resulted in an explosion of new tools for the creation of electronic music. Contemporary classical composer’s usage of new music technology has lagged far behind its rapid development due to longstanding prejudice and hurdles of technical literacy. I have written two contrasting etudes as a jumping off point for the exploration of new music technology developed within the last 5-10 years, fully produced using a wide array of cutting edge software. Documentation included provides insight into the methodology of studio production, as well as scores, MIDI files, and the recordings themselves, which will allow users to jump right in where I left off and see precisely how all results were achieved. The presentation will include a performance of both etudes as well as demonstrations and discussion of the specific techniques utilized in their production. Biography: Kellen McDaniel is a violist and composer from Los Angeles, California. He received his BM in Viola from The Juilliard School in 2013. He is currently pursuing an MM at the Royal Conservatoire of The Netherlands, Den Haag with a particular interest in chamber music and new music technology.
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• Ornamentation in English Song 1600-1650 (2015) author(s): Daniël Elgersma Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Daniel Elgersma Main Subject: Early Music Singing Research coach: Johannes Boer Title of research: Ornamentation in English Song 1600-1650 Research question: Did 17th century musicians in England perform the English song with ornaments, even when no ornaments were indicated? Are there things we should change in the way we perform this repertoire nowadays? Summary of results: I’m interested in 17th century English song for a long time. Listening to and performing it myself with modern scores I noticed that modern editions look very simple and ‘empty’ and that it is also performed in that way. Since I knew that Italian and French music of the same period used to have a strong costom of (improvised) ornamentation, I started wondering if this was actually also the case in music from England. To find answers to my questions I looked at the life and music of English composers starting with John Dowland and ending with Nicholas Lanier. I’ve been looking into manuscripts and treatises, and I’ve discovered many new things. Especially the things I found out about the music during the second quarter of the century surprised me a lot. I’m sure my discoveries will surprise other people also. I’ve had the pleasure of discovering many nice things about this music and about how it used to be performed back in the time. England has had strong connections with other countries in the late 16th and early 17th century. These connections influenced the musical style in England a lot. In my presentation I will talk about what these influences were and how and where they came from. I will also show different manuscripts of the time and I’ll let the audience listen to beautiful music in which can be demonstrated well the difference between how we perform this repertoire nowadays and how it would have been performed 400 years ago. Biography: Countertenor Daniel Elgersma (1988) started singing as a boy soprano at age 6 in the Martini Boyschoir Sneek (Bouwe Dijkstra) where he soon became a chorister. He obtained Bachelor degree in Early Music Singing at the Royal Conservatory in The Hague as a countertenor, where he now proceeds his Master degree with Lenie v/d Heuvel, Michael Chance, Peter Kooij and Jill Feldman. Daniel participated in masterclasses by Michael Chance, Peter Kooij, Barbara Schlick and Marinda van Kralingen. Daniel sings with Bach Collegium Japan (Masaaki Suzuki), Gesualdo Consort (Harry van der Kamp), Vox Luminis (Lionel Meunier), Ton Koopman en Daniel Reuss touring in Japan, Oman and throughout Europe. Recent soloistic performances include Bach cantatas with Lars
Ulrik Mortensen, Masaaki Suzuki and Purcell’s King Arthur with Jean Tubery.
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