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 piano pieces by Rachmaninov for string quartet (2015) author(s): Leo Nikishin Limited publication. Only visible to members of the portal : KC Research Portal
  Rachmaninov did not write any music for string quartet in his artistic maturity. The two known quartets are very early works written by a undoubtedly talented teenager that had yet to find his style and finesse. As such, it does not seem relevant to study those early quartets in order to determine the best way to arrange Rachmaninov's pieces composed at later stages of his life.
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• Programme notes (2015) author(s): Tim Sabel Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Tim Sabel Main Subject: Classical Piano Research Coaches: Stefan Petrovic, Renee Jonker Title of Research: Programme notes - research in programme notes that colours the experience of a classical concert Research Question: What kind of programme notes can help to colour the experience of a classical concert? Summary of Results: Programme notes can play a key role in making a classical concert more attractive to the audience. Often I read informative programme notes at concerts, while putting the music in an artistic and historical perspective can give a larger view on the music. Also, experiential programmes note can capture the imagination, so the audience may have an association with the music they are listening to. For a musician, it is very important to be aware of your audience since an audience is important to keep (classical) music alive. Writing programme notes forces the musician to do research in the repertoire and helps to give an overview of the piece. In this research I wrote three different programme notes for Miroirs bij Maurice Ravel that I played for an audience. The audience gave their opinion by a questionnaire and indicated how the programme notes influenced the experience of the concert. This research paper and my presentation will show how the programme notes coloured the experience of the concert. Biography: Tim Sabel (’90) finishes the Master Classical Piano as a student of Ellen Corver at the Royal Conservatoire in The Hague this year. Tim performs as a soloist and in various duos and ensembles, where he often plays modern music. He played compositions of Reich, Andriessen and Martland during the Dutch Youth Orchestra Summer Academy and recently he played the Three Pieces For Two Piano’s by Ligeti. Tim followed a Minor Music Theory, frequently makes arrangements and has an interest in improvising. Tim is part of Orkest Morgenstond, which has the goal to make the residents of the district Morgenstond in The Hague familiar with classical music.
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• Auditie Contrabas (2015) author(s): Teun Godschalk Limited publication. Only visible to members of the portal : KC Research Portal
  How do you prepare an audition for an orchestra? The subject I chose to research is how to be best prepared for an audition. An important part of the professional music business is being well prepared for auditions. I have experienced this during the Orchestral Master Double Bass, followed at the Royal Conservartory in The Hague. Granted the most important thing is being well prepared musically, by rehearsing the required solo pieces and orchestral excerpts. But preparation for an audition does not solely come down to musical capabilities. There are other aspects of the audition that a musician can prepare for. For example, it is important to know more about the orchestra you’re auditioning for. What sort of musician are they looking for and which qualities should he or she possess? Another subject I that I want to explore is dealing with nerves and anxiety.
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• BECOMING A CONFIDENT SINGER AND ALEXANDER TECHNIQUE (2015) author(s): Bernadett Hegyi Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Bernadett Hegyi Main Subject: Classical Singing Research Coaches: Gerda van Zelm, Fiona Tree Title of Research: Becoming a Confident Singer and Alexander Technique Research Question: How can Alexander Technique help build a singer's confidence? Summary of Results: One thing that a singer must not lack is self-confidence. Acting and singing at the same time can be crucial for singers, especially because excessive focus on many things can be disadvantageous. I also had the impression from talks with my colleagues that a lack of confidence was very common among young artists. My goal was to understand more about the body as a singer's instrument, and to gain control over my behaviour and misuse of the body on stage and to get more self-confidence through practising Alexander Technique. My research revealed that while there is a definite connection between Alexander Technique and confidence, it is very difficult at this point in time to identify exactly how and why. To have examples of different opinions, I interviewed teachers and students. I applied their and my own discoveries and information to my own individual Alexander Technique practice and singing lessons. In this research paper I have shared the experiences, summaries, interviews and lesson observations I have engaged in. Biography: Bernadett Hegyi was born in Hungary. The young soprano started her music education in Budapest and the University of Pécs Faculty of Music. Since 2009 she has been studying in The Netherlands to continue her studies in the Royal Conservatoire in The Hague to keep mastering her knowledge and talent with her renowned singing teacher, Sasja Hunnego. She developed her skills from Éva Lax, Marianna Váradi, Rita Dams and Andrew Schroeder. She is a member of various choirs and ensembles, and she sings baroque music and contemporary music as a soloist. She has worked with Gijs Leenaars, Daan Admiraal, Rob Vermeulen, Pietro Rizzo, Michal Alber and Peter van Heyghen conductors. Nowadays she mainly focuses on high coloratura soprano repertoire.
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• The Evolution of a Tradition: how traditional bassplayers influenced the soloing of Larry Grenadier (2015) author(s): Marijn van de Ven Limited publication. Only visible to members of the portal : KC Research Portal
  I will compare bass solo from Larry Grenadier around the time when he was recording the Art of the Trio albums with Brad Mehldau, with bass solos from Jimmy Blanton, Paul Chambers, Ray Brown, Oscar Pettiford, Charles Mingus, Oscar Pettiford, WIlbur Ware and Charlie Haden.
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  Research Report (2015) author(s): Antreas Yerolatsitis Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Antreas Yerolatsitis Main Subject: Jazz Guitar Research Coach: Jarmo Hoogendijk Title of Research: Michael Brecker out playing analysis Research Question: What are the ways and formulas that Michael Brecker uses to play out of the harmonic information of a certain chord or chord progression and how can I adopt them in my own improvisation. Summary of Results: Michael Brecker as jazz saxophonist is well known for his abilities to improvise over different styles of jazz with wide musical chops. He is able to improvise melodically and technically, in a way that keeps the listener interested in his soloing built up and direction. Already, from his first years on the jazz music scene, he showed himself to be a player with identity in his sound and a style of playing that is almost impossible to be confused with that of other saxophone players. For my research report, I focused on researching the “Michael Brecker out playing”, which is certainly one of his strongest and more characteristic chops emerging from his improvisations. The way I chose to examine the ways he does this is by transcribing two of his improvisations in modal and wide harmonically compositions. I focused on the out playing fragments from his improvisation and I tried to classify them into five specific categories. Those categories clearly show and explain the concept behind the harmonic movement that he chose to improvise on. During my research progress, I understood in depth how Brecker approaches the out playing technique in his solos. I gained very interesting and useful ideas on how I can enrich my improvisations with these techniques and transform my playing in a more interesting and sophisticated way. I tried to use the same fragments at first and subsequently find my own musical phrases/lines or sequences based on the Brecker methods. My presentation will include some of the examples from my transcriptions accompanied by actual parts from his solos from the recordings. Finally, I will present my final result by improvising with a live performance and with a prepared solo that will include all the techniques that I discovered, analyzed and adopted during my research work. Biography: Antreas Yerolatsitis is a Cypriot Jazz Guitar player. He was born in 1988 in Nicosia, Cyprus.At the age of 6 he started classical piano lessons in a music school in Nicosia, that was in a collaboration with the London's Royal School of Music. At the age of 15, he had his first guitar studies, also classical. From the age of 16 - 20 he had rock/blues guitar and modern music theory lessons. In that period he played rock/pop music with different bands in Cyprus in weekly basis. In 2009 he started his studies at the Royal Conservatoire.
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