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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  The Ways We Teach (last edited: 2023) author(s): Heloisa Amaral connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  A dossier on different perspectives on higher music education held in conservatoires in Europe and beyond
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  Crossing Borders (last edited: 2023) author(s): Felix Schlarmann connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Crossing borders – supporting ‘beyond genre’ artistic exchange by creating models for interdepartmental collaborative learning environments in a conservatoire. Open creative spaces that offer freedom for artistic collaboration, inspiration and creation between music students are still rare in conservatoires. Meanwhile these students, coming from all departments, show a deep interest in creative activities based on collaborating with and learning from peers from other genres and departments. But there are too many obstacles still occuring like busy schedules, the fear of the unknown or being afraid to improvise. The models and the communication around it need to be more clear, inviting and stimulating. In this research Felix Schlarmann investigates on new formats of inter-departmental cross-genre activities and their impact on conservatoire students' motivation, creativity and artistry. By conducting and analysing a series of case studies around creative semi-formal student-centred projects, Felix hopes to obtain more insight in the opportunities offered by cross-genre activities, but also into what desires and motivations students have around this topic and what challenges lie in the feasibility of various concepts.
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• My personal interpretation of "In Freundschaft" by K. Stockhausen (last edited: 2023) author(s): Marta Fitzsimmons Carnero archived in: KC Research Portal
  When I started to study my master of clarinet in Codarts I had little problems to find a good subject for my research, because I wasn’t able to find any subject that was enough interesting to be two years researching. Many topics appeared in my mind, like the clarinet in jazz music or the expression of the music in Weber’s or Brahms’s works, but I did not think in contemporary music, because it was a field really unknown for me. However, one day talking with one of my research mates, one thought came to my mind and I said to myself “You are doing your master and you know almost nothing about contemporary music! But you never tried to learn and listen it, so it’s time to begin to discover this music”. This thought really convinced me to start looking for a good contemporary piece, so I talked with my teacher Nancy Braithwaite and she recommended me many pieces. At the end, I had two pieces to decide: Berio’s Sequenza for clarinet and Stockhausen’s In Freundschaft, but listening to both pieces I decided to play In Freundschaft because, beside of the contemporary writing and technique, it had movements added to the performing, so it was an extra element to go for.
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• How Can A Contemporary Violinist Approach Performing In Different Styles? (last edited: 2023) author(s): David Pablo Bellido Herrero archived in: KC Research Portal
  Name: DAVID PABLO BELLIDO HERRERO Main Subject: VIOLIN Research supervisor: GERARD BOUWHUIS Tittle: HOW CAN A CONTEMPORARY VIOLINIST APPROACH PERFOMRING IN DIFFERENT STYLES? Research Question: what is the better way to approach performing different styles to be respectful with the composer and, at the same time, apply interesting ideas to our performance? Summary of Results: we can still find great performances and performers that don't take care enough of basic elements of the score, over all in classical and baroque music and in contemporary music. In one hand, we should go more often to the sources, because as I explain in the research, it is the better way to have a good approach. The sources could come from books (classical, baroque and romantic music), or in the case of contemporary music by the composer itself, interviews or videos. At the same time, it will show that we have the responsability of being strict enough to don't make the same mistakes that we are use to listen to.
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  Goldberg’s Variations: investigating Aaron Goldberg’s improvisational style (last edited: 2023) author(s): Jelle van der Meulen archived in: KC Research Portal
  Name: Jelle van der Meulen Main Subject: Jazz Piano Research Supervisor: Patrick Schenkius Title of Research: Goldberg’s Variations: investigating Aaron Goldberg’s improvisational style Research Question: How can I emulate characteristic devices from Aaron Goldberg’s improvisational style and apply these to my own playing? Summary of Results: In this research paper four improvisational devices that Aaron Goldberg uses are analysed. Examples of these devices are taken from five transcriptions of improvised solos on jazz standards (Con alma, Fantasy in D, The shadow of your smile, (Un) stable mates and Perhaps) and from recordings where Aaron Goldberg functions as a leader. The devices are selected for their occurrence in (almost) all of the transcribed solo’s and because they stand out and attract attention. Together they make up an important part of Aaron Goldberg’s playing style. The four devices are: chromatic runs returning to one note, arpeggios over the bar line, motivic development and lines in intervals. Following the analyses and some words on the (possible) origin of these devices (Aaron Goldberg didn’t invent them, they are part of the jazz vocabulary and came forth out of the improvisational styles of musicians from the history of jazz) the research deals with the emulation of the devices and offers exercises which an improviser can do to apply the devices to his/her playing. Biography: Jelle van der Meulen (1990) studied jazz piano from 2008 at the conservatory of Amsterdam where he received his bachelor’s diploma in 2013. There he studied with Karel Boehlee, Rob van Bavel, Hans Vroomans and Kris Goessens. In 2015 he started his master studies at the Royal Conservatoire in The Hague where he studied with Juraj Stanik and is currently studying with Wolfert Brederode. Jelle is the pianist of the hard bop band Bop This! and he leads his own piano trio. Jelle’s playing is featured on three recordings so far, the albums ‘Introducing’ and ‘Page Two’ by Bop This! and on the album ‘Out of Universe’ by the Amstel Bigband of which Jelle was the pianist from 2011 until 2014.
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  MEMORY AND FRISSON THROUGH THE PERSPECTIVE OF THE SOUND (last edited: 2023) author(s): Tilen Lebar archived in: KC Research Portal
  ABSTRACT: The author presents the results of the exploration of musical form through the perspective of the mnemonic technique of 'chunking.' He introduces to us his original work that was questioning and investigating different types of memory representations and limited capacities of a human brain. He combines the musical compositional process and defines the time relations between static and sound in motion. Later on, the author presents to us the overlapping characteristics of the sound phenomena of Autonomous Sensory Meridian Response (ASMR) and Frisson. He defines different bodily processes that are consequentially related to both sound phenomena. Moreover, the author presents the second original work that tried to reproduce the sound phenomena in a 'classic' concert form. Overall, he presents results of an online and a verbal survey that investigates the reactionary thoughts of the collective memories and experiences induced by the audience. Later on, he compares the feedback obtained with the existing researches that were dealing with the topic of memory and the psychophysiological responses of the human body.
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