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

• Drowning in Aether (last edited: 2021) author(s): Matthias Hurtl connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Matthias Hurtl
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• Source Signals 2 (last edited: 2021) author(s): Kees Tazelaar connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Source Signals is an album with music I recorded between 1981 and 1985. The album showcases a transition from pop-oriented guitar tracks to experiments with electronics in which the guitar was the main sound source. Several bass guitar overdubs and one guitar overdub were made before the album was released in 2019. My rediscovery of these tracks and the decision finally to release them also triggered a renewed interest in the guitar as a musical instrument. After the LP Source Signals was released, I had been playing guitar at home almost on a daily basis, initially without a concrete plan. Gradually, however, an idea developed to compose an acousmatic multichannel work in which guitar playing would be the only source. This became Source Signals 2, an acousmatic eight-channel composition of almost 28 minutes.
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  Interrupts And Intervention (last edited: 2020) author(s): Bjarni Gunnarsson connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Interaction with generative processes often concerns manipulation of their input and output or a variation of predefined parameters that are part of a given process. One can think of algorithmic procedures as black boxes, it does not matter how they work if they serve in a useful way. Based on a black box model, generative processes can be instantiated, followed by a reflection of whether one accepts their results or not. This often involves an idea of completion. That an algorithm produces a result that has to be evaluated and treated accordingly. Creative activity, (such as musical composition) is arguably not such a clearly-defined process. Instead of progressing towards known goals, a compositional process might constantly develop and change shape. In such situations, generative algorithms are needed that interact with the ongoing creative activity. Algorithms that match (and take place within) the context of evolving and dynamic compositional processes. This paper presents a software framework that addresses the relationship between interaction and generative algorithms based on scheduling and computer process management. Algorithms that are partial and scheduled based on adaptive heuristics. Interrupt-based process management and context switching as a creative force.
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  Project 2 (last edited: 2020) author(s): Bjarni Gunnarsson connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  This exposition forms part of the research project 'Project 2 - Implementation' that concerns a modern implementation of a historically important computer-assisted composition program, Project 2 made at The Royal Conservatoire and Institute of Sonology in The Hague in 2020. The computer program Project 2 (PR2) extended some of the ideas introduced with Project 1. The aim was to give the composer greater control over the composition process and implementation started in 1965. Although several attempts have been made to complete a version of the program, there is no working version that exists today. This project proposal concerns completing Project 2, based on recent specifications by Koenig and with his invaluable assistance and input.
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  The role of music theory in professional music education, a historic overview [Snapshot from dev system - 2022-12-06 14:40] (last edited: 2020) author(s): Patrick van Deurzen connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  In the 19th century, we can observe a growing gap between what we call now music theoretical books and the development of music. As Robert Wason writes in his overview of “Musica practica: music theory as pedagogy”: “These [19th century harmony] books are symptomatic of the dearth of new ideas, and the irrelevance that pedagogical theory was falling into: (…) neither a theory nor a pedagogy of ‘Nineteenth -Century Harmony’ ever really seemed to get under way.” In this research, I try to unravel possible aspects that have a relation to this problem. One of these aspects has to do with the fact that a lot of what we call music theory origins from a compositional practice. Therefore, at the end of this research, I also made a start to describe music theoretical training that has no origin in this compositional practice. This exposition is still in progress.
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• Two Viennese piano schools: Beethoven and Hummel (last edited: 2019) author(s): Petra Somlai connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Two Viennese piano schools: Beethoven and Hummel
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