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

• Roelof Vermeulen at Philips: A Search for Space in Music (last edited: 2017) author(s): Kees Tazelaar connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  This article is based on several chapters from Kees Tazelaar, “On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965” (PhD dissertation, TU Berlin, 2013). These chapters are similar but not identical to Kees Tazelaar, On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (Rotterdam: V2_ Publishing, 2013).
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  Sounds of Broadcast (last edited: 2017) author(s): Raviv Ganchrow connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Sounds of Broadcast is a trans-disciplinary, context-dependent, research incorporating elements of investigative inquiry, theoretical reflection, artistic production and empirical experimentation. This research examines radio as a critical site in the historicity of hearing and explores the ways in which auditory patterns and techniques enact radio's transducer-dependent contexts.
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• Kees Tazelaar - A Handbook for Teaching Analog Studio Techniques in Function of Composing Contemporary Electronic Music (last edited: 2017) author(s): Kees Tazelaar connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  One important reason to address the (limitations of) analogue studio techniques in education today, is that they offer a unique possibility to gain insight in the relationship between compositional utopias and studio practice – between ideals concerning sound composition and musical reality.   The Royal Conservatoire houses two unique and predominantly analogue studios: the Karlheinz Stockhausen Studio of the Composition Department, which gives an overview of techniques and equipment from several decades, and the Voltage Control Studio (BEA5) of the Institute of Sonology, which contains one of the largest modular sound synthesis systems currently in operation. Although the handbook in preparation will primarily address Sonology’s analogue studio, users of the Stockhausen Studio will benefit from reading it.   The logic behind Sonology’s analogue studio is inseparable from a serial approach to music composition. Whereas in serially composed instrumental music, the musical dimensions such as pitch, duration and dynamics are treated as separate parameters, in a modular approach to electronic music, the sounds themselves fall apart in parameters. Each module of the analogue system represents a specific function of sound, and together these functions form a network that is physically represented by cables on a patch field. Planning and analysing these networks will be an important aspect of the handbook.   The handbook will discuss analogue studio techniques in education and composition practice not only from a technical perspective but also from a musical one. The author’s previous research in the field of historical production practice by composers such as Jan Boerman, Gottfried Michael Koenig and Dick Raaijmakers will be translated into practical examples.   The research method will consist of experiments in the analogue studio, protocolling the technical configurations and recording the audible results. Working methods of Boerman, Koenig and Raaijmakers will be analysed based on their own documentation, and subsequently translated into the possibilities of the Royal Conservatoire’s studios.   The research will result in a handbook with a theoretical introduction, explanations of pieces of equipment (both in text and in graphical representations), with configurations of equipment divided into the categories of sound production, sound transformation and sound spatialisation, and accompanied by sound examples.
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• Storytelling and jazz, creative and performances applications (last edited: 2014) author(s): Parrilla Garcia-Pelayo connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Name: Emilio Parrilla Garcia-Pelayo Main Subject: Jazz Clarinet Research Coaches: Patrick Schenkius and Philip Curtis Title of Research: Jazz and Storytelling: Creative and performances applications Research Question: How I can use storytelling in jazz composition, improvisation and stage performance? Research Process: With the aim to research the storytelling as creative inspiration, I have been working with different musicians and projects at different moments of musical creation: composition, improvisation and rehearsal. I have created Storytelling jazz project, as a laboratory to experiment the artistic relation between them. For the second part of my research, storytelling as a tool in jazz performance, I looked for direct connections in the history of jazz. Little by little, I focused the research on other cultures and music. I researched different storyteller traditions, and I choose four of them as source of inspiration (West African “griot”, Spanish “trovo”, Indian “Kathak” or Korean “Pansori”). I focus my attention in the way those traditions relate storyteller and music, looking for new ideas for my own performances. I have also done a brief approach to the storyteller’s history. This part of my research had two basics objectives: to recognize the discipline and the especial characteristics, and to collect ideas for my own performance. I have done three interviews with three artists related with storytelling or jazz. My purpose was to learn from their different experiences in the relation music/jazz and storytelling: the storyteller; musician and storyteller; jazz musician. Pepeperez is the pure storyteller, he is not a musician and he normally works without music. Kim Dong-Won is a musician and is really related with the traditional storyteller from Korea. Simon Baker, as a jazz musician, works normally with Korean storytellers. Summary of Results: This research focuses the attention on two directions: the storyteller as a source of inspiration and as a tool to facilitate the communication with the audience during the concert, always looking for the maximum integration between both disciplines. To analyze the possibilities of storytelling, we have to recognize three different dimensions of it: storytelling as human communication; as narrative part of arts; and as an independent discipline. The relation between storytelling and jazz has many possibilities: professional, musicological and artistic. I describe some of these possibilities. The stories motivate the active participation of audience, stage and audience as a common creative space.
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• Use your personal learning style for playing by heart (last edited: 2014) author(s): Emilie Bastens connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Name: Emilie Bastens Main Subject: Harp Research Coaches: Enno Voorhorst and Anton Sie Title of Research: Use your personal learning style for playing by heart Research Question: How can you find the most efficient way, which fits the best with you, for playing by heart?” Research Process: Much of my research has come from interaction with colleagues and my personal experience with playing by heart on a harp. I started with the head. I read more about the brain and the memory. After that, I took a deeper look at the instrument. I started to analyze the problems, which comes with playing by heart on a harp. Because studying by heart is very close to learning, I searched for more information about this topic. This is how I read more about differences in learning styles. I asked myself how my personal learning style could help me with playing by heart on the harp. With the research tool Belbin, Mr. J. Boogaars helped me to discover my personal learning style. I analyzed how I could use my positive and negative sides the best for playing by heart. Because I read more about learning styles, I started reading more books about management. Because of this I used helpful thoughts for playing by heart on a harp. Based on my experiences I made a plan with 7 steps, which can be used by other harpists for playing by heart. Summary of Results: This research is about the effect of knowing your personal learning style, on playing by heart on a harp. The research tool Belbin, which is based on the archetypes described by Carl Gustav Jung, shows differences in learning styles. There is a look at the difficulties of studying and playing by heart on a harp. On this basis, I searched for the influence of knowing your personal learning style on this studying. Helpful thoughts can help to reach your goal faster and easier. On this bases there is made a plan with 7 steps, which can be used for more efficient studying. Those 7 steps are useful for different learning styles and provide a guide for the possible difficulties that may be experienced with playing by heart on a harp. The presentation will include a deeper look at the difficulties of the instrument, differences in learning styles and a personal analyze of how to use your personal learning style in the best way for playing by heart.
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• A study of expressive fingering in performing the violin works of Ludwig van Beethoven (last edited: 2014) author(s): Yuki Horiuchi connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
  Name: Yuki Horiuchi Main Subject: Baroque Violin Research Coach: Wouter Verschuren Title of Research: A study of expressive fingering in performing the violin works of Ludwig van Beethoven Research Question: To what extent can we apply the 19th-century style of expressive fingering to violin works by Ludwig van Beethoven? Research Process: What are the best sources to consult regarding Beethoven’s violin fingering? In the 18th century, the most influential source of information on violin fingering is Leopold Mozart’s Versuch einer gründlichen Violinschule, but this treatise, published in 1756, is not necessarily the best source to use when performing the works of Ludwig van Beethoven (1770~1827). How, then, should we choose our fingerings for Beethoven’s violin works? By the end of the 18th century, some composers and players had started to adopt expressive fingerings, by which I mean the use of portamento, harmonics, and una corda playing. In this paper, I will explore the use of these techniques in the violin music of Beethoven, with the hope of discovering the timbre that Beethoven might have imagined. Summary of Results: At the end of the 18th century, violin-fingering practices began to move away from the conservative style of Leopold Mozart toward a more expressive approach, especially in France and Italy. Beethoven shows an obvious fascination with portamento, consecutive use of the same finger, and una corda playing, while harmonics are basically nonexistent in the works of Beethoven. As the 19th century progressed, these expressive fingerings were used more and more. It is clear that composers and violinists of the 19th century were looking for new timbres and evenness of tone. Beethoven’s fingering approach was truly avant-garde for its time.
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