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

• Jazz / Pop Singing at the Crossroads of Movement and Musical elements (2024) author(s): Daniela Fanelli Limited publication. Only visible to members of the portal : KC Research Portal
  Research question - How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists? When considering the attributes of captivating performances, jazz and pop singers often tend to underutilize their bodies on stage. This observation prompted a deeper examination of the interplay between body awareness, singing, and movements, resulting in the question “How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists?” The research aims to address this question through a series of investigative stages. Firstly, the analysis of my 2023 end-of-year performance revealed a clear correlation between gestures, expressiveness and the four musical elements mentioned. Further research supported this finding and led to the development of movement-focused singing exercises, whereby vocalists sing while consciously engaging their bodies in alignment with each key musical element individually. This methodology underwent testing with six vocalists, yielding valuable empirical data. The data shows that this set of exercises can be a helpful, holistic tool in increasing expressiveness, enhancing awareness and improving embodiment while singing, as I have also experienced for myself. By sharing this research, I hope to encourage all musicians to deepen their connection with themselves, their instrument, and the audience through movement and body awareness.
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• IPA: I must Pronounce it Accurately! (2024) author(s): Ji Yoon Limited publication. Only visible to members of the portal : KC Research Portal
  To be a good classical singer is not just about singing with a beautiful voice. Considering the theatrical aspect of singing, a good classical singer is also a good speaker. To reach the quality level of speech, classical singers normally learn some pronunciation of languages such as Italian, German and French. This curriculum is familiar with a form of “- Diction” course. Thanks to those courses, most singers become able to read Italian, German and French. However, reading and singing the text is a totally different issue. Especially, for Asian students who have less linguistically in common with European languages, making a good speech in singing is a challenging subject. Based on own experiences, this research is a guideline for students who have been struggling to improve their practical diction skill and might be helpful for teachers who have students from Korea to understand their linguistic backgrounds.
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• Harp literature of Slovenian composers in the 20th century: interpretative challenges and possibilities and parallels with European literature in three Concertos (2024) author(s): Jernej Mišič Limited publication. Only visible to members of the portal : KC Research Portal
  As a Slovenian harpist studying at the Royal Conservatory in The Hague, I felt called to focus my research on Slovenian harp literature of the 20th century, in the hope that it will create more awareness and interest for it. In this research, I focused mainly on the works of three composers. Harp playing in Slovenia is not as long a tradition as other instruments do. The first work written for solo harp that I found dates back to 1954 – Concerto for Harp and Orchestra by Lucijan Marija Škerjanc. The next Slovenian composer who wrote music for harp was a student of Škerjanc, Zvonimir Ciglič. Here I focused on his Concertino for harp and string orchestra. While doing the research I looked for parallels with European literature for the harp. In the case of the Concertino, I found it in Debussy's Dances for Harp and String Orchestra. I studied both parts intensively and compared them. Alojz Srebotnjak is perhaps the most famous and represented Slovenian composer worldwide. His Harp Preludes are the most frequently performed work of a Slovenian author for the harp. In addition to literature and historical facts, during this research, I was greatly helped by the suggestions both composers gave to my mother, who also performed these works. I paid most attention to finding information about the works I presented. I relied on the advice of my mother and recordings that I found. In addition, radio shows with artist interviews were very helpful. I hope other colleagues will find this research interesting in other musical works.
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• Harp and electronics. A new way of understanding harp music. (2024) author(s): Alba Franco Trancon Limited publication. Only visible to members of the portal : KC Research Portal
  The main question that I will study in my artistic research is: How can I use electronic devices on the acoustic pedal harp, and how does it influence my compositional work? The methodology I used is based on analyzing the status of existing extended harp techniques and different electronic harps. I will contextualize the current role of the harp in the contemporary world. After studying different augmented instruments and how they are constructed, I will use them as a starting point to design an appropriate electronic to artistically develop my compositions. The last part of the research contains experiments that I have carried out in collaboration with two sinologists from the Royal Conservatory of The Hague. In these experiments, the creative process can be observed through what we have produced, as well as the work done to build the live processing electronics on the acoustic pedal harp. In addition to this research, I will showcase an original song that exemplifies the use of electronics developed during the study.
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• Half Valve - an approach to the sound of duduk (2024) author(s): Juan Cancer Navarro Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Juan Cancer Navarro Main subject: Classical Trombone Supervisor: Johannes Boer Title: Half Valve - an approach to the sound of duduk Research question: Is it possible to make the trombone sound in a way that reminds of a duduk? This research shows a development and documentation of the half-valve technique, trying to imitate the sound of the duduk, and solving the different problems that occur when executing this technique. There is a documentation of three different approaches for using this technique in music, one of them focused on the Armenian folkore using transcriptions by Komitas and Brutyan, another one treating improvisation in that style, and a last one in the field of New Music.
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• Free Parametric Improvisation: An Exploration of Guided Free Improvisation Techniques to Expand Improvisational Awareness and Creativity (2024) author(s): Selene Zuppardo Limited publication. Only visible to members of the portal : KC Research Portal
  This research delves into the development of a personal method aimed at enhancing creativity and exploring vocal possibilities in improvisational practice. The methodology involves an exploration of existing free improvisation methods, with a focus on three distinct approaches: Tabula Rasa by Stefano Battaglia, Game Pieces by John Zorn and Conduction by Butch Morris. It incorporates elements of zeroing, unconventional musical notation, structured limitations, clarity and openness of directions, and focus on basic musical parameters. The creation process involves composing a series of exercises aimed at isolating and practicing individual musical parameters. These exercises, initially explored solo, are later adapted for duo and trio to foster interplay and collaboration. By documenting and analyzing these performances, insights are gained into the effectiveness of the method in enhancing creativity, improving communication and developing one's artistic voice, providing a structured but flexible framework for improvisation. This research offers a practical and personalized approach to creative exploration. By focusing on process, clarity and collaboration, it enables people to cultivate their artistic identity and push the boundaries of improvisational practice. It encourages deep exploration of musical parameters, fostering a rich vocabulary and facilitating spontaneous expression. Furthermore, the research shows how the method of “free parametric improvisation” increases confidence among the participants, as well as an increased awareness and a sense of liberation.
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