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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  Acting While Singing (2023) author(s): Sandra Siniväli Limited publication. Only visible to members of the portal : KC Research Portal
  This thesis was inspired by challenges in the author's own artistic development and her interest in acting while singing. The aim of the research is to discover, to what extent can physical gesture initiate emotional connections and therefore change the colour of a classical singer’s voice. Opera can be one of the most challenging forms of performance art, but at the same time, most rewarding. As an opera singer, one needs to be able to sing beautifully, while also maintaining complete physical and mental awareness of everything around them, as well as within themselves. Acting while singing is a delicate dance between a singer’s body, central nervous system, and their voice. These elements must work together in harmony, taking and filtering constant inputs from the outside, giving emotional output to the audience, and keeping in mind the technical training that has been done earlier. Using both literature research and a questionnaire, the thesis unveils some correlations between staged acting and singing, but these results are not absolute. The author discovers that there are no universal formulas for better acting while singing, but only tailor-made solutions in which every singer must discover for themselves, together with their coaches, how to optimize their performance.
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• APPROACHING IMAGES: A Journey from Imagery to the Concrete (2023) author(s): Rui Braga Simões published in: KC Research Portal
  The piano is an instrument filled with endless possibilities, and an absurd amount of marvellous repertoire, but also has its downsides, namely its extremely complex mechanism: fingers activate a key, that moves a hammer, that hits a string. It’s a lot of steps from the moment you imagine a note and the moment you hear it, and the resulting sound isn’t always what we hope for. This instrument can be limited for the things that are asked from pianists, such as playing singing and legato lines. However, there are ways of getting over this limitation, and one of them is the use of Imagery, I.e., having a strong imagination of something else in order to do things that, in many occasions on a piano, are technically impossible. In this artistic research I approach the concept of Musical Imagery and present an arrangement I made of Debussy’s Et la lune descend sur le temple qui fut (from the second book of Images) for piano and percussion quartet, exploring the imagery elements I use in my practice and explaining how I turned them into something concrete, through the use of new layers added by the chosen instruments.
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• A study of selected violin works by Taiwanese composers in the 20th century; Exploring the use of Taiwanese folk music in the violin works of Kuo Chih-Yuan and Ty-Zen Hsiao (2023) author(s): Yuting Lu Limited publication. Only visible to members of the portal : KC Research Portal
  A study of selected violin works by Taiwanese composers in the 20th century; Exploring the use of Taiwanese folk music in the violin works of Kuo Chih-Yuan ,Hsiao Ty-Zen and Katherine Teng
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• A Violin Speaks its Own Language: Discovering Violin Technique with Eugène Ysaÿe (2023) author(s): Yuchen Zhang Limited publication. Only visible to members of the portal : KC Research Portal
  The art of violin performance is a delicate balance between technical mastery and emotive expression. In this exposition, the intricate relationship between instrumental technique and musical interpretation is explored with a keen eye for the details that make up the heart and soul of violin music. The role of technique patterns and their impact on expression and music are examined with care, revealing the complex interplay between these elements. Through the lens of Eugène Ysaÿe’s six sonatas for solo violin, composed in 1923, a deeper understanding of the evolution of violin technique into a unique instrumental language is discovered. Focusing on sonatas no. 1, 2, and 4, we delve into Ysaÿe's personal journey of integrating violin technique into a systematic language that effectively connects expression and music. The exposition also emphasizes that while mastering every puzzle of the violin techniques, it is the performer's deep understanding of the music and their own emotions that brings the full range of their artistic vision to life, transcending mere technical proficiency to reach the sublime heights of true musical expression. Ysaÿe's music serves as a testament to the beauty of the violin and the boundless potential of human creativity.
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• "Less is More", Western Carnatic Music (2023) author(s): Guillermo Gómez subías Limited publication. Only visible to members of the portal : KC Research Portal
  The main objective of this research is to develop a warm-up method for musicians. The structure and core of my method is inspired by Carnatic music. The power and philosophy of this deep Indian cultural music is complemented by its benefits such as helping to feel relaxed, calmer, less anxious, more in the present and opening the senses among others. It could help musicians to create a healthier mindset for their musical life. The method used in this work is based on an experimentation phase where the developed exercises were tested and evaluated through questionnaires filled out by the participants. After the analysis of around 50 questionnaires obtained from six experimental sessions, the data revealed that the main idea of developing a warm-up method (which keeps the essence and benefits of the original Carnatic music mentioned above) was achieved. The obtained data show that both performers and listeners had similar feelings and sensations about being calmer, more relaxed, more focused and having more activated senses while and after playing and listening to the exercises. The musicians were in a more positive mood after the exercise as it helps to develop various musical aspects such as ear tuning, blending within a band and sound. The developed method could be used as a warm-up exercise that helps musicians create a healthier and more engaged mindset while playing. Additionally, the exercises could be used as music for a specific audience, with the aim of helping them feeling more relaxed, calmer, less anxious and more in the present.
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• PTSD and the Musician (2023) author(s): Edward Powell Limited publication. Only visible to members of the portal : KC Research Portal
  Looking from the outside in, oftentimes the world of Classical music can seem idyllic, with a constant stream of creativity and artistic output. But what happens when it becomes the opposite? What happens when music itself becomes oppressive, with extremely high pressures and toxic interpersonal relationships causing mental health issues ranging from burnout to PTSD? As someone who suffers from Complex Post Traumatic Stress Disorder (C-PTSD) caused by years of abuse at the hands of a musician parent, I wanted to explore ways I could mitigate the effects of my symptoms and see if there was a way I could recapture the joy in music. Inspired by the work of renowned trauma experts, I focussed on existing evidence pointing to a need for physical and psychological reintegration into the present, keeping in mind the triggering aspects of the world of Classical music. This I applied to the different areas of musical life - practice, lessons, and performance – using mindfulness and flow state concepts, as well as anxiety-reducing coping mechanisms learnt in therapy. Inevitably trauma requires time to be fully healed and integrated; but so far, I notice a greater sense of emotional stability and psychological calm. On a musical level there is more enjoyment and less frustration in playing and practice, and in performance - whereas before I felt dread - there are now moments where I begin to feel a sense of joy. I still need more in depth and intense therapies to fully recover, but for now, the future looks bright.
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