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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  Thinking up on the cornetto: How to apply the Alexander Technique to cornetto playing (2025) author(s): Carlos Rivero Moreno Limited publication. Only visible to members of the portal : KC Research Portal
  With the rediscovery of the cornetto at the beginning of the Early Music movement in the 20th century, the first players solved the technical difficulties of this instrument in very different ways, resulting in a great diversity of techniques today. During my bachelor studies with the cornetto, I discovered and learned the Alexander Method with individual and group lessons. For this master's studies, I actively researched how to connect the Alexander principles of inhibition and direction with my cornetto playing. I did a case study with myself, exploring at the practice room to find the desired sound result by applying the Alexandrian principles. I continuously documented the process with notes after each AT and cornetto lesson, and during my daily practice, to observe how this connection affects my development as a player. A part of the research has been the understanding and description of the Alexander Method to share this knowledge with other cornetto players, as I have found that this technique is unknown among most cornetto students and teachers. Learning to play a musical instrument is never easy, but knowing a little better about how the human body works, understanding the body and mind as a unity, and learning to use it in a more efficient and coordinated way has made playing the cornetto much easier for me, obtaining full body resonance, achieving comfort while playing, expanding artistic possibilities, and preventing injuries and body pain.
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• Immersive Audio Techniques in Jazz: A Study on 3D Recording and Binauralization (2025) author(s): Giorgos Dekos Limited publication. Only visible to members of the portal : KC Research Portal
  Thesis submission
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  The recercatas of de Albero (2025) author(s): Pedro G. A. Aguinagalderomalde Limited publication. Only visible to members of the portal : KC Research Portal
  Sebastián de Albero is an interesting musical historic figure in Spain that represents wonderfully the context in which he lived. He drew influence from many places, and the pieces in his album Obras para Clavicordio o Piano Forte are no different. This extraordinary album is the first in Spain to be dedicated to the piano forte, and the recercatas in the album, six, are enigmatic, strange pieces of the Spanish music history. Their influence from the French unmeasured preludes is quite strong, an influence that was possible due to de Albero’s unique background. These pieces give us clues about the musical context of de Albero in the court and out of it: In Navarra, French influences were certainly present, the piano forte was a somewhat popular instrument in court, the recently imported Italian recitativos and toccatas in Madrid offered the right atmosphere for the creation of new rhythmically free pieces, and the Spanish musical tradition was as strong as ever. I propose how to deal with aspect of performance of these recercatas based on their contents and history. The thesis format is most adequate for this work, for its extensive nature
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• The Role of the Percussionist in Performance Development: A Multi-dimensional Approach (2025) author(s): João Brito Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores the evolving role of percussionists in contemporary performance, focusing on their contributions beyond traditional musicianship. Using Geweld & Vibrato by Huba de Graaff as a case study, the study examines how percussionists engage with synchronization, dynamics, and spatial awareness to shape performance development. The findings reveal that percussionists are not just rhythmic anchors but dramaturgical agents, actively influencing the narrative, structure, and emotional impact of a work. Key results highlight that synchronization is not merely a technical requirement but a dramaturgical tool, where moments of precise rhythmic alignment contrast with controlled desynchronization to reinforce power struggles within the performance. Dynamic control extends beyond volume manipulation, serving as a metaphor for colonial suppression and resistance in Geweld & Vibrato. Spatial awareness emerged as a crucial factor in performance perception, with percussionists using movement and stage positioning to assert agency and shift power dynamics. These insights challenge the conventional perception of percussionists as mere performers and position them as co-creators within interdisciplinary artistic processes. The research is presented in a written format, integrating first-person reflections, performance analysis, and interview excerpts. This format was chosen to balance academic rigor with personal artistic insights, allowing for a nuanced discussion of both theoretical and practice-based findings. By combining case study documentation and self-reflection, the study aims to bridge scholarly discourse with lived artistic experience, demonstrating the multifaceted role of percussionists in contemporary performance-making.
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• The Interpretation and Understanding of Rhythm and Makam Elements in 20th Century Turkish Piano Music: Theoretical Knowledge and Performer’s Perspective (2025) author(s): Cansu Perihan Onder Limited publication. Only visible to members of the portal : KC Research Portal
  This study aims to present a guide to both the understanding and performance of 20th-century Turkish piano music, focusing on idiomatic stylistic features, including rhythm and makam. The research begins with a short historical context for Turkish music. Westernization and cultural transformation in Turkiye have led to a fusion of Western classical traditions and traditional Turkish elements in the music of this period. Using theoretical knowledge and performance-based methods, including experimentation and reflection, this research explores how rhythmic and makam elements are employed in 20th-century piano pieces and aims to inform performers on how they can authentically and accurately incorporate these elements into their interpretations. Additionally, interviews with selected living Turkish composers are part of the study. These interviews provide insights into the cultural impact of their works and offer recommendations for performers. This research emphasizes the importance of cultural awareness and informed interpretation in performing 20th-century Turkish piano music through historical context, theoretical analysis, and performance-oriented perspectives.
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• The Evolution of Portamento in Cello Playing Since the First Recordings (2025) author(s): Mathias Pearson Limited publication. Only visible to members of the portal : KC Research Portal
  This research investigates the historical evolution of portamento, or expressive shifting, in cello performance by comparing early 20th-century recordings with contemporary interpretations. The subject was inspired by the striking interpretation observed in Beatrice Harrison's 1920 recording of Elgar's Cello Concerto, where portamento was employed with frequency and expressiveness unlike the recordings I had heard before. The methodology involves analyzing historical recordings of "The Swan" from Saint-Saëns' Le Carnaval des Animaux, annotating portamento occurrences in scores, and comparing them with modern performances. Recordings by cellists such as Kronold, Schwiller, Hollman, and Casals were examined alongside contemporary cellists like Yo-Yo Ma and Johannes Moser. The analysis shows patterns in portamento frequency, variation and use of expressive tools across different periods. The findings suggest a significant decline in the use and variety of portamento in modern cello playing, and shifts in aesthetic preferences as advancements in recording technology are made. Early 20th century cellists employed portamento not just not only where it is convenient, but as an integral expressive tool alongside vibrato and timing, mirroring the approach of vocalists at the time. After exploring portamento in my own practice, I can conclude that the notion of consciously experimenting with portamento can enhance interpretative variety and expressiveness, leading to a more deeply personal voice. This study encourages cellists to explore portamento as a legitimate expressive tool in modern cello performance to enrich musical expression.
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