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

• Metamorphosing Iranian Folk Music (final) (2022) author(s): Rouzbeh Esfandarmaz Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Rouzbeh Esfandarmaz Main Subject: Supervisors: Art of Sound Matthijs Ruijter, Jos Mulder Title of Research: Metamorphosing Iranian folk music This artistic research investigates the possibility of integrating recordings and samples of Iranian folk music with Electronic Dance Music (EDM). In its essence, this research is a response to a question that was motivated by my relation to these two very different musical cultures and genres. The principal question I seek to answer in this research is about determining if it is possible to integrate Iranian folk music (IFM) into an existing genre of global contemporary popular music, such as EDM or any branch and sub-genre within this categorization? To answer this question, I first investigated the general characteristics and attributes of both Iranian folk music and EDM, largely with respect to their musical and performative aspects. Based on these findings, I selected four recordings/samples of Iranian folk music and researched ways to integrate these four samples with an EDM subgenre, namely, Techno. Next, I analyzed both Techno and those four specific samples of IFM’s samples, examining both genres in terms of their composition, harmony, rhythm, and aspects of musical production - largely exploring and documenting their similarities and differences. This thesis also includes details on how using selections/samples/pieces from EDM and IFM as source material involved long periods of time in the studio, whereby I tried many different approaches of production and eventually developed a software tool which helped me to establish a practical bridge between these two different musical cultures/genres. Consequently, this provided a viable answer to my research question. Moreover, I now present my conclusions, practical findings, and experiences alongside a series of video recordings. This media explains how I manipulated and used IFM samples and EDM techniques - with the usage of particular music production software - to create new ideas within the Techno subgenre. These videos also explain many other practical and relevant approaches to the process and techniques I used to make the final result from this research: the development of an application that works as a tool for integrating different musical cultures. Finally, this research culminated in making a 20 minutes Techno set, which serves as a quick musical representation of a potential product based on the integration of these two types of musical styles. Biography: Rouzbeh Esfandarmaz (born 1985 in Tehran, Iran) is a multi-instrumentalist, performer, composer, music producer, and an entrepreneur who has been active in Iran for numerous years. He holds a Bachelor of Music in Clarinet Performance from The Tehran University of Art. Musically, he has a wide range of work experience, as he has successfully led a fusion band in Iran (which had top-charting songs) and has composed music for both feature and short films. He has composed and performed in theatrical projects around the world, and was a member of the Tehran Symphonic Orchestra. Furthermore, he is a continual advocate for Iran’s folk music.
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• The facilities and the complications of beginner ensembles in the professional lif (2022) author(s): Antonio Bove Limited publication. Only visible to members of the portal : KC Research Portal
  Many students, including me, have problems to change from their student-life to the professionallife. As a student I think it is caused by too much focus on developing instrumental skills, as for a future career, there are more skills a student should develop. Practice is important but we should not forget that nowadays contemporary/modern music has to struggle to get new audiences. This research investigates the possibilities we have, as a new ensemble, to enter into the professional music world. We have been executing some experiments with my new percussion trio “XTRO”. The outcome of these experiments will show that there are good and bad ways to promote your ensemble. The importance of good and well thought-of programs and repertoire, collaborations with composers, guidelines how to introduce your group to programmers of venues and the cleverest ways to use social networks are subjects that will be treated in this research. This research will provide and explore the approaches that are necessary for starting ensembles in order to enter and to promote themselves in the music industry.
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  Towards a renewed form of organ education with age-old roots (2022) author(s): Evan Bogerd Limited publication. Only visible to members of the portal : KC Research Portal
  Master-pupil relationship in modern perspectives. How to use such an old principle as master-pupil relationships as organ teachers and students in our days. This exposition answer the question why we need to use master-pupil relationships to prepare the next generation for the future.
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  Music, Meaning and Emotion (2022) author(s): Hannah Jefferies published in: KC Research Portal
  Name: Hannah Jefferies Main Subject: Classical Flute Research Supervisors: Ines de Avena Braga, Research Question: How can elements and features from psychology and philosophy illustrate what is fundamental to our emotions, in what way can these concepts be represented within and expressed by the flute repertoire, and how can we incorporate and convey these understandings as performers to create music meaningfully and be of beneficence to others? Summary of Results: This research sets out to contrast and evaluate diverse standpoints from psychology and philosophy to discuss firstly how emotions can be defined, whether music creates real emotions in us, and what capacities we possess to be both receptive and conveying of emotion within music. During my discussion, I incorporate examples of excerpts from the flute repertoire, consider the harmonic language used and function of musical structures, and balance this against the resulting emotional response from us. This initial discussion is in support of a questionnaire which I conducted in order to gather results from respondents of their perceived emotional response and valence when presented with differing musical excerpts, both upon an initial and second listening. I aimed to gauge and qualify their reaction to musical traits which have been connected more strongly than others to specific emotional states, and additionally I was interested to find if there was a connection between memory of a piece of music, and emotional valence due to this familiarity. Finally, having demonstrated the emotive strength it is possible for music to hold, I investigate how as artists we can harness and emphasise certain functions of music to create performances which are highly engaging and positively affecting for listeners. Additionally, this research then leads us to an understanding of the impact of integrating the effects of emotion and music, and suggests how this combination can be beneficial and utilised in and for the wider society, namely in the field of music therapy. Biography: I am currently a second year masters student from the UK studying classical flute at the Koninklijk Conservatorium with Jeroen Bron and Dorine Schade, having recently completed my Bachelors degree at the Royal Northern College of Music in Manchester. During my studies I have been very lucky to have had the opportunity to perform as part of ensembles including Asko|Schönberg, New European Ensemble, European Youth Wind Orchestra, and Amadeus Orchestra Academy. Outside of performance, I greatly enjoy being part of outreach and community music; a highlight was working with the Manchester Camerata Orchestra, delivering music therapy to people with Dementia.
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• Sounding the guide (2022) author(s): Mária Máko Limited publication. Only visible to members of the portal : KC Research Portal
  Composition Master Research supervisors: Peter Adriaansz, Samuel Vriezen Sounding the guide What kind of notation can allow flow in an indeterminate music practice? In this research I was focusing on collaborating with ensembles and realizing various techniques of notation in an indeterminate music practices. As a motif for musical force I had in my mind is Flow. In the history other composers were also focusing on other levels of musical freedom such as Intuitive Music by Karlheinz Stockhausen and Deep Listening practice by Pauline Oliveros. I was researching their methods and concepts behind their decisions. After drawing conclusions I had to concentrate on more practical levels of compositions. I was looking for different types of vocabulary with musicians, and various kinds of methods of performance in concerts.
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  The improvisational style of Paul Bley (2022) author(s): Lorenzo Ditta Limited publication. Only visible to members of the portal : KC Research Portal
  Paul Bley is a key figure in the history of jazz piano and free improvisation in general, and he still exerts a profound influence on many contemporary artists from Keith Jarrett to Aaron Parks. This work tracks the development of his unique style, trying to answer the following question: how did Bley manage to maintain coherence and integrity in his solos, and what was the relationship between his improvisations and the underlying harmonies? The project draws on several sources: Bley's autobiography, interviews with artists, influenced by Bley, who have also tried to understand the secret of his improvisational style; his recordings, from his debut album to his masterpieces. Moreover, some of his classical solos are analyzed and transcribed in full. The study has shown how to explore the creative potential of collective improvisation and free improvisation, beyond the more traditional musical jazz forms, and alternative ways in which an ensemble can obtain an original sound, with instruments that play roles that are not typical for them. This research does not claim to be a comprehensive treatise on an innovative figure like Paul Bley, but an analysis of his work aimed at drawing lessons useful to develop skills in arrangement and improvisation.
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