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

• The Art of Vibrato (2025) author(s): Teodor Casiean Limited publication. Only visible to members of the portal : KC Research Portal
  Main Subject: Violin Research Supervisor: Janet Krause Title of Research: The Art of Vibrato Research Question: How violinists learn and improve their vibrato? Summary of Results: Vibrato is a fundamental aspect of violin performance, an ornamental tool used for enriching tone quality, emotional expression, and stylistic interpretation. Despite its importance, no comprehensive guide exists that addresses vibrato in its entirety, encompassing its technical foundations, stylistic variations, and expressive potential with various excercises that improve all the different vibrato techniques. This research aims to fill this gap by providing a thorough exploration of vibrato as both a technical skill and a tool for artistic expression. The study delves into the physiological and acoustic principles behind vibrato, examining how factors such as hand, wrist, and arm coordination impact tone production. It also explores the different types of vibrato—wrist, finger, and arm—highlighting their distinct characteristics and their influence on sound. Additionally, the research investigates how vibrato interacts with bowing technique and left-hand positioning, and offers insights into the role of vibrato in enhancing emotional expression across various violin repertoire that violinists will perform in halls with different acoustics or even in open air. By consolidating these aspects into a single reference, this work provides violinists with a valuable resource to deepen their understanding and mastery of vibrato, ultimately enriching their performances. Teodor Casiean started the study of violin at the age of seven in the city of Iași, Romania with teacher Iacob Lucian at “Colegiul Național de Artă Octav Băncilă” and also with Andrei Chirilă and Vlad Hrubaru, Concertmaster and respectively Principal Second Violin at State National Philharmonic Moldova Iași. Teodor graduated High School in 2019 winning multiple prizes and mentions at national and international competitions such as 1st Prize at “International Competition of Music Interpretation Emanuel Elenescu” 2016, Mention at “Olimpiada Națională de Interpretare Muzicală” 2017, 1st Prize at “Lira de Aur Suceava” 2018, 1st Prize at “Primăvara Artelor Bacău” 2018, and many others. He had the privilege of being guided in lessons and masterclasses by models such as Remus Azoiței, professor at Royal Academy of Music London, Liviu Prunaru former teacher at Conservatorium van Amsterdam, and Gabriel Croitoru professor at UNMB Bucharest. Teodor was and still is an active member of the Romanian Youth Orchestra for more than ten years performing with them many times on many stages around the world such as Romanian Atheneum State, Symphony Orchestra Thessaloniki Hall, Sofia Philharmonic Orchestra Hall, Elbphilharmonie Hamburg and many others. In 2019 he started studying at UNMB Bucharest under the guidance of Professor Ioana Croitoru and graduated the Bachelor Program in Interpretation of Music - Violin in 2023. In that same year Teodor was accepted in the Masters in Classical Music - Violin program at Royal Conservatoire Den Haag. In his still ongoing master years Teodor collaborated multiple times with Residentie Orkest Den Haag. Today he follows the tutelage of acclaimed violinist and teacher Lisa Jacobs and Wouter Vossen, Konzertmeister of the Residentie Orkest.
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• THE CHAKRA EXPERIENCE (2025) author(s): Michele Guerrieri Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores the connection between music and the Chakras, centers of activity with definite characteristics (colors, sounds, frequency) that receive, assimilate and express life force energy. The study investigates the correlation between music and Chakras through the analysis of literature, a comparison with an expert, and practical experiments. It reports the criteria and evaluations that led me to select seven piano pieces for each Chakra. It then documents how, recording sessions as examples, I played the chosen pieces before and after increasing my spiritual awareness of the Chakras. Finally, it shows the comparison, in live musical settings, of my “piano piece - specific Chakra” choices with those of the listeners, confronting their sensibilities with mine and gathering their feedback. Results show the contribution of Chakra perception into my own piano interpretations by reviewing the stages of the research process, that eventually led me to create an interdisciplinary concert: “The Chakra Experience.” The research also addresses arguments about the importance of music and art nowadays and offers insights for those with an interest in approaching interdisciplinary projects.
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• Sustainability practices as creative and artistic process in New Music (2025) author(s): João Borralho Limited publication. Only visible to members of the portal : KC Research Portal
  In a world where consumerism, environmental neglect and a certain lack of ecological awareness are accelerating climate change, sustainable practices are an important step against the rapid decline of our society quality of life. This research comes to highlight a sustainable approach to fields of work, especially in the arts world, and collect ideas and procedures to make artwork less impacting on our ecologic system and transform it to work in parallel with it. By reflecting in some movements like activism through arts and effective ways of communication and share some practices that are adaptably and can affect positively the art world in a long term.
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  Stylus Phantasticus and its impact on the violin technique of the 17th century (2025) author(s): Alba Garcia Rivera Limited publication. Only visible to members of the portal : KC Research Portal
  At the beginning of the 17th century, humanity found itself questioning its identity, reflecting on nature, and turning to ancient Greek philosophy for transcendental inspiration. These intellectual currents led to an expansion of ideas, blending with other humanities and giving rise to new trends that shaped future musical styles. One such style was Stylus Phantasticus, a programmatic approach that began as a playful imitation of elements from the environment—like animals and street music—and eventually evolved into a fully developed style, producing many pieces that are now central to the baroque violin repertoire. Stylus Phantasticus developed alongside the violin and its technique, providing essential tools for its growth and influencing composers long after its decline.
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• Shakespeare’s Presence in Ysaÿe’s Poème Élégiaque (2025) author(s): Ana Victoria Márquez González Limited publication. Only visible to members of the portal : KC Research Portal
  This research is about the behaviour of program music and how that translates into a live performance where the interaction between the interpreter and the audience can enhance the understanding of the music. I take the first violin poem composed by Eugène Ysaÿe ‘‘Poème élégiaque in D minor, Op. 12" and performance practice with regard to its programmatic character as the central focus of this research and its investigation of program music written for violin.
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  Schumann on double bass (2025) author(s): Laura Álvarez Cao Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores the journey through Schumann's music from the perspective of a double bass player. My intention was to gain a deeper understanding of his chamber music compositions originally written for instruments such as clarinet, cello, and horn and adapt them for the double bass. Since I first encountered these pieces, I have believed they would suit the double bass in many ways, and my aim is to demonstrate how the bass, often overlooked in solo contexts, possesses a rich palette of colors and emotions. I analyzed existing studies, arrangements, and recordings of these works enriching my own interpretation and allowing me to perform them as faithfully as possible to Schumann's original intentions.
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