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

• Reminiscences of the Golden Age: exploring historically inspired approaches to playing Liszt's Norma Fantasy (2022) author(s): Hoang Cuong Vu Limited publication. Only visible to members of the portal : KC Research Portal
  The research aims to explore and learn about historical performance practices and reach a deeper understanding of the interpretation of Franz Liszt’s works, particularly his operatic fantasy Réminiscences de Norma. The research is presented in three parts. The first part is about the historical background of Liszt’s operatic fantasies; that is the time when Liszt focuses on playing virtuosic music. I point out some textures that Liszt used to show his newly invented technique. The second part, which is the main part of the research, is based on two historical inputs: Liszt’s instruction on playing his music in terms of pedagogy, and the historical recording of Ferruccio Busoni, a pianist who followed Lisztian tradition. In this chapter, by critical listening to Busoni's recording playing Liszt’s Norma Fantasy, I examine and analyze some expressive devices that Busoni used to show the musical ideas and expression. These expressive devices are primarily tempo modification and rhythmic alteration. In the last part, I incorporate these devices into practice and create my performance as an outcome of the research. With the aim of applying expressive devices to my performance practice, I choose to document the research as an exposition which has the combination between text and media containing images and videos taken from social media, commercial recordings, and also from my experimentation process.
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• The violoncello in the musical aesthetic of the second half of the 18th century in Germany: The Empfindsamer Stil in cello music by C.P.E Bach (2022) author(s): Sara Vicioso Usero Limited publication. Only visible to members of the portal : KC Research Portal
  This research has focused on the study of the Empfindsamkeit aesthetic, a German musical style that emerged during the second half of the 18th century and that would establish the first foundations of an early Romanticism. Being an aesthetic largely focused on works for harpsichord and flute, the focus of this research has been directed to deepen this musical style from the cello, giving a new perspective of study. For this purpose, the second movement of the Cello Concerto in A major Wq. 172 by C.P.E. Bach has been chosen as a case of study, making a theoretical and practical analysis of it. This analysis has allowed us, on the one hand, to approach this aesthetic through this instrument and to reflect on what characteristics of this style we find in the selected piece and on the other hand, it has served as a guide to find out if there is more cello repertoire within this aesthetic. The chosen format to present this work is through a Research exposition, in which I will not only explain the background of this musical aesthetic, but also I will explain my analysis and my personal experience studying this piece trying to approach as much as possible to the Empfindsamkeit
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• Informing early 18th century French baroque violin playing with vocal sources (2022) author(s): Andrew Wong Limited publication. Only visible to members of the portal : KC Research Portal
  informing french baroque violin playing from vocal sources
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• From classicism to romanticism: the art of clarinet in chamber music (2022) author(s): Davide Simionato Limited publication. Only visible to members of the portal : KC Research Portal
  At the beginning of the master, Davide asked himself a question: How can the Mozart clarinet quintet and the Brahms clarinet quintet be compared in an intelligible and coherent manner regarding clarinet performance practice? And it is precisely from here that Davide's research started. Through some books (including The Clarinet in the Classical Period and Notes for Clarinettist - A Guide to the Repertoire by Albert R. Rice, and "Brahms Clarinet Quintet" by Colin Lawson) and interviews with teachers, he was able to compare the differences between the Mozart quintet and the Brahms quintet. By studying these sources and going deeper into these topics, Davide has come to understand the differences in the quality of the sound, the kind of articulation, the quality of legato that a clarinettist must have to play these two quintets. One of the biggest differences between these two periods was the type of instrument: the classical instrument had few keys (it was more difficult technically) and had a simple open sound. Instead, after a century the romantic instrument was innovative because it was equipped with many more keys (therefore it exalted the virtuosity of the clarinettist) and many sound colours could be obtained. As well as covering these areas, the paper also discusses some general distinctions between the Classical and Romantic periods.
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• Innovative Practice - Improvisation and Composition as a tool for learning repertoire and exploring the guitar (2022) author(s): Antonio Persak Limited publication. Only visible to members of the portal : KC Research Portal
  Many classical guitarists today are unlikely to be exposed to improvisation. In my practice I have observed that we tend to be focused on mastering notated music. This is quite contrary to many other musical cultures such as those of blues, jazz and folk music. As a classically trained guitarist I got involved in improvisation and composition and this consequently changed my practice routine and performances. This led to the research question: how can classical guitarists use improvisation and composition to enhance the performance of notated music and explore the instrument in terms of rhythm, tone production, timbre and chamber music skills? In this exposition I present the exercises I accumulated, transcribed and worked through in the past few years that were born out of improvisation and composition practice and that can play a vital role in developing musical qualities like focus, flow and technique that can improve the performance of notated music. Some of these exercises are original compositions; others have been modified based on exercises by authors like Mick Goodrick, Susan Williams and Dusan Bogdanovic. The research makes use of guitar methods, compositional books and guitar etudes, for instance Mauro Giuliani’s, 24 Etudes Dusan Bogdanovic’s Polyrhytmic and Polymetric studies and Mick Goodric’s Advancing Guitarist, as well as interviews with respected composers/improvisers and educators in the field. One of the main outcomes of the research is a set of open score guitar etudes created in collaboration with composers. In this exposition I will present the exercises I accumulated in the past few years that were born out of improvisation and composition practice that I believe can enhance certain skills and performance of notated music. Some of exercises are original exercises, some are modified by me and some them are my own creation. The research is backed by many of high quality guitar methods, compositional books and guitar etudes, followed by interviews with respected composers/improvisers and educators interested in this field. Big emphasis in the research is also an open score guitar etudes created in collaboration with composers.
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• A modern analysis of Historical Informed Performance: considerations about the method, its past and its future (2022) author(s): Pedro Antonio Pérez Méndez Limited publication. Only visible to members of the portal : KC Research Portal
  The results of this research will be presented to the public in the form of an exposition in which the whole analysis process will be explained and both an answer to the research question and a reflection about past and future of the Historically Informed Performance influence in the musical stage will be stated. Through this exposition we will be addressing relevant questions about the concept of Historically Informed Performance and its application as a work method that I encounter on my research, such as the use of reconstructed or modern instruments, the existence or absence of limitations of time and style frames for which the Historically Informed Performance is a useful tool or the common misconceptions about this idea by some group of musicians, aiming to establish a basis for the correct application of the Historically Informed Performance idea as a useful work method by any kind of musician and leading to a final reflection about the future development of the Historically Informed Performance ideal.
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