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

• Mastering the left hand: a comprehensive investigation into cello technique (2024) author(s): Adrián Obispo Limited publication. Only visible to members of the portal : KC Research Portal
  During my last years of cello practice, the consequences of deficiencies in my left-hand technique have affected my artistic development. When different teachers suggested more focus on this aspect, I realized how important it is in the playing. This research aims to explore the shades and methodologies surrounding left-hand technique in classical cello performance. The methodology of this research combines literature review, observational analysis of professional performances, interviews with students and professionals of cello, as well as practical application. The research includes a diverse range of aspects within left-hand technique, such as hand positioning, finger placement, shifting, vibrato, intonation, and pedagogical approaches. By analyzing established cello method books, scholarly articles, and performances by virtuosos, this study aims to synthesize existing knowledge while also considering innovative perspectives. Moreover, the research methodology involves direct engagement with teachers, professional cellists, and students. This approach facilitates the collection of qualitative data, offering insights into personal experiences, varied teaching methodologies, and practical challenges encountered during the mastery of left-hand techniques. Additionally, the research involves a practical component where the findings are applied through hands-on practice. This experiential learning aids in consolidating theoretical knowledge, enabling a deeper understanding of the technical intricacies and practical implications of different techniques. As a result of this study, I have developed different ways of approaching left-hand technique during daily practice and experienced a positive effect on my performance. The chosen format of presentation will be a public exposition of the results of the research.
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• Leonarda Through the Looking Glass (2024) author(s): Bethany Angus Limited publication. Only visible to members of the portal : KC Research Portal
  Although there are numerous female composers of the Baroque period, as far as I know, none of these composers has written for the cello as a solo instrument. This research, Leonarda through the Looking Glass, proposes a compilation and publication of a collection of baroque works written by women that have been adapted for the cello. The case study for this research is Isabella Leonarda’s Sonata no. 12 in D minor for violin, violone and organ, published in Bologna in 1693. I explored the process of transcribing the work for the cello, and what that implies for the basso continuo and the overall affect of the work. I also researched historical fingerings and ornamentation which might be relevant to the performer. ‘What historical information should be taken into consideration when performing Leonarda’s Violin Sonata no. 12 on the cello?’; and ‘How can Leonarda’s Violin Sonata no 12 be transcribed for cello from the original violin sonata?’
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• Language as an instrument - Discovering a language-based approach to practicing music (2024) author(s): Krystyna Kulisiewicz Limited publication. Only visible to members of the portal : KC Research Portal
  The language-music connection is a topic many have already addressed. This artistic research aims to show another way of approaching it. Considering the importance of the text in the early music repertoire, the linguistic layer has been taken as a central idea. The research process consisted of self-experiments using an attentional focus on linguistic aspects of a musical piece. The purpose was to examine the possible benefits of this focus during practice sessions. The repertoire of these experiments consisted of vocal-instrumental pieces. The music material contained a basso-continuo part played on the violone. The text of the vocal line has been analyzed, determining a number of focal points to be used in practice. The practice sessions using these points have been recorded and compared to a reference recording. The whole process has been reflected on. Analysis of the self-experiments proved that focusing on the linguistic aspects of a musical piece influences the way of playing. It affects technical aspects such as tempo, rhythm, articulation, and dynamics. Focusing on the language makes the practice more rewarding, although it slows down the process. It has been observed that focusing on the text makes it easier to familiarize the music material. The research process was a personal approach to the language-music connection. It can therefore deliver different results when applied by different individuals, which is an encouragement to try this approach. Further study is possible on other sorts of repertoire and using other instruments, as well as in the context of performance.
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• Jazz / Pop Singing at the Crossroads of Movement and Musical elements (2024) author(s): Daniela Fanelli Limited publication. Only visible to members of the portal : KC Research Portal
  Research question - How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists? When considering the attributes of captivating performances, jazz and pop singers often tend to underutilize their bodies on stage. This observation prompted a deeper examination of the interplay between body awareness, singing, and movements, resulting in the question “How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists?” The research aims to address this question through a series of investigative stages. Firstly, the analysis of my 2023 end-of-year performance revealed a clear correlation between gestures, expressiveness and the four musical elements mentioned. Further research supported this finding and led to the development of movement-focused singing exercises, whereby vocalists sing while consciously engaging their bodies in alignment with each key musical element individually. This methodology underwent testing with six vocalists, yielding valuable empirical data. The data shows that this set of exercises can be a helpful, holistic tool in increasing expressiveness, enhancing awareness and improving embodiment while singing, as I have also experienced for myself. By sharing this research, I hope to encourage all musicians to deepen their connection with themselves, their instrument, and the audience through movement and body awareness.
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• IPA: I must Pronounce it Accurately! (2024) author(s): Ji Yoon Limited publication. Only visible to members of the portal : KC Research Portal
  To be a good classical singer is not just about singing with a beautiful voice. Considering the theatrical aspect of singing, a good classical singer is also a good speaker. To reach the quality level of speech, classical singers normally learn some pronunciation of languages such as Italian, German and French. This curriculum is familiar with a form of “- Diction” course. Thanks to those courses, most singers become able to read Italian, German and French. However, reading and singing the text is a totally different issue. Especially, for Asian students who have less linguistically in common with European languages, making a good speech in singing is a challenging subject. Based on own experiences, this research is a guideline for students who have been struggling to improve their practical diction skill and might be helpful for teachers who have students from Korea to understand their linguistic backgrounds.
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• Harp literature of Slovenian composers in the 20th century: interpretative challenges and possibilities and parallels with European literature in three Concertos (2024) author(s): Jernej Mišič Limited publication. Only visible to members of the portal : KC Research Portal
  As a Slovenian harpist studying at the Royal Conservatory in The Hague, I felt called to focus my research on Slovenian harp literature of the 20th century, in the hope that it will create more awareness and interest for it. In this research, I focused mainly on the works of three composers. Harp playing in Slovenia is not as long a tradition as other instruments do. The first work written for solo harp that I found dates back to 1954 – Concerto for Harp and Orchestra by Lucijan Marija Škerjanc. The next Slovenian composer who wrote music for harp was a student of Škerjanc, Zvonimir Ciglič. Here I focused on his Concertino for harp and string orchestra. While doing the research I looked for parallels with European literature for the harp. In the case of the Concertino, I found it in Debussy's Dances for Harp and String Orchestra. I studied both parts intensively and compared them. Alojz Srebotnjak is perhaps the most famous and represented Slovenian composer worldwide. His Harp Preludes are the most frequently performed work of a Slovenian author for the harp. In addition to literature and historical facts, during this research, I was greatly helped by the suggestions both composers gave to my mother, who also performed these works. I paid most attention to finding information about the works I presented. I relied on the advice of my mother and recordings that I found. In addition, radio shows with artist interviews were very helpful. I hope other colleagues will find this research interesting in other musical works.
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