The Rhetorical Trumpeter
(2022)
author(s): Caleb Wiebe
Limited publication. Only visible to members of the portal : KC Research Portal
In this research exposition, I investigate how a rhetorical approach in an experimental setting can influence the learning of the baroque trumpet. Music in the 17th and 18th centuries was composed in a rhetorical style and called on the performer to actively bring the composer’s music to life. The sound-oriented and consistency-driven goals that today’s modern orchestral trumpet players strive to attain often leads to a way of playing that differs from the musical expressivity that is required in the baroque trumpet repertoire. The aim of this research is to begin to build a bridge between the two approaches.
The first part looks at the origin and meaning of rhetoric and explores how it can serve as inspiration when approaching repertoire of the baroque trumpet. The second part consists of a brief history of the trumpet during the 17th and 18th centuries; current practices of the modern orchestral trumpeter; and ways to connect the two. The third part provides a summary and analysis of a workshop series that I created and led for students at the Royal Conservatoire in The Hague that explores the relationship between speech and music. This research provides insights for both baroque and modern trumpeters and teachers on how to increase musical expressivity in the baroque trumpet repertoire.
Flow, The Optimal Experience
(2022)
author(s): Francesco Siri
published in: KC Research Portal
In this research I would like to investigate the psychological aspect related to the practice of a musical instrument, going deeper into the experience of the flow state that the musician can live intensely. It is a state of mind of complete absorption in what one is doing.
The process started by reading and informing myself as much as possible through books, articles, and personal experience. Based on these I created a strategy of work and exercises that would help me to be more focused and inside the music both in my studies and especially in my performances.
I prepared two questionnaires to be filled in after the performances:
1) Personal Questionnaire
2) Group of critical friends
To check whether the strategy I had been using over the last few months was helping me to achieve my goal or not.
From the results of the two questionnaires until now, I can deduce the most effective and useful aspects of the strategy I implemented. It is also interesting to see how the suggestions of critical friends are similar to the "criticism" I made myself in the personal questionnaire.
Over the last few weeks while analysing my latest performances and the results of the questionnaires, I have realised an increase in pleasure in playing and concentration on the task to do, which was not always present before I started this work. I am quite convinced that whatever strategy you want to use, you need patience to see over time if it really works.
Classic Expression: the effect of storytelling in a classical concert for children
(2022)
author(s): Vivian de Graaff
published in: KC Research Portal
The traditional way of classical concerts – i.e. a concert of 1,5 hour, no moving or making sounds, no interaction – is not the way to attract children to classical music. There are different inviting ways to interest children in a classical performance, for example with interaction, participation or storytelling. In this research we investigate if storytelling has an effect on children’s enthusiasm for classical music and their likeability of playing an instrument themselves. Furthermore, we assess if there is a relation between musical interest, engagement and/or emotional intensity during the concert. We do this by comparing a story-condition with a technical information-condition, in which the presenter talks about the instruments or the performance location. It is executed in the Classic Express, a concert truck in which laureates of the Prinses Christina Concours, a Dutch competition for young musicians, perform and present classical music for primary school classes. Children answer questions before, directly after and one week after the concert about how much they like the music, if they want to experience it again and if they are interested in playing a musical instrument themselves. The results can support musicians wanting to give engaging performances to children, improve the quality of concerts for this target audience and raise likeability of classical music in young generations.
Applications of Scratch Music: A Personal Approach
(2022)
author(s): Robert Nettleship
Limited publication. Only visible to members of the portal : KC Research Portal
My research is based on the practices of the Scratch Orchestra and how that can inform my process and work as a composer.
Observations on the Florid Bassoon: Making Music in Eighteenth Century London with Johann Ernst Galliard and Pier Francisco Tosi
(2022)
author(s): Matt Lewis
Limited publication. Only visible to members of the portal : KC Research Portal
A look into the practical applications of Galliard's 1742 Translation of Tosi's 1723 Opinioni de' cantori antichi e moderni for a bassoonist. Specifically with a focus on Galliard's own bassoon sonatas.
Attentional Resources and Focus in Music Setting: Facilitating Practice and Performance Paradigm
(2022)
author(s): Matej Lacković
Limited publication. Only visible to members of the portal : KC Research Portal
Attention is a multi-facet mechanism, whose processes are complex and ambiguous to theorize, even to the present day. However, more clear observations can be seen through the effects of attention, which permeate almost every aspect of our lives. Therefore, successful music performance outcome is greatly dependent on attentional resources, which influence our perception and responses. However, the lack of understanding often leaves performers without the proper tools to correct, reflect, respond, or manage unwanted, non-stimulating occurrences. Having poor management of attentional resources myself, I was curious and asked myself, “What can I do to change that?”
Connecting attentional resources and focus with music settings, I narrowed my research to mechanisms, and processes, relevant for the purposes of this research - and formed a body of data, which attributed to the intervention phase. Therefore, the following research has been divided into three methodologically oriented steps: 1st) literature and past studies review, 2nd) interviewing experts from sports and performance psychology, and music psychology, 3rd) intervention phase.
In the last stage, I engaged myself in a self-study type of intervention, which consisted of 1) planning practice sessions (SMART goal, Randomized Practice Schedule), 2) methodological practice (automation of fine motor skills and movements), and 3) before/during music performance management skills - mindfulness and reappraisals (FFMQ questionnaire, a set of mental attributing techniques). Analyzing questionnaires and reflective reports - and comparing audio recordings, I noticed better management of thoughts, emotions, and overall experience of performing. With the following findings, I address the importance of integrating attention-attributing techniques into professional music settings.
, Koncon Master Coordinator 