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

• Imagery and Improvisation: The I's In Musical Practice (2022) author(s): Filipe Henriques de Oliveira Limited publication. Only visible to members of the portal : KC Research Portal
  This artistic research aims to analyse the effectiveness of the application of imagery and improvisation in my practice. These practice strategies have been explored in abundance individually but not so much in combination. A practice method combining both was created in order to understand its impact on the motivation, focus, satisfaction, level of energy, enjoyment and engagement with the musical piece experienced by a classical guitarist during practice sessions. These levels were monitored by using an after practice questionnaire. Furthermore, live presentations and the use of the Critical Response Process were used to obtain external feedback as to understand how much the employment of this technique in practice affected the performance. The application of this method proved to be effective in my motivation and expressive feeling. However, its application must be previously well planned as it is explained at the end of this exposition.
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• Classic Expression: Classical music performances for children in (Special) Education (2022) author(s): Camilla Genee Limited publication. Only visible to members of the portal : KC Research Portal
  Final version research Classic Expression: Classical music performances for children in (Special) Education.
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• Double bass practice routine through composition (2022) author(s): Andrés Fernández Subiela Limited publication. Only visible to members of the portal : KC Research Portal
  This paper defines how to shape our practicing routine in a way that also makes us work on creativity and not only performing/technical aspects. This research first explores the repertoire to understand where the creativity could come from, and how the composers approached it. The second part is an experimentation of the creative process applied to a double bass routine, to demonstrate how it affects the creativity. One outcome is, based on the specific qualities of each piece, that this process will allow double bassists to work primarily on creativity. This means being able to develop a practical and efficient way of approaching certain issues on the instrument, as well as discovering or rediscovering a part of our musical being that we have not paid attention to on a regular basis. Another outcome is realizing the relationship between the instrument and our hearing/internal hearing. Working on composing with, as well as, without the instrument will allow the player to create a stronger mental visualization of the instrument and its sounds.
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• Shall we dance? Integrating bodywork and dance in singers’ daily practice (2022) author(s): Alessandra Marangon Limited publication. Only visible to members of the portal : KC Research Portal
  In this exposition I elaborate on the benefits of integrating bodywork and dance in the singer's daily practice and I devise an approach which makes use of augmented feedback to facilitate the learning process of students.
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• A Study on Keroncong Cello (2022) author(s): Alfian Alfian Emir Adytia Limited publication. Only visible to members of the portal : KC Research Portal
  As a musician from Indonesia, I am always fascinated by my country’s musical traditions and its history. Finding the traces of where and when keroncong cello instrument started and evolved was a difficult search. Many books published in Indonesian, English and Dutch speaking about the history of this music, but none of them specifically speaks in detail about the cello yet. In summer 2018, I flew back to Indonesia to gather information, sources and get private lessons on the techniques of keroncong cello playing. I documented these opportunities in the form of audio, video and in writings. Returning back to The Netherlands, I summarized the techniques, transcribed some existing recordings of this instrument and created a method of practicing these techniques. Furthermore, I collaborated with two composers who wrote a new piece for, or inspired by keroncong cello techniques, which will be premiered in my final recital exam. These two composers have different approaches on writing a new piece for me. One of them is writing for a western cello and implementing techniques from keroncong cello. The other one came out with the idea of “bowed” keroncong cello. This research is therefore opening a door for both sides: new pizzicato techniques for western cello inspired by keroncong and new ways of playing on keroncong cello inspired by western cello playing. All this work also widens new music repertory. The chosen format of presentation is research exposition and a lecture-recital. In the lecture-recital I will briefly introduce the original keroncong cello playing techniques both on the original instrument and on western cello. And in the second part of the presentation I will introduce two new compositions and give audience insight into the process of working on them.
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• Vers d'autres cieux à d'autres amours (2022) author(s): Maria Palma Limited publication. Only visible to members of the portal : KC Research Portal
  As a harpist I wanted to find the relation between Gabriel Fauré’s piece for solo harp “Une châtelaine en sa tour” and Verlaine’s poem “Une sainte en son auréole”, from whose verse the piece takes its title, to understand more the composer’s intentions and improve my interpretation. It is quite an enigmatic topic, because Fauré never explained how (or if) he was inspired by the poem for its piece. After trying to collect as much information as I could to find the answer, I realized that there isn’t an answer: I couldn’t pretend to explain something so intimate and deep such as the composer’s intentions in a piece if the composer himself didn’t give any explanation. But I also play a role in the interpretation of the piece as a performer, and instead of searching for outer facts and information, I realized that I can find answers in the sphere of my subjectivity, exploring my personal way of including poetry in my interpretation. Therefore I created a practice plan which involved the poem in mental training techniques, and I recorded myself before and after that, noticing what changed. Thanks to this research I developed a personal way of involving poetry in practice and performing, I discovered new mental training techniques from which I benefit as a musician, and I have more awareness of the complexity of connecting two worlds that share common qualities but that exist on their own and have their beauty in their independent, pure essence.
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