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

• Musical caves. Le chant d'Isturitz, towards an ecology of music creation (2022) author(s): Jean-Baptiste des Boscs Limited publication. Only visible to members of the portal : KC Research Portal
  In the caves of Isturitz and Oxocelhaya were founded some pieces of art (paintings, engravings mainly), objects including bone flutes, signs (red dots) on the walls left by our ancestors during the upper Paleolithic. More than an eldorado for archeologists, the Great Hall of the caves of Isturitz has very good properties of resonance (six seconds of reverberation, seven echoes, and high quality of the overtones’ reverberation). Musical improvisations were experienced in this hall with a cello and a barytone voice, and astonishing results were obtained. After the time of the experimentations, came the writing process and a piece for cellist was created and named Le chant d’Isturitz. The overall idea behind this research is the will to create and perform music by taking into account the specificities and subtleties of a resonant and natural place.
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• The possibilities of the bass clarinet, applying new techniques and working together with a composer for the creation of a new piece (2022) author(s): Guillermo Arnedo Frías Limited publication. Only visible to members of the portal : KC Research Portal
  This auto-ethnographic project is the creation, with collaboration with the composer Maarten Bauer, of a bass clarinet and baritone voice piece, as well as the research about the sound possibilities of these instruments. These possibilities have been exposed and explained. Moreover, a diary of the composition process of the piece such us qualitative information of the research and an analysis/explanation of the resultant piece have been included. The main sources are the piece itself and the participants: clarinettist and composer, who also participates as a performer in the piece as a singer. The symbiosis of two people in the creative and interpretative process of a piece and how the interaction between them modifies the final result. In order to achieve a total interrelation, the format of the piece is through the compositional form "Map and territory" which consists of interpreting by means of established but open bases or rules. Depending on what one of the musicians interprets at any given moment, the other will decide what to play. All this has been explained in detail in this research. As a format for the presentation of the research, we have chosen to present it in the form of an exposition in which the most important aspects will be explained, such as the compositional process, the decision-making during the working time as the answer to the research question, as well as the performance of the resulting piece demonstrating the relevance of the interrelation between performer and composer/performer.
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• Johann Sebastian Bach: Adagio and Fugue from Sonata I for Solo Violin BWV 1001. Comparison of its adaptations for classical guitar in the original key and in A minor (2022) author(s): Carolina Agudín Muñoz Limited publication. Only visible to members of the portal : KC Research Portal
  Final Master Research version by Carolina Agudín.
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• My Jazz Nonet, Analysis and Creative Process of Arranging for Medium Ensembles In Jazz (2022) author(s): Pietro Mirabassi Limited publication. Only visible to members of the portal : KC Research Portal
  In this research, I study and analyze works of arrangers of different times and styles for medium ensembles (from octet to tentet). The main goal is to explore the potentialities of medium groups and to learn techniques through the analysis of scores and recordings. Medium ensembles in jazz haven’t as much history and tradition as big bands and small combo’s do; this makes them still a widely un-explored line-up that can lead to new sounds and ideas inside jazz idiom. I divided the arrangers I analyzed into three different categories: “Little Big Band”, “Birth of the Cool”, “Joe Lovano and Lee Konitz”. The second part is intended to be more personal and focus on my own compositions/arrangements. The focus is on how I used the techniques learned in the analysis process I did in the first part, and how I adapted them for my band’s arrangements.
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• From your practice room to Carnegie Hall: the power of mental imagery (2022) author(s): Jules Baeten Limited publication. Only visible to members of the portal : KC Research Portal
  Research question: How can I apply mental imagery in the various aspects of music making?
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  Classical harp pieces as audio-visual works (2022) author(s): Liucile Vilimaite Limited publication. Only visible to members of the portal : KC Research Portal
  The phenomenon of interdisciplinarity between music and visual art is slowly taking over the contemporary music scene. Audio-visual works can be encountered more and more these days, however that happens more rarely in the classical, especially harp music world. The author of the research is exploring the possibilities of using video projections together with classical harp pieces with the intention of enhancing the listener’s experience and making harp music more approachable for new audiences that do not usually go to such concerts. The research exposition consists out of two parts: in the first one some of the existing 20th and 21st centuries audio-visual works are being analysed with a deeper focus on the relation between the image and sound and how it is perceived by the spectator; while the second part describes the process and findings of a collaboration with three different video artists. In the end this collaboration results in three different video projections that are created for three known 20th century harp pieces: J. Cage’s “In a Landscape”, B. Britten’s “Suite for harp op. 83” and L. Berio’s “Sequenza no. II”.
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