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

• Harp and electronics. A new way of understanding harp music. (2024) author(s): Alba Franco Trancon Limited publication. Only visible to members of the portal : KC Research Portal
  The main question that I will study in my artistic research is: How can I use electronic devices on the acoustic pedal harp, and how does it influence my compositional work? The methodology I used is based on analyzing the status of existing extended harp techniques and different electronic harps. I will contextualize the current role of the harp in the contemporary world. After studying different augmented instruments and how they are constructed, I will use them as a starting point to design an appropriate electronic to artistically develop my compositions. The last part of the research contains experiments that I have carried out in collaboration with two sinologists from the Royal Conservatory of The Hague. In these experiments, the creative process can be observed through what we have produced, as well as the work done to build the live processing electronics on the acoustic pedal harp. In addition to this research, I will showcase an original song that exemplifies the use of electronics developed during the study.
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• Half Valve - an approach to the sound of duduk (2024) author(s): Juan Cancer Navarro Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Juan Cancer Navarro Main subject: Classical Trombone Supervisor: Johannes Boer Title: Half Valve - an approach to the sound of duduk Research question: Is it possible to make the trombone sound in a way that reminds of a duduk? This research shows a development and documentation of the half-valve technique, trying to imitate the sound of the duduk, and solving the different problems that occur when executing this technique. There is a documentation of three different approaches for using this technique in music, one of them focused on the Armenian folkore using transcriptions by Komitas and Brutyan, another one treating improvisation in that style, and a last one in the field of New Music.
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• Free Parametric Improvisation: An Exploration of Guided Free Improvisation Techniques to Expand Improvisational Awareness and Creativity (2024) author(s): Selene Zuppardo Limited publication. Only visible to members of the portal : KC Research Portal
  This research delves into the development of a personal method aimed at enhancing creativity and exploring vocal possibilities in improvisational practice. The methodology involves an exploration of existing free improvisation methods, with a focus on three distinct approaches: Tabula Rasa by Stefano Battaglia, Game Pieces by John Zorn and Conduction by Butch Morris. It incorporates elements of zeroing, unconventional musical notation, structured limitations, clarity and openness of directions, and focus on basic musical parameters. The creation process involves composing a series of exercises aimed at isolating and practicing individual musical parameters. These exercises, initially explored solo, are later adapted for duo and trio to foster interplay and collaboration. By documenting and analyzing these performances, insights are gained into the effectiveness of the method in enhancing creativity, improving communication and developing one's artistic voice, providing a structured but flexible framework for improvisation. This research offers a practical and personalized approach to creative exploration. By focusing on process, clarity and collaboration, it enables people to cultivate their artistic identity and push the boundaries of improvisational practice. It encourages deep exploration of musical parameters, fostering a rich vocabulary and facilitating spontaneous expression. Furthermore, the research shows how the method of “free parametric improvisation” increases confidence among the participants, as well as an increased awareness and a sense of liberation.
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• Fractal Geometry in cello suites of J. S. Bach (2024) author(s): Beatriz Montes Martín Limited publication. Only visible to members of the portal : KC Research Portal
  The relationship between music and mathematics is profound, as both disciplines share underlying principles. Musical harmony, rhythm, and structure often involve mathematical patterns and ratios. From the precise intervals in a melody to the rhythmic divisions in a composition, mathematics plays a fundamental role in shaping the beauty and coherence of musical expressions. Numerous studies have explored this connection, investigating it across different time eras – from the Pythagoreans in ancient Greece to contemporary composers – and including different styles and composers However, when it comes to the real world of the musicians, making music, how does this connection affect our playing? Does it have any influence on our playing or in the way we understand a certain musical piece? Does being aware of a mathematical structure or element hidden in a piece would make any difference in our performance? This is what you are going to read about in this paper.
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• Folking Around: a new approach to Ralph Vaughan Williams’ Suite for Viola and Small Orchestra (2024) author(s): Raquel Roldan I Montserrat Limited publication. Only visible to members of the portal : KC Research Portal
  As a classically-trained violist I did not have much knowledge about folk music, but when I encountered Ralph Vaughan Williams’ Suite for Viola and Small Orchestra I became very interested in understanding the English folk-music that inspired the piece. To enrich my interpretation of this specific work, I analyzed and explored tunes compilated by the composer, incorporated the four main characteristics of English folk music listed by his contemporary Cecil Sharp, and integrated these aspects in my own artistic practice, resulting in a list of tools which serve as a guide to interpret the piece.
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• Extracting violin and basso continuo parts from harpsichord suites by Élisabeth-Claude Jacquet de La Guerre (2024) author(s): Marta Pindór Limited publication. Only visible to members of the portal : KC Research Portal
  In 1707, the esteemed French composer Élisabeth-Claude Jacquet de La Guerre published her second book of harpsichord suites, titled “Pièces de clavecin qui peuvent se jouer sur le violon” - which in translation means “Pieces for harpsichord that could be played on the violin”. Regrettably, she left no explicit instructions on adapting these pieces for the violin. To tackle this challenge, I turned to the oeuvre of another luminary, François Dieupart, to glean insights into the intricacies of transcription. My goal is to assimilate Dieupart’s methodologies and apply them innovatively to transcribe Jacquet de La Guerre’s harpsichord pieces for the violin and basso continuo. This research endeavors to unravel the nuances of Dieupart’s transcription techniques and subsequently translate them to Jacquet de La Guerre’s repertoire. It involves an exploration of the transcription process, side by side with a biographical inquiry into the lives of both composers. Furthermore, an analysis of Dieupart’s compositions is undertaken to discern underlying principles guiding his transcriptions. Ultimately, the study aims to elucidate the methodology behind the transcriptional artistry of Dieupart and, by extension, to shed light on Jacquet de La Guerre’s compositions.
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