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

• Wechselposaune (2022) author(s): Nuno Teixeira Limited publication. Only visible to members of the portal : KC Research Portal
  Learning to be a Wechselposaunist. In recent history, many large orchestras have created positions for Wechselposaune ( playing both Tenor and Bass trombone). Because of the challenges such us: Airflow, Embouchure, Tuning and increased practice time, and that there is not much literature concerning these problems, this research sheds light on the subject. The author started four years ago to combine playing both tenor and bass trombone and has documented his progress through a journal. Included here are his findings and strategies created to help with the issues: history of the trombone, interviews with professionals who hold these positions, his learning path, and exercises and solutions that have been found. Through this method of investigation, the author has collected helpful learning material that redesigned his approach regarding the practice of tenor and bass trombone, in a more sensitive and positive way.
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• Tha natural horn in Beethoven symphonies (2022) author(s): Pedro Megido Limited publication. Only visible to members of the portal : KC Research Portal
  Over the years, the horn has evolved from a hunting instrument to a very important instrument in orchestras, ensembles and concerts. Beethoven was one of the first to dare to give the horn a more important role in the orchestra, appearing on many occasions as a soloist, something that is very well reflected in his symphonies. However, Beethoven composed for natural horn, but how does it affect the way we play it nowadays? It would be useful to know how and how exactly it changes to know the technique of the ancient instrumen.
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• The Incorporation of Traditional Japanese Music in Jazz (2022) author(s): Aseo Friesacher Limited publication. Only visible to members of the portal : KC Research Portal
  Research Exposition
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  The Feeling of Sound: Music Curating, Performing and Connecting with and through Music (2022) author(s): Laura Sophie von der Goltz Limited publication. Only visible to members of the portal : KC Research Portal
  Long story short In this research exposition, I would like to invite the reader on a journey of discovery in the field of classical music presentation. Over the last 50 years there have been many suggestions on how to allow the professional field of classical music to develop alongside its time and people. To get a new perspective on the topic, I approach ASMR as a connected topic, investigate it under the aspect of listening and then make a transfer to my professional practice. ASMR stands for autonomous sensuous meridian response and is describing a special kind of sensory perception. I study ASMR as way of perception and as well as a YouTube / media phenomenon. My research question is: What can I learn from ASMR (about contemporary audience’s perception of sound) and how can I integrate this in my artistic practice? When I talked to colleagues or teachers from a classical music context, ASMR appeared to them at first as something bizarre and insignificant. Still, it has millions of followers on the internet. A large number of followers is not necessarily an indicator of artistic quality, but it can certainly be an argument to arouse curiosity. After all, the number of followers towards a subject does say something about its appeal or the ability to grasp people. By comparing ASMR to synaesthesia, I want to focus on perception and sensuousness but also explore common traits and differences of the two phenomena as both neurological phenomenon and the social (artistic) movement. An analysis and five experiments involving technological and dramaturgical tools often used in ASMR, leads to the final chapter: the artistic implementation. During the two years of my master studies, I designed two performance concepts, in which I applied the insights I gained throughout this research. A documentation of the process and a more elaborate explanation of the concept are to be found in chapter 4. In the end of this exposition, I summarize the conclusions of the research I made on a general and on a personal level. In order to acquire more information as well as a wider view, I have reached out to literature within the fields of sociology, (social) history, psychology, neuroscience and philosophy . During my years of studies in music, music pedagogic, historical and innovative performance practice, I quenched my thirst for knowledge about the past and now I am hungry to learn about the now and the future.
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• FINDING MY APPROACH: PLAYING BAROQUE MUSIC ON A NON PERIOD INSTRUMENT (2022) author(s): Diego Dávila Cabanillas Limited publication. Only visible to members of the portal : KC Research Portal
  During my training as a saxophonist, I have felt on many occasions a lack of knowledge in baroque music. From the very beginning, I have always had doubts about what is the most appropriate way to interpret this kind of music using an instrument that historically has no relation to the period. But is there only one way to play this music? This research is not about finding the perfect way to approach the performance of baroque music with the saxophone, but about finding my own way. Therefore, it has been necessary to understand when the historical returning of early music occurred. By discussing concepts such as "Historical Informed Performance" and "Authentic performance", and by reviewing different approaches, it has been shown that there is not just a single way to achieve a good performance. To help me find my own way, it has been necessary to delve into the experience of other saxophonists who have sought their own approach. In addition, I got in touch with the tradition of early music through the interpretation of three pieces from the period, relying on the reading of different treatises and counting on the guidance of expert teachers in the field. Finally, the differences between my interpretations before and after the learning process are shown. Although my current interpretation is susceptible to change, I feel much more comfortable and confident when performing baroque music. My results, although personal, can serve as inspiration to other musicians who want to find their own approach.
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• HANDEL @ HOME (2022) author(s): Georgia Burashko Limited publication. Only visible to members of the portal : KC Research Portal
  George Frideric Handel is remembered for his grand opera and great popularity in London, but his lesser known ‘Neun Deutsche Arien’ are smaller works tied to his homeland, Germany. Through an in depth look at these songs, I will explore a more intimate and personal side to this celebrity composer, suggesting an image of how they may have been enjoyed. Handel arrived in London for the first time in 1710 at the age of twenty-five. By 1723, the well established composer had leased the Brook Street house in which he spent the remainder of his life. An active socialite, Handel frequently attended house concerts where music was performed in a smaller setting. It was in these first twenty years of Handel’s life in London where he wrote most of his chamber music. These works were intended for the salon settings of which he was so fond and were beneficial in growing his fame. House concerts became a sort of laboratory where he presented themes that he later adapted into larger, more public compositions. Written for poet and university friend Barthold Brockes, the Neun Deutsche Arien are scored for voice, continuo, and obligatto flute or violin. The songs, along with Brockes passion, are among Handel’s few works with German text: both are settings of Brockes writing. These domestic, German arias are songs of friendship that we can easily imagine being enjoyed in a candle-lit living room. They are special works from a time when Handel was not yet a household name.
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