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

• 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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• Villanella Napoletana: Historically informed practice of ensemble arrangements from vocal scores (2022) author(s): Valeria Di Biase Limited publication. Only visible to members of the portal : KC Research Portal
  In the context of Renaissance music performances, this research deals with the possibility to increase and facilitate historically informed arrangements from original partbooks. More specifically, the focus of this research is the Villanella Napoletana, a XVI century rustic part-song, with Neapolitan origins. Musically speaking, the Villanella is a three-voices composition, almost always note-against-note, with a simple melodic line without complex counterpoint, where traditional rules of composition were sometimes broken. The surviving Villanelle collections only include the three (or sometimes less) vocal partbooks, but several sources indicate as these songs used to be accompanied by instruments. For an ensemble, nowadays, it might not be easy to perform this music considering the lack of information about the accompaniment. The purpose of this research is creating an historically informed database with information and practical examples which could increase and facilitate the process of arranging or improvising songs belonging to this specific musical genre using vocal partbooks as a starting point. In order to achieve this, a detailed description of the musical genre and an analysis of a significant Villanelle collection has been carried on. This theoretical section has been enriched by interviews to experts of Renaissance music arrangements with the purpose of collecting information on their methodology and gaining knowledge from their experience. As a final result, Villanelle from partbooks have been arranged for ensemble; these arrangements show a practical application of the presented research.
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• Évocations by Henry Tomasi: a Pedagogical and performative proposal (2022) author(s): María Teresa Martínez Risueño Limited publication. Only visible to members of the portal : KC Research Portal
  Évocations is a musical piece for solo oboe, belonging to the category of “Descriptive music”. This term refers to compositions that attempt to evoke extra-musical ideas or images in the listener’s mind. It consists of four movements: Peruvienne, Nigerienne, Cambodgienne and Ecossaise. Each of them refers to a different country, continent and culture. This research has been carried out using two methodological tools. The first part was documentary, in which a historical overview of 20th century music, the importance of music for solo instrument and the life and work of the composer was carried out. Subsequently, through analytical-descriptive methodology, the work has been analysed and an interpretative proposal has been elaborated, as well as a contribution of elements and exercises for the resolution of difficult passages. This is one of the main objectives of this research. Throught the tool of analysis, I have been able to find that Tomasi captures certain rhythmic and melodic elements that are typical of the country it represents in each movement. He also combines some resources of the instrument to make the music more successful and to achieve a good interpretation. In addition, a series of exercises based on the most difficult passages have been elaborated with the intention of facilitating the study of the piece for other musicians who want to play it. Also some tips and techniques of the instrument are provided to achieve the atmosphere required for each movement. A recording of them is provided.
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