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

• Strike the Viol! Literally! (2022) author(s): Ron Veprik Limited publication. Only visible to members of the portal : KC Research Portal
  A look into alternative sound production techniques in bowed string instruments throughout the baroque. This paper examines the elements of physical sound production techniques and their aspects of control, different ways for the player to compromise those aspects and the effects that come out. Alternative sound production techniques result in known musical terms and early examples from the 17th and 18th centuries are brought out and analysed. The concludes with implications of the research to modern day historically informed performance practice.
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• Johann Melchior Molter (2022) author(s): Javier Sánchez Castillo Limited publication. Only visible to members of the portal : KC Research Portal
  Among young musicians there is not much motivation to "go outside the box". We are so used to seeing from a young age the same books and the same typical pieces. All this just to get in front of a jury and play the same passages that we started to study since we were 12 years old. But it is inevitable that a hurricane of questions sweeps through your head when you see that a composer from the 18th century you didn't know wrote a concerto for your instrument. Which instrument did the composer play? In which stylistic period can we place him? Who was the concerto written for? Do we know if there is another concerto for my instrument? This is what my research is about, to study the life as well as the bassoon concertos of the German composer Johann Melchior Molter, born in Karlsruhe in 1696, unknown to me until a year ago. He was chapel master in Karlsruhe, he travelled around the cultural centres of Europe, which gave him a unique and varied style that is present in all his works.
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• THE MUSIC FOR DOUBLE BASS BY PERE VALLS AND JOSEP CERVERA (2022) author(s): Eudald Ribas Limited publication. Only visible to members of the portal : KC Research Portal
  The following research wants to show the music of Pere Valls and Josep Cervera to all the double bass players in the world. These two unknown double bass players and composers wrote more than 50 pieces for double bass but only ten of them have been published at the moment. I started playing the double bass in my hometown, Tarragona. As a member of the Catalan double bass school, I have played pieces by most of the Catalan composers for double bass such as Lamote de Grignon, Salvador Brotons and Pere Torelló. When I started my bachelor studies I played great works for double bass, but I still had in mind why we don’t have the opportunity to play more original music barely played. That is why, when I started my master's studies, I was very convinced to do my master's research on the unknown music of Pere Valls and Josep Cervera and try to answer the questions I thought about for many years.
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• Where are the Women (2022) author(s): Leah Plave Limited publication. Only visible to members of the portal : KC Research Portal
  Preliminary version Preliminary version Preliminary version
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• Developing confidence: excerpts and preparation tools for orchestral cello auditions. (2022) author(s): Paula Delgado Limited publication. Only visible to members of the portal : KC Research Portal
  This research addresses the needs of young cellists, who in their final years of studies are looking for tools for preparing for and participating in orchestral auditions. The research has two main objectives: firstly to make a catalogue of orchestral excerpts for cello highlighting 10 excerpts and classifying them into three categories: style periods, the Left hand (fast and slow) and the Right hand (legato, spicatto, portato). The second objective involves practice-based exploration of three excerpts while exploring methods for audition preparation. The research process involved cataloguing the excerpts that numerous renowned orchestras such as, Residentie Orkest Den Haag,New York Philharmonic, St. Petersburg Philharmonic, Orquesta Nacional de España, Boston Symphony Orchestra, Orchesterakademie der Wiener Philharmoniker require for cello auditions. From this broader set of excerpts, I selected the most common repertoires for further practice-based study. I selected three excerpts: Symphony No. 5, movement 2 by Ludwig Van Beethoven, Symphony No. 6, movement 2 by Pyotr Ilyich Tchaikovsky(both for cello tutti), Overture Poet and Peasant by Franz von Suppé (for cello solo). I focused on the challenges I faced learning each of the selected excerpts and provided fingerings, bowings, and technical exercises for each. In addition, I discuss mental and physical warm-up exercises with regard to audition preparation and how these might influence performance during auditions.
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• Preliminary Version: Classical and Popular Music: a discourse into the realm that focuses on the “in between” considering electronic music as the common denominator (2022) author(s): Antonio Azzolini Limited publication. Only visible to members of the portal : KC Research Portal
  Where do classical music end and popular music start? Is it possible to draw a clear distinction between them, and if not what is it that connects them? Are these categorisations even of any use after all? These questions arose over the course of my life and with more and more time passing and more and more work invested in this language of expression, the necessity to find an answer to these questions grew bigger. If one asks the basic question: “What is the difference between classical and popular music?” the answer might often be: “Classical music has a much higher intellectual value in comparison to popular music” and whenever I received such an answer from my peers I could not hold myself back from feeling somewhat insulted, with the compassion I had in my mind with the so-called popular music I was listening to. Regarding some music as of “lower value” than other music did not satisfy my need for an answer.
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