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

• Encoding Emotion (2024) author(s): Geneviève Gates-Panneton published in: KC Research Portal
  The paper Encoding Emotion details an experiment conducted on early 18th-century French recitative to determine how composers relate harmony to sung text, if at all. Although the existence of a relationship between harmony and vocal expression is generally agreed upon, it is rarely properly taught to baroque singers, even though harmony is fundamental to the concept of basso continuo. It is also rarely discussed in continuo or singing treatises, either historical or modern, and, if so, never explicitly. The present experiment aims to fill that gap by examining harmony and text in actual written music. To do so, a harmonic analysis was performed on excerpts of secco recitative from French operas and cantatas written by Campra, Clérambault, Jacquet de la Guerre, and Rameau; the significant chords and harmonic passages were then logged in a spreadsheet with their corresponding text. Over two hundred lines of results were then analysed to determine whether patterns could be found associating certain words to chords or harmonic progressions. In the end, the dataset was too small for any general conclusions to be made with certainty, but patterns still emerged. Most notably, the plagal cadence correlated to feelings of love and tenderness, particularly in a sacred or noble context. It was also noted that, though general patterns could not always be identified, some chords or harmonic progressions appeared to have specific meaning for a certain composer. The V of IV, for example, was strongly associated with pleasure in Clérambault's works. Although there is only limited use for these results outside of this study, the identified patterns show that a more extensive dataset would yield enlightening results and give singers access to a remarkably rich tool with which to inform their interpretation.
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• Empirical Observations on the Use of Extended Harmonic Tensions in the Search for a Personal Music Vocabulary (2024) author(s): Pablo Cruz Placer Limited publication. Only visible to members of the portal : KC Research Portal
  This study delves into the incorporation of extended harmonic tensions in the context of cultivating a distinctive music vocabulary. With a combination of empirical analysis and subjective qualitative assessments, encompassing dissonance, voicings, timbre, harmonic spectrum and scale formation, the research articulates the integration of these tensions into my personal style as both a composer and improviser. While this exploration does not focus on horizontal harmonic development, it will highlight the new possibilities these tensions bring to certain chord progressions in specific musical fragments. Some of the key findings include a fresh perspective on the vertical expansion of harmonies and the breaking of a one-octave framework for scale formation. This work also emphasizes the importance of empirical exploration in unlocking innovative harmonic potentials.
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• Efficient memorization strategies for piano repertoire and reflections on the tradition to perform without a score (2024) author(s): Yunke Shang Limited publication. Only visible to members of the portal : KC Research Portal
  This research focuses on practice strategies aimed at enhancing memorization of complex piano repertoire and discuss the "play with or without issue" in piano performance. In Chapter I, I explores various strategies for efficient practice and effective memorization in piano performance. Drawing from personal experiences and insights from sources like Noa Kageyama's "Bulletproof Musician" website. Also delves into different types of memorization, including serial chaining and content addressable access etc. In Chapter II I delivered some practical experiment with various memorization strategies in two piano solo work which are in different style. Chapter III is a reflection on the tradition of memorized piano performance. It first summarizes its historical roots and contemporary relevance. Finally, the question is raised to what extent memorization is essential in piano performance; the impact of memorization on performance anxiety is discussed and suggestions for alternative approaches to musical expression are put forward.
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• Creating a Saint Nicholas music theatre production that engages the audience and is inclusive (2024) author(s): Chiara Paganini Limited publication. Only visible to members of the portal : KC Research Portal
  This research investigates the research question ‘How can I create a Saint Nicholas music theatre production that engages the audience and is inclusive?’. The production aims at: - keeping the traditional Saint Nicholas celebration and music alive, - creating beautiful and quality art from the essence of the celebration, - taking into account social developments, the intense debates about the celebration and different opinions, - creating an inclusive performance – for audiences with a variety of traditions, cultural backgrounds, opinions, musical tastes and age; and - creating a performance that engages the audience throughout performance. The methodology is based on the Integrative Learning Design Framework and includes observations of performances for families, literature, interviews, the creation of the performance, refinement based on coaching sessions with experts, a prototype refinement, observations of audiences’ engagement, a survey completed by adults in the audience, reviews by 5th grade pupils after the school performance and a conversation with a programme maker. Answers to each of the five aspects of the research question – How can I create / a Saint Nicholas / music theatre production / that engages the audience / and is inclusive - are obtained, as well as clues for further refinement of the performance. Overall, this research shows that the approach taken in creating the Saint Nicholas performance has resulted in a Saint Nicholas music theatre production that engages the audience and is inclusive.
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• Composing inspired by classical music through the music of John Taylor (2024) author(s): Federico Termini Limited publication. Only visible to members of the portal : KC Research Portal
  Jazz music has consistently sought to blend various musical idioms. All the greatest jazz musicians and composers have gone through a reworking process typical of this genre, The European and contemporary jazz scene, with which I feel musically closest, has always had a strong connection to classical music, drawing inspiration from contemporary tunes, folk music, and classical compositions. In general, music history can be seen as a web of connections between the past and the present, and tracing these connections is the most fascinating aspect, regardless of genre and musical style. The music of Scottish pianist John Taylor, on which this exposition focuses, contains this research process, showing many influences from different musical genres and still maintaining a strong originality and distinctive sound. The purpose of this research is to find in John's music the influences that defined his writing and playing, drawing mostly on classical music literature and trying to incorporate some of this musical material into my playing and writing. Part of the exposition is devoted to an analysis of a selection of John Taylor's pieces, highlighting through musical examples of possible connections with classical composers, while another part explains my personal process of incorporating the music that inspired me on this path, enriching my knowledge as a performer and as a composer. As a result of this research, I composed a repertoire of original pieces containing influences from the music of John Taylor and the classical composers I studied.
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  Collaborative Explorations: Non-Guitarist Composers in Solo Guitar Composition (2024) author(s): Thanapot Lerttham Limited publication. Only visible to members of the portal : KC Research Portal
  Contributions from both guitarist-composers and non-guitarist composers have expanded the solo guitar repertoire. While the former group has historically dominated on this topic, the other group has also significantly contributed by using original ideas and creative methods. My research question is “How do non-guitarist composers approach the technical and aesthetic aspects of composing solo pieces for guitar?". This research aims to investigate and compare non-guitarist composer's approaches to solo guitar composing from a technical and artistic perspective. The study will contribute to our understanding of how non-guitarist composers approach the artistic and technical difficulties of writing for the guitar. In the final part of the research, there is an experiment collaboration with a non-guitarist composer.
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