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

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  The endpinless cello in the 19th / early-20th century and today (2020) author(s): Matyas Virag Limited publication. Only visible to members of the portal : KC Research Portal
  Despite the fact that playing the cello without an endpin was common practice throughout the 19th and even early-20th century, it is a playing style that, in my experience, most of today’s cellists associate with the baroque cello only, and barely experience in general. However, this so-called da gamba posture was preferred by some of the leading cellists of the 19th / early-20th century – Auguste Franchomme, Alfredo Piatti, David Popper or Robert Hausmann, to name a few – all of whom made this choice at a time when the new ‘trend’ of using an endpin was becoming more popular. With the first part of my research, my goal was to gain insight into this transitional period – between approximately 1850 and 1920 – by looking into treatises, other written documents, illustrations and photographs of the time. This was followed by the documentation of my own practical experiments – mainly working on Brahms’ Cello Sonata in F Major (Op. 99) – which led me to the conclusion that: by trying to play instinctively and thus experiencing what is more natural to do – in terms of bow speed, the amount of bow weight in the string, the intensity/amplitude of vibrato etc. – in this changed position, one may get a sense of what types of sound or articulation a cellist from that era might have played with. And having these two equally important elements, the background research and my practical experiments, I chose to present my work as a research exposition.
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  THE IMPORTANCE OF ARUNDO DONAX CANE SELECTION, FOR MANUFACTURERS OF OBOE REEDS (2020) author(s): Christos Tsogias-Razakov Limited publication. Only visible to members of the portal : KC Research Portal
  Research Question: Which aspects and qualities of Arundo Donax help the manufacturers of oboe reeds to have the necessary information for choosing the preferable right raw material? Summary of Results: The will for further research stems from the need to extend the boundaries, so the artistic and musical expression is not confined to technical issues. The current research has aim to present significant qualities and aspects of the cane in order to contribute to the development of the oboe reed making. All the necessary information provided about the Arundo Donax L. species, the climate conditions that requested for healthy growth, and about the significant process of harvesting and drying the cane. Various stages of the material sorting suggested, in order the oboe reed manufacturer to preselect the suitable material, to reduce the time­ consuming way of reed making, and to expand the technical boundaries of the instrument. Sources from previous centuries, interviews, guides, articles from reputable journals, en light the ways and traditions that took place and provide valuable information about the aspects and qualities of the cane. Especially, emphasis given to the work of Theophrastus (Inquiry into Plants), where significant information described about the reed species and methods, as took place about two millennia ago. The research is based on three years of data collection and observations from Arundo Donax plantations in Greece. The location in the east Mediterranean fulfils all the requirements of natural, healthy and top quality growth of Arundo Donax cane. This research has the form of exposition, in order to combine text and media. The postgraduate level studies at the Royal Conservatoire of the Hague took place with the enormous support of Onassis Foundation. Biography: The oboist, Christos Tsogias-Razakov graduated from Royal Conservatoire of the Hague, where he studied with Karel Schoofs and Alexei Ogrintchouk. Also, he holds a bachelor’s degree from Ionian University where he studied oboe with Spyros Kontos. At the academic period 2013-2014 studied with Robertas Beinaris at LMTA, in Vilnius. Christos is a member of Greek-Youth-Symphony-Orchestra in Athens and of the Antwerp-Youth-Symphony-Orchestra in Belgium. Currently, he studies at the postgraduate level at the Royal Conservatoire of the Hague as a scholar of Onassis Foundation. For the artistic period 2020-2021, Christos appointed as the principal oboe of Athens Philharmonia Orchestra.
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• The effect of Mindfulness Meditation on Practice and Performance Mindset Behavior (2020) author(s): Kassandra Siebel Limited publication. Only visible to members of the portal : KC Research Portal
  All musicians have sometimes questioned their abilities, experienced frustration, disappointment, anxiety, had negative or destructive thoughts and had failures and negative experiences on stage, during practice and/or performance preparation. The ability to manage these problems is due to a large degree on one’s mindset. Any situation can lead either to growth or to degradation depending on how one thinks. Someone with a growth mindset will learn from mistakes and embrace challenge, whereas someone with a closed mindset will try to avoid mistakes and worry too much about negative judgement. This research investigated the effect of specific characteristics of mindfulness meditation on mindset behaviour. The researcher designed and participated in a self-study where she tested herself during a seven-week intervention. She practiced several mindfulness meditations each day and noted her levels of energy, enjoyment, stress, concentration, motivation, emotional-state and self-esteem before and after each meditation. The scores were compiled and compared. Recordings of practice sessions and concerts before and after the intervention were made and a general approach to her practicing and performing before and after the intervention was compared. Results found that practicing mindfulness meditation had a positive effect on the researcher’s mind and body (less mental and physical stress and tension) and an enhanced ability to control and steer her attention. In addition, she found that her approach to practice and performance illustrated a more open mindset than previously.
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• Viola speaks! (2020) author(s): Oksana Mukosii Limited publication. Only visible to members of the portal : KC Research Portal
  I view the viola not only as a musical instrument but also as a special tool that allows me to share my inner feelings with audiences all around the world. The sound of the viola is a realization of the internal voice that comes from the heart. I have a strong desire to reveal the true beauty of this instrument and, using it, to touch the unsuspecting hearts of audiences.
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  Composing With The View Of A Drummer (2020) author(s): Michele Pazzini Limited publication. Only visible to members of the portal : KC Research Portal
  Composing with the view of a drummer RQ: How can I develop as a composer and which techniques can I use by starting a composition from the drum-set? During my studies to become a professional jazz drummer, composing music has always been equally important to practicing drums. However, not being a professional composer, the methods I used to start a composition were often the same. I would normally start from a melody or a chord progression I had in mind with the use of my voice or the piano. This research helped me to discover new methods to start a composition from the drum-set. For the first time, due to some experiments, I changed the order of my process by developing the song from an idea starting from the drums. I noticed that my compositions in this way became more complex than before. I always wanted to write songs taking into consideration concepts that I needed to practice on drums. My compositions were also a modus to study different facets with the ultimate goal of playing them during my master recitals. Important to me was that these compositions, above all, should sound like a song and not as an exercises for drummers. The themes had to be melodic, easily singable and memorable. I can conclude that by listening, analyzing and studying the music of drummers and by experimenting to compose exclusively from the drums, my skills as a composer has definitely developed. These new techniques helped me to be more original and different compared to earlier compositions. I will certainly continue to integrate these techniques in my career as a drummer and composer.
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• Beethoven: form and dynamics _ (2020) author(s): Leo Marillier Limited publication. Only visible to members of the portal : KC Research Portal
  This research explores and weaves its way through Ludwig van Beethoven’s two largest violin works, the Sonata for piano and violin in A major op.47, and the Concerto for violin and orchestra op.61. Studying carefully and visually the manuscripts gives concrete examples of Beethoven’s solutions to large forms through dynamics, rhythmic articulation, since throughout his creative output he delves deeper in creating and controlling his works through on these parameters.
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