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

• Engaging a younger audience (2020) author(s): Marieke Kosters Limited publication. Only visible to members of the portal : KC Research Portal
  The aging of the classical music audience is a growing problem in today’s world. Our audiences are getting older, while younger people stay away from the concert halls. And while this is happening, little has changed in the programming of classical concerts over the last decades. This is a shame, because young people can find classical concerts very enjoyable, but experience too many boundaries to actually visit one. As musicians, we need to address this problem and find innovative ways of programming our concerts in such a way that it attracts young people as well. In this research, the needs of people between 18 and 30 that don’t regularly visit classical concerts are studied. An overview of studies on classical music audiences is given, as well as examples of innovation in the concert practice. Next to that, an interview with an expert in this area was held. Lastly, the target group itself was questioned in a questionnaire and in an in depth interview with a select group of people. After gathering and examining this information, the author was able to come to a conclusion in the form of a proposal for the ‘ideal concert’ for this target group.
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• Bow technique in Jean-Marie Leclair’s violin works (2020) author(s): Sakura Goto Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Sakura Goto Main: subject Baroque Violin Supervisor: Dr. Inês de Avena Braga Title of Research: Bow technique in Jean-Marie Leclair’s violin works – focusing on the ‘slurred staccato’ Research Question: What is the ‘slurred staccato’? How can the ‘slurred staccato’ present in Leclair’s works be interpreted? Who influenced him and who has he influenced? Summary of Results: The purpose of this paper is to focus on the ‘slurred staccato’ found in Jean-Marie Leclair's (1697-1764) works, from the perspective of style, character of movements, key, bow direction in actual performance, etc. ‘Slurred staccato’ is a sign notated as dots with a slur. This paper aims to clarify the effects of ‘slurred staccato’, and to look at how those ‘slurred staccatos’ can be interpreted in Leclair’s works. ‘Slurred staccato’ is the technique of playing two or more notes with one bow, separating each note shortly. It first appears in vocal music such as a trill or ornamental notes, then it gradually appears in instrumental music in the early 17th century. But at first it appears almost as a vibrato or tremolo, and is therefore a little different from ‘slurred staccato’, which developed especially as a violin-specific technique during the 18th century. This technique was first seen in the violin music late 17th-century Germany, but in France it is rarely seen before the generation of Leclair. Leclair was one of the earliest composers who used this technique in France in the early 18th century. In this period, this technique was found mainly in slow tempo movements, but Leclair uses it frequently in fast tempo. His virtuosity appears in this point. In conclusion, he pursues both the brilliant virtuosity and comfort of playing using advanced techniques, and ‘slurred staccato’ is one of them. His violin techniques and music has definitely influenced contemporaries and later composers and performers. Biography:Sakura Goto was born in Tokyo. She studied the Baroque violin at Tokyo University of the Arts under Natsumi Wakamatsu where she received a Bachelor’s degree alongside with the Acanthus Award and Douseikai Prize. She came to the Netherlands in 2015 where she completed bachelor studies and is now working towards completing master studies with Ryo Terakado at the Royal Conservatoire in The Hague. She received 3rd prize at the “Maurizio Pratola” competition (2017) with the ensemble Les Petit Riens, and 2nd prize at the “Premio Bonporti International Baroque Violin Competition” (2017). She performs with Le Concert d’Apollon and Castello Consort.
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• Theatrical music for contemporary percussion (2020) author(s): Ricardo Costa Oliveira Limited publication. Only visible to members of the portal : KC Research Portal
  Nowadays it becomes more and more common for composers, when writing for percussion, to add to their music detailed theatrical elements for the performer to execute. The performer has the task to develop extra skills to perform their music in a convincing way. Since this year, I have asked myself what theatrical skills I should have as a percussionist when performing these kinds of pieces and what important aspects could be effective to interpret the music better and capture the attention of the audience. The first part of my research is going to be about what the meaning of theatrical music, looking at the compositions of pioneers like Georges Aperghis, Vinko Globokar or Mark Applebaum and defining the skills that the performer must get in order to perform these kind of pieces, for example the focus of the eyes, precision of the movements and the message transmission. The most remarkable example that shows these aspects, is “Aphasia” by Mark Applebaum. This piece was inspired by a conversation between a friend and Applebaum. The point of this question is not about instructions or the piece itself but the relevance of this genre in the percussionist development and the percussion repertoire. I agree that theatrical music for contemporary percussion is important for the education process because it will make the students develop a lot of artistic experiences and techniques that we cannot find in another musical genre. As part of my Master Research I decided that both my Master’s recitals would have to be connected to each other. In my first year Master Recital I performed “Aphasia” for solo percussion and “Contre 2” for Percussion and Piano, both theatrical pieces that are connected to my research. For my second and final Master Recital, I will prepare a recital in which half of the program will be only focused theatrical pieces.
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• Application of the Jordi Albert method to the study of the French Horn, and the correction of the hesitation in the attack. (2020) author(s): Sergi Chofre Palomares Limited publication. Only visible to members of the portal : KC Research Portal
  The hesitation in the attack is a disorder of the embouchure process, in which, we do not manage to connect the inspiration correctly with the expiration and production of the sound, creating a sensation of tension in the facial muscles, and that prevents a good first attack. According to the preliminary data, a substantial number of brass musicians have suffered this hesitation in the attack in their life. In this stage many people overcome quickly and by themselves, but there is also another large group that try to ignore the problem, which usually becomes worse over time and gets more serious. This research contains interviews with different brass musicians who have suffered this problem in their student stage or later, telling their personal experience and how they overcame their problems with the hesitation. A survey submitted in Spain and the Netherlands has also been conducted in order to find out the knowledge of students and professionals on this subject. Following the working methodology of Dr. Jordi Albert, a planning has been created with different technical exercises to eradicate this difficulty and contribute more solutions to the already existing knowledge of this problem. Biography: Sergi Chofre obtained his bachelor's degree at the Superior Conservatory of Music in Castellon with the teacher Vicente Navarro. After this he decided to move to the Netherlands to perform Master’s degree with teachers Jose Luis Sogorb Jover and Herman Jeurissen. He is currently a member of the Spanish National Youth Orchestra, Nationaal Jeugdorkest and Flanders Youth Orchestra. This year he has also done educational work with the theater company Klassiek, doing a national tour to introduce the youngest in the world of classical music.
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• Training Flexibility for Saxophonists by Using Throat and Oral Cavity Exercises (2020) author(s): Youkyoung Chang Limited publication. Only visible to members of the portal : KC Research Portal
  . Name: Youkyoung Chang 2. Main subject: Saxophone 3. Research supervisor: Pete Saunders 4. Title of research: Training Flexibility for Saxophonists by Using Throat and Oral Cavity Exercises 5. Research question: What does a saxophonist need to do to gain throat flexibility to accurately perform overtones, altissimo register, glissando, pianissimo dynamics in extreme ranges, large interval leaps and singing while playing? 6. Summary of the results. This research is a guide to show a way of practicing to increase saxophone player’s throat flexibility. It is for students who are not able to control their throat when they play other saxophones which are not their main instrument. The specific skills dealt with in this paper are overtones, altissimo, glissando, singing while playing, large intervals and high and low registers with pianissimo dynamics, because all these techniques benefit from throat flexibility. Many people just study these techniques without understanding the principles. These principles are clearly described, and many exercises are given to develop the skills. Since it is required in most of these techniques to maintain throat flexibly, it is one of the most important areas of study. There are several method books and articles to help with this, but the methods are only focused on physical practice. This research attempts to present a way to practice with balance between mental and physical study. 7. Short biography (max 100 words) Youkyoung Chang is a classical saxophonist from South Korea. She studied her bachelor program in Sunshin Women’s University in Seoul. She has won various awards and gave performances in several wind orchestras in Korea as a guest member, as well as teaching young students and also adults. She came to the Netherland and entered the Royal Conservatorium in den Haag with a Holland Scholarship. Youkyoung has attended lessons and masterclasses with world-renowned saxophonists such as A.Bornkamp, V.David, J.S.Bunert. Currently, she is studying in the master program with Excellence scholarship and is a student of Raaf Hekkema.
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• ’The language of the first jazz violinists applied to works of jazz-inspired classical composers. (2020) author(s): David Carmona Navarro Limited publication. Only visible to members of the portal : KC Research Portal
  In the early twentieth century the jazz was born and with this a new way to play the violin. In this research we will analyze how this violinists did it and how we can use it in the classical music that was composed in that period. Recording myselfe I will study my improve. The pieces will be taken for that experiment will be pieces composed by Gershwin.
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