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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  Collabographies: Tracing shared processes between performer and composer (2024) author(s): Petra Valtellina published in: KC Research Portal
  This research aims to address the question of how performer-composer collaborations can effectively generate a jointly composed flute piece. By examining two collaborative processes undertaken over the past year with different composers, this research seeks to identify factors that facilitated successful collaborations and those that posed challenges. Through comparative analysis, the goal is to identify strategies and approaches that could inform and improve future collaborations of this nature. This study ponders the contrast in the background of the two composers involved and the different experiments in role balance. As the performer, I serve as the common thread between these collaborations; variations in the outcomes result from interpersonal dynamics and the composers' differing levels of familiarity with the flute. The methodology employed aligns with the principles of Action Research, with iterative cycles of feedback, reflection, and adjustments during the collaborations, prioritising the process over the final product.  Outcomes of this investigation include that complementary skills, clear expectations, transparent and unfiltered communication, external deadlines, defined final goals, and narrower guidelines might enhance collaborative engagement, improving satisfaction and musical products.  Following the introduction, which addresses the motivations underlying this study, Chapters 1 and 2 will contextualise the topic of collaboration through a literature review and present the chosen methodology. Chapter 3 will delve into a comprehensive overview of the two collaborations, while Chapter 4 will propose a comparative analysis of these processes and report the limitations of this study. Conclusions will follow.
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• Body Language for Conductors (2024) author(s): Antonia Dehmer Limited publication. Only visible to members of the portal : KC Research Portal
  "Do conductors create a non-verbal atmosphere at rehearsals and concerts? If so, how does the conductor’s body language influence the musicians?" In the windband scene there are lot of masterclasses and courses about conducting. They focus on conducting technique, working with both hands, rehearsal technique and sometimes a bit of rehearsal language. But there is much more to think about as a conductor. In this thesis I will focus on the body language and the presentation of conductors in connection to the musical work and its effect on wind band musicians. After defining body language, I explore its context within conducting. Next to this an evaluation of a questionnaire about the influence of the body language of conductors. To support amateur conductors I organized a workshop about body language and podium presentation with expert Miriam Gluth. This thesis can be seen as a guideline for presentation in front of musicians and is intended to make people aware of the power body language has over musicians and their musical abilities.
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• Beyond the Wood and Strings (2024) author(s): Pieternel Tils Limited publication. Only visible to members of the portal : KC Research Portal
  In an ever-changing classical music scene that is constantly looking for innovation, more and more artists are starting to use electronics together with their instruments. From the perspective of a classically trained violinist, this research explores how a layman can find their way amongst the endless possibilities of using electronics with the violin, which specific gear is best suited for certain artistic purposes, and how to ensure that a good quality of sound is maintained. These questions are followed by a practical experiment with electronic gear, in which the acquired knowledge is tested and put into practice. The goal of this research is to find an electronic setup that can become implemented in a violinist's concert practice.
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• Beginnings and development of the thumb-position technique in the 18th Century (2024) author(s): Andreu Gènova Roldán Limited publication. Only visible to members of the portal : KC Research Portal
  In every practical discipline, technique is a basic element to be able to carry out the work being prepared with solvency. In music, as in painting or sculpture, for example, it is translated as the ability to use the instruments to perform the chosen work with the highest possible quality. To achieve this, these skills or techniques have been developed over the centuries until today, and will continue on a never-ending journey. With this research work, my intention is to find out as far as possible the development from the beginning of a technique that has become fundamental not only for cellists, but also for double bass players: the Capotasto technique or thumb position technique. Throughout the 18th century, methods for teaching how to play an instrument began to be written prolifically, most mentors and great masters of each instrument had written their own. The development of this, at that time, peculiar technique, was rapid and extensive, especially in the second half of the century, but: what is its origin? When and why did the need to use the thumb on the cello arise? The premise of this research presentation is to explore and investigate the origins and the first evolutionary steps of this technique that today is essential to master for any cellist.
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  Beethoven and metre: the minuets from the keyboard Sonatas (2024) author(s): Danilo Mascetti Limited publication. Only visible to members of the portal : KC Research Portal
  My aim with this research is to connect metrical and phrasing rules from the Classical sources to the compositional elements of Beethoven's minuets from his keyboard Sonatas, with the goal of finding useful tools for interpretation. The research illustrates briefly Beethoven's practical experience of dance as a composer, and it then focuses on a comparative study of the Classical sources regarding metre and phrasing, and their interpretation. The main chapter consists of an illustration of the main features of the minuet, and a detailed analysis of the Minuets and "Tempo di Minuetto" from Beethoven's keyboard Sonatas (as well as the last Variation of his op.120, as an appendix). This analysis, which compares all the elements of metre, phrasing, and dance described above, demonstrates that Beethoven made an active choice of composing minuets that preserve all the features of the dance, at least in his keyboard Sonatas (compared to other symphonic of chamber works). Beethoven preferred to use the minuet for Sonata movements with elegant features (opposed to more lively, stronger scherzos), maintaining the basic metre and counting of the dance, and doing so by means of articulation, dynamics, detailed placing of melodies and phrase building. This study, hence, shows how the minuets from the keyboard Sonatas fall very rightly in the category of the Classical minuet rather than more modern dances, and outlines many important metrical details that can be useful for performance and practise.
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  BURST! - Creating a new personal language developing consistency between improvisation and composition (2024) author(s): Michele Rampino Limited publication. Only visible to members of the portal : KC Research Portal
  This Master research revolves around how I can compose repertoire for a specific ensemble, developing a new and personal language of composition that involves collective improvisation. My goal is to include, in each composition, written sections and improvised sections, exploring the contrast between the two. I think of improvisation as the only means able to guarantee absolute musical spontaneity, placing the musicians in a condition of absolute immersion in the flow of events. With composition, on the other hand, it is much easier to exercise greater control on the music and to achieve very high degrees of precision. The chosen ensemble consists of trombone, guitar, percussion, and piano, with each instrument selected based on its ability to contribute to the desired musical language which delves into the exploration of different musical characteristics such as homorhythm, polyrhythm, power and large sound masses as well as musical contrast and surprise. I began by undergoing a process of exploring the ensemble which led to discovering and experimenting with interesting techniques and ways of communicating between instruments. This allowed me to gather compositional ideas that I used as building blocks for the pieces of the repertoire. Owing to time constraints, I chose to focus my research mainly on the first piece of the repertoire, Tephra, showing audio and video recordings of the ensemble’s rehearsals, delving into the different phases of the experimentation of the language as well as different methods to approach collective guided improvisation.
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