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

• Music Bridge, Building New Audiences Through Cultural Exchange (2020) author(s): Buruk Kardelen Limited publication. Only visible to members of the portal : KC Research Portal
  The formal concert format has been used for centuries as a means of presenting music to audiences both public and private. Various conventions have developed over the years concerning best practices of selecting repertoire and ordering pieces. While music concerts have been a mainstay in the music industry as a commercial vehicle for generating revenues for some time now, more recently the practice of providing concerts for free or at low cost has emerged as an important form of social outreach. In contrast to traditional commercial concerts, outreach presentations demand unique programming practices in order to achieve their unique goals. During my work with NGOs in countries such as Chile, Jamaica and the Netherlands I have seen the power of outreach programs to foster cultural exchange between peoples of different backgrounds, an effect that I consider profoundly valuable and one of the most powerful that music can offer as a means of driving social change. Through my initiative Music Bridge I work to induce such social change in my city of residence in the Netherlands; The Hague. Our work has so far focused on the Turkish community in The Hague. I myself was born and raised in Turkey, allowing me a level of entree and insight into that community via shared language, cultural understanding and identity. Through my programming and marketing practices, I aim to create an environment of inclusiveness and recognition, as well as to offer a path towards understanding and exchange with mainstream Dutch culture.
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• Improvising Variations on the spot (2020) author(s): Masako Awaji Limited publication. Only visible to members of the portal : KC Research Portal
  Title of Research Improvising variations on the spot Research Question How do we build up a vocablary of different kinds of variations to be able to improvise a piece in variation style on the spot? Summary of Results This artistic research investigates the practice of improvising variations on the spot in keynoard music in the 18th century. In the 18th century Baroque period, the art improvising was quite common amongst musicians, as it was one of the standard performance practices of the time. Someone hearing the term "improvisation", might conjure an image of people with an extremely specialised skill, but actually the practise has continued throughout history and is still used often nowadays in many musical styles. There are many kinds of improvisation: dances, freeform improvisation, such as Prélude non mesuré, Italian toccata and Fantasy; and ground- or ostinato-bass (e.g. La Monica, Passamezzo Antico, Passamezzo Moderno, Bergamasca, Romanesca, La Folia etc.) For my research, I focused to the variation style because there are numerous written-out variation examples by prominent composers from which to learn. Because of these examples, we can clearly confirm variation ideas as every variation starts with a theme and afterwards, we clearly see the composer build their ideas up from start to finish. These ideas are very useful to inspire our own ideas, because with numerous possibilities in your head, you have more from which to choose and create, an improvising vocabulary. Finally, we can use all this vocabulary, the nuance of when to use it, as well as develop our own voices for our own improvisations. In this research I introduce my process and how to connect all the tools for improvising variations in performance.
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  Teaching jazz double bass in the 21st century (2020) author(s): Tony Overwater published in: KC Research Portal
  My initial plan was to do research and catalogue the available existing method books for Jazz bass education. But during the process I realized that matters were more complex than I had foreseen. Jazz (bass) methods were often based on classical music methods but Jazz education demands a different skillset and approach. I reexamined the fundamental building blocks necessary to successfully teach Jazz double bass. For this I designed a graphic theoretical framework that helped me analyze the existing methods. With this information I built a data base and webpage that offers analytical information about the available methods. Methods not limited to the traditional books but also on line learning programs and other methodical teaching material. Furthermore I examined the influence of the technological developments that the computer, smartphones, tablets and the internet have to offer. Teaching Jazz in the 21st century has proven to be much more of a modulair approach than the traditional linear approach.
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  The All-in-One digital practice tool (2020) author(s): Juan Peralta Torrecilla Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Juan Peralta Torrecilla Main Subject: Trumpet, Orchestra Master Research supervisor: Tim Dowling Title of Research: The All-in-One digital practice tool Research Question: Would it be possible to develop a complete and intuitive digital tool, by combining existing hardware and software? Could this tool help us to control, with great precision, different technical parameters, in order to make our practice sessions more efficient? Summary of Results: It would be great if we all have an absolute ear and a built-in metronome in our head, but unfortunately, we can not live without a metronome or a tuner. If during our practice sessions we could record ourselves and in addition to listening to ourself we could see all the parameters with total precision in a graph (tuning, tempo, dynamics, articulation, etc), we could know if we did or not what we wanted to do. If not, we would know exactly where the error would be to correct it. If from the moment in which a child starts to study music, he always gets used to working with this tool: • It would develop the ability to perceive tuning and tempo much more accurately. • His evolution as a musician and performer would be faster. • He would not have many of the bad habits that are normally created because we do not practice in a correct way. This research will focus on finding the most appropriate software and hardware to get it. I would like to make two different configurations: • Configuration no.1: Combine professional equipment to achieve the best possible results. (Mac computer, audio interface, professional microphone, etc.) • Configuration no.2: Try the same as in configuration no.1 but as cheap as possible. In this way, this would be accessible to any student. (Maybe with a mobile app and a small microphone). Biography: Juan is a trumpet player from Linares, Spain. He finished the bachelor studies of classical music in the Royal Conservatory of Granada. From 2019, he is tutti trumpet in Radio Filharmonisch Orkest. He is based in The Hague also performing often with different orchestras like Residentie Orkest, Het Balletorkest, or Rotterdam Philharmonic Orchestra. Juan is currently doing his orchestra master’s degree with Erwin ter Bogt and Gertjan Lot in the Royal Conservatory of The Hague, with research support from Tim Dowling.
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• Vibrato in the Time of Mendelssohn: With a Focus on His Violin Concerto (2020) author(s): Noyuri Hazama Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Noyuri Hazama Main Subject: Baroque Violin Research Supervisor: Bart van Oort Title of Research: Vibrato in the Time of Mendelssohn Research Question: How would vibrato have been played in Mendelssohn’s violin music, specifically his concerto? Summary of Results: The usage of vibrato in Mendelssohn's time was much different than what we use today in historical performance practice. Players were using different techniques for it, creating a different effect, and there was a system and common knowledge of when and how vibrato should be used. In this period, there was a rejection of ornaments in general, vibrato being one of them, and it was emphasized that it should not be over-used. I have used Mendelssohn's violin concerto as a piece to apply these rules, and came to conclusions based on historical evidence and my own experimentation. Biography:  Violinist Noyuri Hazama has won recognition throughout Europe and Japan for both modern and historical performance. She received top prizes in the Premio Bonporti International Baroque Violin Composition and the Japan-German Exchange Festival. Noyuri has performed with Bach Collegium Japan, the Orchestra of the 18th Century, The Orchestra of the Age of Enlightenment, the Netherlands Bach Society, and Werner Hink with other principal members of the Vienna Philharmonic Orchestra. She is also a founding member of the Goldfinch Ensemble, which has won international recognition in festivals and competitions. She will perform the Mendelssohn Violin Concerto for the conservatoire project with the Orchestra of the 18th Century in May 2017.
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• Losing time (2020) author(s): Daniil Pilchen published in: KC Research Portal
  We usually perceive time as an integral part of our everyday life. We try to wake up at the same time every day, we schedule our affairs and get upset if a train is five minutes late. However, we often face situations that challenge our usual experience of time when we notice an uncrossable gap between this experience and what can be measured by clocks. I believe that music is infinitely capable of providing us with such experiences, and creating that kind of confusing time with music is the main focus of my research. At the heart of this research is the idea of three ways of representing time in music: measured, unmeasured, and immeasurable. Theoretical conceptualization is mainly built upon the works of Henri Bergson and Alexander Vvedensky. However, their works focus mostly on individual experiences of time, but my main question is how one can communicate such an experience to other people through music, and how to make this experience social. I analyze different musical strategies that deal with unmeasured time or challenge the idea of measurement itself. I conclude by presenting my own strategies of creating confusing temporal experiences, mainly through building failing hierarchies of temporal authorities and challenging the possibility of simultaneity. These strategies are presented through the series of pieces called “Songs” on which I have been working while writing this paper.
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