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

• Expanding a Repertoire (2020) author(s): Louis van der Mespel published in: KC Research Portal
  This research investigates the means in which to successfully create an arrangement for a small ensemble, in this case, one with the instrumentation of Prokofiev’s quintet op.39. The approach involved a look into the obstacles and benefits of the instrumentation and how one could overcome and make use of these characteristics. Firstly, the relevance of such a research was discussed, contextualising the importance of arranging in general as well as demonstrating the potential of an uncommon ensemble. A further analysis of the arranging procedure follows, pin-pointing particular methods in creating effective textures, colours and nuances. This looks closely at how an ensemble of musicians can add a depth and conviction to conversational interplay through the subtle use of voice leading and accentuating timbral variety. With such a practical research, audio and visual examples are used to reinforce the analysis, conveying the effectiveness of the multitude of resources used and overall outcome of this arrangement. The research therefore argues the importance of arranging, encouraging musicians to explore repertoire and presenting it in a new light.
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• The Limits of Traverso; Exploring the sound possibilities of traverso through contemporary music (2020) author(s): Dorota Matejova published in: KC Research Portal
  In ‘early music’ performance today ΄sound΄ does not get as much attention as other expressive devices, even though the sound was an inseparable part of expression in music performance in 18th century. This research attempts to explore the traverso and its expressive sound possibilities when placed in the field of contemporary music. The tonal capabilities of the traverso will be viewed from the perspectives of both 18th century sources and modern-day ΄early΄ and ΄classical music practice΄. The research considers what have sometimes been seen as the instrument´s “limitations” and "imperfections", asking how they could be positively exploited in contemporary music. At the same time, so-called ‘extended techniques ’for the modern flute are explored on the baroque flute, by a study and performance of two contemporary compositions for traverso solo. At the end, I will be looking at how this untraditional perception of traverso sound could open up our expressive imagination in performance of the traditional 18th century traverso repertoire. The research hopes to bring some new inspirations for traverso players as well as other ΄early music΄ performers, and to clarify the distinctive role of sound as an expressive device in early instruments. It also hopes to inspire composers to write more contemporary acoustic music using the specific sonority of this instrument. The presentation will be given in the form of performance-lecture.
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• Angelical music XVI-XVIII centuries music from the New World (2020) author(s): Carlotta Pupulin published in: KC Research Portal
  CARLOTTA PUPULIN Baroque Harp Supervisor: Dr. Inês de Avena Braga Title: Angelical music for a New World Research question: How did music develop in Hispanic America between the XV-XVII centuries?
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• How can I find my own voice through my instrument (2020) author(s): Julia Casañas Cast published in: KC Research Portal
  Many classical musicians can suffer from tension and nervousness during solo performance. This research looks at how practicing improvisation and creative body movement, as well as creating one’s own performance together with a dancer, can affect the feeling of freedom and enjoyment on stage. The researcher explored a way to find her own voice. By practicing free improvisation she explored new possibilities of her playing and expression as she searched for freedom and development of creativity. This resulted in a generally more free and involved feeling on stage. In addition, body movement courses helped her to be more aware of her body on stage, resulting in a better sound quality. A project was created to address the question of how to create one’s own performance that comes from the performers own voice. The project created was based on the poem Woman Inhabited by Words by Guisela Lopez – a poem that was very meaningful to the researcher. In the performance she improvised on the viola; the sound is modified by a computer, and at the same time a contemporary dancer improvised on the music. In this way, the researcher combined her love of dance and of playing music to find a new depth in her performance and performance experience.
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• The Effect of Mental Imagery in Daily Practice (2020) author(s): Annoes van der Zande published in: KC Research Portal
  This research is about how mental imagery exercises can be included in daily practice and what the effects are. The main question in this research is: How can mental training help me to practice more economically? Previous research showed different potential benefits of imagery exercises. The aim of this research is to collect and categorize different imagery exercises and to indicate if the exercises help to practice more economically.
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  SIMPLICITY OF STRONG EMOTION: Study on the performance style of Frederic Mompou based on his recording of Cants Màgics (2020) author(s): Blanca Maria Martínez Vilanova published in: KC Research Portal
  Frederic Mompou i Dencausse (1893 - 1987) was one of the most intriguing Spanish composers of the 20th century. His music, often described as pure for its beauty and apparent simplicity, has captivated the attention of numerous critics and musicians around the world. The majority of the production of Mompou is dedicated to the piano, instrument that he mastered despite his reluctance to perform for large audiences - similarly to F. Chopin. The aim of this research is precisely to investigate the way Mompou performed his pieces, in other words, his performance style. My investigation is divided into two clear sections: on the one hand, chapters one and two provide the reader with a theoretical framework (biography, style, and influences; on the other hand, chapters three and four constitute the practical and most important part of my research. Concerning this last one, I analyze Cants Magics (1919), the first piece that presents a defined unique style, and its corresponding recording performed by Mompou himself in 1974. The result of this proces is the creation of a new annotated score to visually demonstrate the different expressive resources he uses to enhance the expression of his composition. Examples of these are dislocations, tempo fluctuations, voicings, rubati and pedalling. Lastly, in chapter four I apply partof the above-mentioned Mompou's pianistic techniques into other compositions from Musica Callada. These serve me to formulate an experienced-based reflection on the matter.
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