Humanizing Performances - A shared concept
(2019)
author(s): José Lima Silva
Limited publication. Only visible to members of the portal : KC Research Portal
This question came to me throughout my academic and artistic career, but it became
especially pertinent to me during my final recital of the bachelor degree, where, as a
performer and as a student of music, I took on the creation and composition aspects,
being that I and another friend, a student of music production, composed a work for
percussion entitled "Esfera" (Sphere) that has, as the name indicates, a spherical
spatial format, where the performer is in the center, the audience around it and,
surrounding the audience, is a set of multichannel columns (8.1 ) that surrounds all the
space around it; in this way, the sound travels in both timbre as in intensity, direction
and sensation, through the fusion of the acoustic sound with the electronic sound. It
also has as premise the natural layout of the audience in a circle, according to their will.
This performative and sensorial experience aroused in me a marked interest in
increasing my knowledge in strategies of approaching music to the public.
Methodology:
I intend to do a brief survey of theses, articles and performances already done to gain a
greater insight into the various strategies used to create a closer relationship between
the audience and the performative factor.
In addition to the above, the largest piece of research content will have to be created by
me: both data, concepts, demand and interest in the receptive capacity of a listener will
have to emerge from me as a performer.
From my research, retention of knowledge and experience as a performer and human
being, I intend to create a concept of spectacle where the importance of the natural and
sensorial integration / disposition of a public present in a concert is created by itself,
giving freedom to the listener of being in any part of the room without its disposition
interferes with the quality of its sensations.
Phrasing and interplay from the vocal point of view
(2019)
author(s): Irini Konstantinidi
Limited publication. Only visible to members of the portal : KC Research Portal
Name: Irini Konstantinidi
Main Subject: Jazz Singing
Research supervisor: Yvonne Smeets
Title of Research: Phrasing and interplay from the vocal point of view.
Phrasing as the vocalist’s tool to stimulate interplay within a jazz combo
Research Questions: How can phrasing be the tool of the jazz vocalist, in order to stimulate interplay within the band, while singing the theme or improvising?
What are the elements of phrasing that the vocalist needs to develop, in order to participate in the process of exchanging musical ideas on the spot?
Summary of Results:
Phrasing is considered to be one of the most crucial elements in music. Rhythmical phrasing in jazz can be described as the various ways in which instruments articulate their musical suggestions and eventually participate in the interplay-musical conversation. Jazz is all about having a conversation that is characterised by the spontaneous exchanging of improvised ideas on the spot. During this research, I analysed live performances of the masters and of myself and explored the elements of phrasing that need to be developed by the jazz vocalist (or any other instrument in the jazz combo) in order to be able to move freely within the form of the jazz standard tune, create interesting rhythmical variations of the theme and phrase her/his imrpovisational ideas in such a way that can stimulate interplay. Through interviewing some of the most important jazz musicians/educators of today’s international jazz scene, I collected valuable information and enhanced existing ideas into exercices about practicing phrasing and interplay.
Biography:
Irini Konstantinidi is a well-established Greek jazz vocalist currently residing and performing in The Netherlands. Reviews about Irini have been highlighting her lyrical, expressive and clear sound, with which she has achieved a personal, refined interpretation of jazz. Her creative approach to vocal improvisation makes her music performance unique. Scat singing is like an extension of her storytelling and imagination. She graduated from the Jazz department of Athenaeum Conservatory in Athens in 2006. Since then she has been performing and presenting her discography in the most important jazz venues and festivals in Greece as well as on shows of the National Greek Television and Radio. She is now collaborating as a vocalist and lyricist with Nomadic Treasures, a collective international project, based in The Netherlands.
EUPHONIUM HISTORY, EVOLIUTION AND FAMOUS ARTISTS WHO AFFECTED THE POPULARITY OF THE INSTRUMENT
(2019)
author(s): Mindaugas Akelis
Limited publication. Only visible to members of the portal : KC Research Portal
An euphonium is described as one of the world’s most recorded solo brass instrument. A lot of players over the world performs a lot of solo music. Euphonium solo with brass band is included almost in every brass band concert. So, composers write a lot of music for solo euphonium. Also euphonium has very wide technique and diapason so we can play a lot of other instruments parts, for example cello, violin, tuba, trumpet and etc. Even famous “Carmen Fantasy” which is written for almost all musical instruments is also playable with euphonium.
Representing Birdsong in Messiaen's Organ Music
(2019)
author(s): J.P.T. Lanooy
Limited publication. Only visible to members of the portal : KC Research Portal
Birdsong plays an important part within the complete oeuvre of Olivier Messiaen. In the majority of his works, he incorporated songs and calls of real-life birds. In this exposition, the accuracy of those bird incorporations is investigated through analyzing two birds of the 'Communion' of the 'Messe de la Pentecôte': the blackbird and nightingale, In other words, to what extent Messiaen's 'musical' birds correspond to their real-life counterparts? Besides, I have discussed how to represent those birds on a Dutch eighteenth-century organ and which compromises you have to make with regard to organ stops.
Verdi meets China
(2019)
author(s): Kun Qian
Limited publication. Only visible to members of the portal : KC Research Portal
How can mastering techniques from European Opera, specifically Verismo repertoire such as Verdi, help a bass baritone to sing Contemporary Chinese Opera more uniquely?
, Koncon Master Coordinator 