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

• Application of the Syllables Qualities in Hexachord Solmization on the Renaissance Lute (2019) author(s): Balázs Tóth Limited publication. Only visible to members of the portal : KC Research Portal
  Research question: How can we apply the hexachord solmization syllable qualities on the renaissance lute?
  open exposition comments (0)
• 
  The song of “Charan Manopetch” for classical guitar (2019) author(s): Worrapat Yansupap Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Worrapat Yansupap   Main Subject: Classical Guitar   Supervisor: Enno Voorhorst   Title of Research: The song of “Charan Manopetch” for classical guitar Research Question: How can we arrange Thai folk music to the classical guitar repertoire by using the song of “Charan Manopetch” and preserve the original characteristics? Summary of Results:  I choose the format exposition. Being a classical guitarist from Thailand, I would like my audience to get aquatinted with the beautiful music from my home country. With this in mind the final result of this study is an arrangement of a famous Thai folksong for classical guitar duo. To have a result that justifies the nature of this music with all of its qualities I needed to research the characteristics of this music, the instruments used as well as the purpose and social context. A challenge was the translating from the sound of the various original instruments to one instrument, the classical guitar. For this, I used the classical techniques but had to find also some unorthodoxy solutions to capture the spirit of my land of birth. As a result of my findings, I plan to conduct a new research study in order to appropriately and internationally promote the Thai folk music.   Biography: Worrapat started playing the guitar when he was nine years old. His first teacher was Samai Tosoongnern. In 2007 he studied electric guitar with Panom Krahan and two years later also with Anucha Patanaratanamole. In 2010 he studied classical guitar with Leon Koudelak at College of Music, Mahidol University. Currently, he studies with Zoran Dukic at Koninklijk Conservatorium (Royal Conservatory) in the Netherlands. Still, he enjoys spending too much time with the electric guitar and enjoys singing in a death metal band. Worrapat has won many prizes such as:  1st prizes at the Thailand International Guitar Festival 2015, the Asia International Guitar Festival 2015, the TGS Guitar Competition 2015, the Pattaya International Guitar Festival 2014 and many more international awards. 
  open exposition comments (0)
• 
  Identity, Interaction and Joy of Playing. The Conductor-less Phenomenon (2019) author(s): Ana Termeulen Limited publication. Only visible to members of the portal : KC Research Portal
  In this research the author analyses nine cases of conductor-less orchestras ranging from Persimfans in the Soviet Union in the 1920s to Nordic Harmony in Norway in our times. In size these nine cases vary from relatively small ensembles to big symphonic orchestras. They were studied in different ways: through diaries, literature, films and documentaries, and personal interviews with the musicians. Between these nine orchestras there are significant differences but at the same time big similarities.
  open exposition comments (0)
• Continuum (2019) author(s): Tiziano Teodori Limited publication. Only visible to members of the portal : KC Research Portal
  Through an experimental approach this work aims to find new interpretations to existing music works and aesthetic solutions to the cohabitation in the music field of two disciplines in continue evolution: early music and electronic music. Which behavior have to follow two music genres in order to create an homogeneous and undestandble unite? How can they talk together to the audience?
  open exposition comments (0)
• Historical bow technique for rapid articulation in the late eighteenth and early nineteenth centuries (2019) author(s): Takuto Takagishi Limited publication. Only visible to members of the portal : KC Research Portal
  Not much has been studied on bow technique for rapid articulation in the late eighteenth and early nineteenth centuries. This is due to the fact that we lack sufficient material about bow strokes during the period, and the corresponding musical style and the types of bows changed drastically. In this exposition, I examine methods for playing rapid articulation by investigating treatises, etudes of the period, and prior research. My analysis of bow techniques will include experimentally playing rapid notes in at least six different ways, and I have recorded each execution. Their proper use depends on tempo, dynamics, character, and articulation. Natural bow bouncing and bouncing bow stroke (spiccato) require different techniques, and they make correspondingly different sounds. Spiccato was employed mainly for showing virtuosity and expressing particular emotion in solo pieces, but it is rarely used in orchestra or ensemble repertoire. The pre-Tourte-model bows were not ideally suited to for playing at the point of the bow. Martelé on the upper half of the bow was gradually used from the last decade of eighteenth-century with Tourte-model bows. The benefits of using martelé include gaining evenness of tone, and playing with a low-positioned right arm helps the execution of martelé. The bowstroke for rapid articulation should be decided eventually as demands of music based on these matters.
  open exposition comments (0)
• 
  Tuba and tuba player role in the orchestra (2019) author(s): Giedrius Steponaitis Limited publication. Only visible to members of the portal : KC Research Portal
  There is not much written information which tells tuba players how to overcome the challenges that await them in the symphony orchestra. Now, when professional skills of performers are increased, it is very important to specify the technical aspects of current performance practise methods. For a musician it is very important to choose the right philosophy which shows a successful path to professional development.
  open exposition comments (0)