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

• From piano to keyboard playing Klavierstüke XV by K. Stockhausen (2019) author(s): Ivan Pavlov Limited publication. Only visible to members of the portal : KC Research Portal
  Summary of Research: My aim in this research is to document the path of how I learned to play multible keyboards and pedals, from the perspective of piano player and was it beneficial for playing piano. From my childhood to present days, I’m learning how to play piano, to master the subtleties of the keys and pedals. Recently I had the wonderful opportunity to dive in the repertoire of k. Stockhausen. In particular one special work from him; Klavierstüke XV from LICHT. Working for 6 months on the Klavierstüke, I had to learn to play on 3 keyboards and use 4-5 pedals, to be present in building the sounds, which software to use and many technical challenges that were essential for preparing this piece. Klavierstüke XV is complex piece, I don't want to get in the technical aspect of it, only to document the challenges which I faced in the process of discovering the piece. Along this process I had to make a decision of how to divide all the sounds along the keyboards, what is the easiest and more comfortable for me. From the perspective of a piano player who never played on more then one manual/keyboard/ogran and etc. was challenge, that I would like to share, document in my research. Through what process I went to make myself comfortable with different keyboards. The challenge to coordinate my feed, to expend my mind to think in more then one aspect of playing. All this improved my player in different aspects, simply because my mental space expanded to control more then one keyboard, more then one pedal.
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  Take a break with consciousness between practice sessions (2019) author(s): Junya Nomura Limited publication. Only visible to members of the portal : KC Research Portal
  Main Subject: Classcial Cello Research Supervisor: Andrew Wright Title of Research: Take a break with consciousness between practice sessions Research Question: What is the effect of playing chess during practice breaks on the quality of practice? Research Summary: The research is about the measurement of the behaviour of mental focus during practice session by taking a different types of break. The discovery of different types of break can improve the quality of practice and can result in better mental focuses and performance. For the experiment to see the comparison between two types of breaks, I use ‘Chess’ as an activity during the practice break. Biography: Junya Nomura (born in Gifu, Japan 1994) began playing Cello at the age of 9. Nomura is studying Master of Classical Cello with Jan-Ype Nota and Lucia Swarts. Beside studying cello, Nomura is active in playing many ensembles and he wrote many arrangements in collaboration with Professional Orchestra as The Residentie Orkest and Atheneum Kamerorkest of the Young Talent Department of the Royal Conservatoire of the Hague. Nomura is the first student of Royal Conservatoire of the Hague, who attended one of the leading international educational music festival ‘The Pacific Music Festival’, founded by Leonard Bernstein.
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  Cello fingerings at Beethoven´s times (2019) author(s): Carlos Alfonso Nicolás Limited publication. Only visible to members of the portal : KC Research Portal
  This research takes you into the world of the left hand cello technique during late eighteenth and early nineteenth centuries. We will look back into the different existing fingerings: left hand position, extensions, shifts, fourth finger and the use of the thumb with the possible explanations. Furthermore, we will understand the background for the cello to emerge as a solo instrument and the consequent evolution of cello technique and as well as the emergence of treatises. We will have to look at the influence of French and German cellists and conservatories in order to understand the spreading of cello technique to professional musicians and evaluate the treatises of the two great cellists close to Beethoven, Jean Louis Duport (1749-1819) and Bernhard Romberg (1767-1841). Moreover, important information about left hand position and fingering is found in printed scores for cello with original fingerings and in contemporary iconography. Beethoven´s cello sonatas will be used as a reference to show different historical fingerings, for instance from passages of the cello sonata op. 69. The influence of the fingering choices on the music result will close off the research.
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• Audition Training for the Bass Trombone Specialist (2019) author(s): Pedro Maia Limited publication. Only visible to members of the portal : KC Research Portal
  This research describes a process of how to prepare auditions for a position as bass trombonist in a symphony orchestra. I first asked myself “What is the role and function of the bass trombonist in an orchestra and how has it changed over the last few centuries?; what skills does (s)he need? – (technical, musical, physical and psychological).
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• Horn Auditioning in Holland, Germany, Austria and Belgium (2019) author(s): Hendrik Marinus Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Hendrik Marinus Main subject: Horn Research Supervisor: Pete Saunders Title of Research: Horn auditions in Holland, Germany, Austria and Belgium. Research Question: What is the difference in playing an audition for orchestras in Holland, Germany, Austria and Belgium? Summary of Results: An orchestra audition might be the most unnatural situation for a musician, yet it is the only way to get a position in an orchestra. The player has a few minutes to show his best capacities, and lots of times dozens of musicians audition for only one position. I did quite some auditions in Holland and abroad. Sometimes with good results, sometimes less good. The feedback afterwards is different every time, which made me wondering: in what way do I need to adjust to what the jury wants to hear? This research focuses on horn auditions in Holland, Germany, Austria and Belgium. It consists a part about history and traditions from the most prominent orchestras in these countries. Also, I interviewed horn players who are auditioning and horn players who are playing in orchestras in these countries and I took lessons with some of them. This research ends with a guide for horn players who are interested in auditions in the countries mentioned above, which contains repertoire and more information. Biography: Hendrik Marinus is freelance horn player and conductor. Currently, he studies horn and orchestra master with Herman Jeurissen at the Royal Conservatory and the Residentie Orkest. In Groningen, he finished bachelors in both french horn with Frank Brouns and Wind Band Conducting with Tijmen Botma. Hendrik is member of the European Brass Ensemble and is substitute player in various professional orchestras in Holland, such as Noord Nederlands Orkest, Ballet Orkest, Philharmonie Zuid Nederland and Marinierskapel der Koninklijke Marine.
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  Embodiment and Empowerment: Karlheinz Stockhausen's "ORCHESTER-FINALISTEN" (2019) author(s): Elisabeth Lusche Limited publication. Only visible to members of the portal : KC Research Portal
  "Karlheinz Stockhausen's 'ORCHESTER-FINALISTEN': Musical Embodiment and Empowerment" is a research into the preparation and performance of Stockhausen's "ORCHESTER-FINALISTEN" from "MITTWOCH aus LICHT." This project seeks to identify specific links between music and personal identity and create a toolkit for performers to become empowered in their own bodies on stage. This research takes for its main study subjects the cast of "ORCHESTER-FINALISTEN" for the 2019 "aus LICHT" production of the Koninklijk Conservatorium, Dutch National Opera, Holland Festival, and Stockhausen Stiftung. Through interviews, rehearsal observation, and personal experience, this project will investigate how preparing and performing "ORCHESTER-FINALISTEN" changes the relationship between music and its performer in terms of embodiement and empowerment. This research will also isolate specific techniques for studying, teaching, and rehearsing "ORCHESTER-FINALISTEN" for future productions.
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