Research Catalogue

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• 1. Master Research Projects All research in KC
• 2. Royal Conservatoire Investigations Royal Conservatoire Investigations

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  Playing Harmonium Art Music on the Concert Accordion (2019) author(s): Robbrecht Van Cauwenberghe published in: KC Research Portal
  The harmonium and the accordion are two similar instruments working via the same core principles: free-reeds and bellows. Despite this commonality, the harmonium was popular in the late romanticism & early 20th century whilst the accordion, as a concert instrument, started to emerge only from the 1950s on; both instruments thus having a totally different repertoire. Nowadays however, it is not so easy to find a decent harmonium, let alone to come across somebody who masters its specific technique and for that reason, harmonium pieces are these days often performed on an accordion. This research will therefore try to be a guide for the accordion player who is asked to play a piece that was originally written for the harmonium, by providing him with some necessary tools and background information concerning the specifics of the harmonium. First of all, a brief history, focussing on the historical and constructional similarities and differences between both instruments, is included and besides that, the most common harmonium-types (compression system, suction system, art harmonium) aswel as the rise of the free-bass accordions are being described. The second chapter deals with the specific repertoire for the harmonium by offering a list containing the majority of the romantic literature for the instrument, written by established composers of that era. Hereby, some of the key compositions, e.g. l’Organiste by César Franck, are highlighted. A comparison between the way of playing, sound and registration of both instruments will conclude this thesis.
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  Pedro Pérez de Albéniz: Fortepiano Fantasies (2019) author(s): Julián Turiel Lobo published in: KC Research Portal
  I have always felt curious about the time periods between composers such as Antonio Soler or Domenico Scarlatti, belonging to the first half of the 18th century, and others like Enrique Granados, Isaac Albeniz or Manuel de Falla, who were active between the end of the 19th-century and the first half of the 20th-century. During the last decades, research has been done about some of the most important composers of this period. Among all of them, Pedro Pérez de Albéniz (1795-1855) stands out. His importance as a composer and, above all, as a teacher was fundamental in creating a solid and successful piano school in Spain. His pianism is inspired, in order of increasing importance, by Spanish folklore, Italian opera and the pianistic writing and resources used in 19th-century Paris, and is influenced by two capital figures: Friedrich Kalkbrenner (1785-1849) and Henri Herz (1803-1888). Finally, his fantasies are the most ambitious works of his catalog. They are the ones that best exhibit the characteristics of his pianistic language. They are essential to understanding where Pedro Albéniz can be placed within the Spanish piano literature and illustrate how deep Romanticism had come at this time in the context of the Spanish piano.
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• I'm Nobody, Who am I? (2019) author(s): Boukje van Gelder published in: KC Research Portal
  Student Number 3169227 Supervisor(s) Andrew Wright Title I'm Nobody, who am I Research Question My research question is too long for the form. Summary Emily Dickinson's poetry can be hard to understand the first time you read it. How then can the artist communicate an Emily Dickinson poem in a song in a way that an audience grasps the meaning the first time? For that reason, you need to define who you are on stage and what you want to communicate. But what do you communicate on stage when your first sentence is 'I'm Nobody!'? This research turns Nobodies into Somebodies and the other way around by looking at the voices (the characters) that are present in the poems of Emily Dickinson, specifically the poem 'I'm Nobody!'. Who speaks to whom? The research makes a journey from Emily Dickinson to scholars who write about her, composers who make songs on her poems and in the end to the performer who with all these people in her mind communicates the poem and the song to the audience. Finally, the voices in the poem become defined as various characters that can be performed on different settings of 'I'm Nobody!' by Ernst Bacon, Nick Raspa and Lori Laitman. From something vague and ungraspable the poem and its voices become very concrete and close to our own daily lives. Short Bio Mezzo soprano Boukje started singing as soon as she could speak. After her Bachelor’s in History at the Utrecht University, she decided that she wanted to explore as much as possible about singing. In 2017 she graduated from the Fontys Conservatory in Tilburg and started her Master's in the Royal Conservatoire. Currently, she studies with Catrin Wyn-Davies. Boukje performed as a soloist in different concerts. She sang, for example, the alto solos in Bach’s St Matthew Passion, Haydn’s Stabat Mater, Rossini's Petite Messe Solennelle and she sang the role of Hänsel in the staged opera of Hänsel und Gretel from Humperdinck.
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• How can a performance of Shostakovich’ piano quintet be dramatized by using words, movements, staging and lighting? (2019) author(s): Laura Lunansky, Coraline Groen published in: KC Research Portal
  Student Number 3026329 Supervisor(s) Andrew Wright, Maggie Urquhart Title De Formule Research Question How can a performance of Shostakovich’ piano quintet be dramatized by using words, movements, staging and lighting? Summary This research was carried out in and through the practice and performances of ensemble ‘de Formule’, a piano quintet in which we both play the violin. As a result of this research, our goal was to perform the Shostakovich piano quintet in a dramatized way, which we did in 2018. The research text describes the internal research process. By looking at (historical) sources about the composer and the piece, and by analyzing the score we got an impression of the context and atmosphere of the quintet, and we created a story to go with it. We found that the piece fitted today’s very important topic about finding your identity within the (mass) society, knowing the history of Shostakovich’ own struggles and the expressions he creates in his melodies, harmonies, instrumentation etc.: sometimes searching, sometimes dragged along in sarcastic happiness and sometimes screaming for help. All these elements we used to conduct the research process, which included translation of the story lines and expressions into movements, words, light effects and different stagings. As a result of this dramatization, we noticed that the audience seemed to understand the music better, and for ourselves, the performance was a more meaningful experience. Short Bio Coraline Groen obtained a bachelor’s degree from the Royal Conservatoire in The Hague. Her teachers have included Vera Beths, Peter Brunt and Philippe Graffin in The Hague, and Rodney Friend at the Royal Academy of Music in London. Groen was a member of the Royal Concertgebouw Orchestra Academy 2018-2019 and played with the Bayrische Rundfunk Symphony Orchestra and the Residentie Orchestra. She was appointed principal of the second violins of the NJO, the RAM Symphony Orchestra and the Gustav Mahler Academy Orchestra. Groen is a member of the Volkmann Trio, De Formule, and a duo with bayan player Robbrecht Van Cauwenberghe.
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• Monteverdi’s lamenti and lettere amorose and the pre-existing art of declamation (2019) author(s): Judith Sepulchre published in: KC Research Portal
  « Should the interpretation of Monteverdi’s lamenti and lettere amorose be closer to the pre-existing art of declamation? » Nowadays, Monteverdi has become so sacred to the Early musician, that we are afraid of disturbing his art in our interpretation of his written down musical lines. So we stick to what is written, respecting every pitch, every note value, and God forbid we change the tactus! For a lot of Monteverdi’s music, this is a respectable approach. However, when it comes to the interpretation of his lamentations (lamenti) and love letters (lettere amorose), one asks themselves whether it should perhaps be done in a more declamative way. These two genres are composed in the stile recitativo and carry so much unrepeated text that it seems almost improbable that one should approach these compositions from the notes rather than from the poetry. If the seconda pratica is the beginning reign of the text over the harmony in the composition process, then why not adopt this same concept in the interpretation process? Throughout this research, I will first observe the historical context of these two genres and their connections with the world of the Commedia dell’Arte. I will then discuss the very delicate question of the tactus. And finally, I will attempt to interpret a couple of Monteverdi’s compositions, basing myself on the declamation skills of a Commedia dell’Arte specialist with whom I worked closely.
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  Intention-based Piano Pedagogy (2019) author(s): Bastiaan van der Waals published in: KC Research Portal
  This research focuses on the guidance of students of piano methodology ("piano pedagogy") in acquiring didactic skills. More specifically, it aims to support them in understanding and applying research-based educational principles in their internship lessons. Recent scientific research on motor control and motor skill learning offers opportunities for evaluating current practices in piano pedagogy and coming up with innovative teaching approaches. Based on an extensive review of research results, I have formulated educational principles for achieving pianistic quality. I argue that mental auditory representations of intended musical outcomes ("musical intentions") iniate and steer musical motor control processes. Furthermore, I have summarized several research-supported teaching strategies that promote motor skill learning and presented examples of their practical application in piano pedagogy. I have applied several interventions aimed at enhancing conveyance of these educational principles to students of piano methodology. In the first place, I have created extensive study materials (booklets, videos, slide presentations) that both explain and show practical applications of these principles in piano pedagogy. Furthermore, I have introduced peer-to-peer learning: students observe and evaluate their own and each other's internship lessons. Results of this research show that further improvement of the methodology course is required in order to achieve its goals. Both the study material and the peer-learning opportunities have shown to be valuable additions. However, students still exhibit a lack of creativity in finding relevant teaching strategies within their internship lessons. I have formulated several additional interventions for further improvement.
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