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

• The Clarinet Quintet Op.115 by Johannes Brahms through the lens of early recordings (2025) author(s): Magda Peralta Lladó Limited publication. Only visible to members of the portal : KC Research Portal
  This research project analyzes Johannes Brahms’s Quintet Op. 115 for clarinet and strings from a historically informed perspective, applying the practices captured by early recordings in order to enrich performances of this music today. The aim of this project is to understand whether these recordings, alongside written sources, capture interpretative codes used by the composer and his contemporaries, and whether these clues can help modern clarinetists perform this piece convincingly and fully exploit its expressive possibilities. The main goal is therefore to incorporate these findings into my own musical practices. The methodology is divided into two main sections: the first consisted of gathering general information about the piece in order to understand its context, while the second focused on an analysis and comparison of the two first movements of the quintet from four early recordings and one contemporary recording. In the final section of this project, I present some excerpts recorded by myself, demonstrating different interpretations based on the historical sonic and written sources, in order to showcase and compare expressive possibilities. The outcomes of this research show that this music was performed very flexibly not only during Brahms’s lifetime but also for several decades afterward. To understand the interpretative codes they undoubtedly knew and applied, we must dare to take more extreme approaches in our performances, in order to explore all the expressive potential this music offers.
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  Tracing the Madness (2025) author(s): Victoria Oftestad published in: KC Research Portal
  As a tourist in London during the late 17th century, it was mandatory to visit the House of Bedlam, the biggest mental institution in the city. The patients, being considered completely unreasonable, were attributed animalic characteristics, which was reflected in the brutal treatment behind the bars. The ultimate mirroring of the culture of exposing madness could be found in the theatre. Composers for the theatre, in wanting to explore the inability of reason in humanity, wrote The Mad Songs, where the madness is reflected in quick shifts in emotions. These songs have been my tool to gain access to a broader palette of expression in singing. I have developed a handbook of historically informed techniques and documented my process of embodying them, using sources such as Le Brun's "Conférence (...)" (1698); Walter Charleton's "Natural History of the Passions" (1701); Aaron Hill's "The Art of Acting" (1753); and George Vandenhoff's "The Art of Elocution" (1846). My quest for madness has also become a quest for genuinity. When Charles Le Brun conveyed his theory of expression on canvas, he strongly distinguished the difference between painting tense muscles and painting genuine expression. This has become a guideline for my research: in order to gain genuinity, one has to channel a reaction and produce an impulse. This study is an attempt to bridge the gap between now and then, allowing for a deeper understanding of the Mad Songs, as well as encouraging others to dive into theatrical repertoire on its own premises.
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• The Symphonic Drummer (2025) author(s): Martin Ansink Limited publication. Only visible to members of the portal : KC Research Portal
  This research focuses on the drummer when sharing the stage with a symphonic orchestra. Orchestral programs that include working with a rhythm section are increasingly called upon. It takes a special set of skills to perform the drum parts at a high artistic level and drummers who can do this are limited. I extracted specific drum skills that band drummers need, interviewed the experts in the field, took lessons on the specific drum parts and observed rehearsal and concerts. This combined data gives an in-depth look into the specific relationship between the three major characters involved: the conductor, the orchestra and the drummer. Next to technical and musical skills, personal skills are important since their co-creational spirit is vital to get an optimal result. The list of parts would be endless if all the crossover and musical styles symphonic orchestras are exploring would be taken into account. I decided to limit the list to commonly programmed pieces by Gershwin and Bernstein and analyzed these drum parts for their technical and musical skills. A part of my personal search was on how to interpret the parts. I looked at the historic perspective and analyzed recordings of orchestra’s and the drummers interpretation of parts. A summary is put in Appendix B and in chapter 6 I added video and audio recordings of the experts interpretation to illustrate possibility’s. The research findings can help orchestral percussionist and drummers so the list of competent symphonic drummers can grow.
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  Construction and Instruction: A Workshop for Students on the Natural Horn (2025) author(s): Sarah Brien published in: KC Research Portal
  This research and project will aim to answer the question "How can I run an effective workshop for students on the Natural Horn?". In preparing for a workshop, I will explore what to include to give young students from age 9 and up a fun and interesting learning experience. Students will be able to build their own horns from hosepipes and funnels, and then experiment and perform with these instruments and hopefully leave inspired in their own journeys with the early horn. I aim to document the necessary elements to create an interactive and educational experience.
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  Allegory and Symbolism in “Sei Solo” — Focusing on musical message by J.S. Bach, from Six Solo Violin Sonatas and Partitas BWV1001-1006 (2025) author(s): Eriko Nagayama published in: KC Research Portal
  This research explores the use of allegory and symbolism in Johann Sebastian Bach’s Six Solo Violin Sonatas and Partitas (BWV 1001-1006). The central inquiry is how Bach incorporated European allegorical and symbolic ideas into his music. Key aspects of this investigation include understanding how Bach applied symbolism through ornamentation, tonality, and numerical values. The study raises several questions: What were the common allegorical ideas in Europe at the time? Is there a consecutive story behind the Sei Solo? How do symbols relate to the piece? Additionally, it will examine how allegories (which is more common in literature and art) manifest in his Sei Solo through musical gestures like messa di voce, harmony hierarchies, and inflections. This research is dedicated to all the curious minds exploring allegory and symbolism in music—from those newly discovering J.S. Bach to devoted Bach lovers, students, and professionals.
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  The influence of Bel Canto on the 19th-century guitar repertoire. (2025) author(s): Nacho Cuadrado published in: KC Research Portal
  This research explores the influence of bel canto, a distinguished Italian vocal style, on 19th-century guitar compositions, with a particular focus on the works of Luigi Legnani. Through detailed analysis, the study identifies key bel canto characteristics, such as expressive phrasing, melodic ornamentation, and dynamic contrasts, as integral elements in Legnani's guitar music. These findings highlight Legnani's skill in adapting the vocal nuances of bel canto to instrumental performance, creating a bridge between vocal and instrumental traditions. The research enhances the understanding of cross-genre influences in 19th-century music and showcases the artistic versatility of composers like Legnani. To present these findings, the format will include recorded video demonstrations, where specific characteristics of bel canto will be illustrated through selected musical excerpts. These videos will provide a visual and auditory exploration of Legnani’s compositions, allowing audiences to observe the practical application of the research insights. The combination of spoken analysis and video demonstrations offers an engaging and comprehensive understanding of the influence of bel canto on Legnani's works, enriching the overall appreciation of this unique musical intersection.
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