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  Fast Notes! (2015) author(s): Wouter Verschuren published in: KC Research Portal
  The purpose of this research is to investigate the different ways of articulating fast passagework on the dulcian in repertoire spanning the period ca.1550 until ca.1700. Prior to 1787, when Etienne Ozi published his first edition of the Nouvelle Methode de Basson, there are no sources known that specifically discuss articulation or (double) tonguing on bass double reed instruments. When we perform music from this era, we are in the dark as how to articulate highly virtuosic passages. What is preferable: Two-by-two slurring? Slurs over more notes, or maybe the use of some kind of double tongue-stroke? During this research I will focus on primary sources that deal with articulation on various non-reed wind instruments of the period in question, such as the recorder, the cornetto and the trumpet. By studying the indications and recommendations given by masters of the past we can deduce their musical intensions. When we accept these authors as our guides, they may be able to help us imagining what articulation on a double-reed instrument could sound like. The moment we envision this concept, we can start to translate their instructions into articulation on reed instruments. The output is threefold: 1. A paper describing the different ways on how to articulate fast passagework on the dulcian and on the bassoon in a way that matches the souplesse and speed of non-reed instruments. 2. Two compositions written for the dulcian, with added articulation-markings by the author. 3. Video examples clarifying some musical examples. With this project I hope to shed light on practical issues of the performance of highly virtuosic repertoire for dulcian and bassoon from the sixteenth and seventeenth century.
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  From Phrase to Phrasing - a Classical Perspective (2015) author(s): Jan Willem Nelleke published in: KC Research Portal
  This paper explores the structure and performance of musical phrases according to sources from the second half of the eigtheenth century. As phrasing is such an essential part of music making it seems curious that there is not much written about it and its application usually taken for granted. This paper wants to address this from the assumption that a better understanding of structure (phrases) will enrich delivery in performance (phrasing). It is written from the viewpoint of a performer with a focus on the practical application of theory. Subjects include repose-moments, cadences, phrase-rhythm, punctuation, notation, skills in phrasing, breathing, and observations on Classical phrase structures and proportions in general. Case studies are provided to demonstrate and test the theory on practical use and extend into less obvious areas like writing song intro's and cadenzas.
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• Of Rules and Canons — Raaijmakers' Reflection On Morphology (2017) author(s): Johan van Kreij published in: KC Research Portal
  Canon-1 is the first of a serie of five electro-acoustic works by Dick Raaymakers for which the concept 'morphology of sound' formed the principle starting point. Alongside the compositional activities, Raaymakers attempted to systematically describe a theoretical model that allowed him to get grip on the difficult matters relating composing with electronic means. This work fully occupied him from autumn of 1963 until spring of 1966. Not only led this work to a unique serie of compositions, it also laid the foundation for his later works covering the fields of composition, music-theater, installation art and writing. This important work was never well documented or contextualized from the perspective of electro-acoustic composition. Based on the original tapes, Raaymakers' schematics and interviews, this research aims to do that.
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