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

• Towards an integrated method for practicing: internalizing the composer’s language. (2019) author(s): Pim Witvrouw published in: KC Research Portal
  Name Pim Witvrouw Main Subject Music Theory Supervisors Paul Scheepers / David Kuijken Title of Research Towards an integrated method for practicing: internalizing the composer’s language Research Question In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes? Summary of Results Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. Biography Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.
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• Concepts of Embodiment in Interdisciplinary Work Within a Musical Context (2019) author(s): Sarah Albu published in: KC Research Portal
  Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question "How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?", examined through the lens of definitions of embodiment, spinning, technology, community, and inter/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.
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• Efficient Practice Design (2018) author(s): Seungjin Kang Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Seungjin Kang Main Subject: Classical Horn Research Supervisor: Susan Williams Title of Research: Efficient practice design: utilising a six-step process of borrowing ideas Research Question: How can I develop a practice strategy that involves consciously working with borrowed musical ideas? Summary of Results: The performer implements expressive performance through interpretation within the potential possibilities of the work (and the performer). This research focuses on developing a much more conscious process in which I would know and understand where my musical ideas are coming from. To do this, I used a practice design utilising the six-step process of borrowing ideas from David Kord Murray's Borrowing Brilliance. Prior to the study, I interviewed three horn teachers from the Royal Conservatoire to compare how the musical ideas that these teachers use are formed. I compared their processes of approaching repertoire with the processes described in Murray’s book. I also analysed four (contrasting) recordings of the concerto, noting details of how they were played – also with audio editing software. The analysis of the teachers' responses showed that some of the ‘six steps to borrowing ideas’ featured. In this study, I used principles of the six-step process to design an exercise regime to help me practice Mozart's Horn Concerto No. 4. I used practice notes (logbook) to record the process and analyse the results. As a result, the conscious exercises (in six stages), compared to my earlier way of practicing, enabled more planned execution and showed that a more systematic and efficient interpretation of the work was possible. Going through the ‘six-step processes’ and repeating them enabled new insights and improved interpretation of repertoire. This process is summarised in the form of endless algorithms. Biography: Horn player Seungjin Kang was born in South Korea where he began his musical studies with Seok-jun Lee and Kyung-il Choi. In 2013 he completed his Bachelor's at the Korea national university of arts and at the age of 24 he was appointed the principal horn player of the Cheongju Philharmonic Orchestra of Korea. He studied abroad in this orchestra in 2016 and as a result, is currently pursuing a Master's degree at the Royal Conservatoire of The Hague, where he studies with Martin van de Merwe and natural horn with Teunis van der Zwart. Between 2016-2018 he played at the Rotterdam Philharmonic, Noord Nederlands Orkest, Gergiev Festival, Asko Schönberg, Dutch National Opera Academy.
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• F. A. Hoffmeister Viola Concerto - Getting the inspiration for historically-informed performance. (2018) author(s): Maria Kropotkina Limited publication. Only visible to members of the portal : KC Research Portal
  The main goal of this research was to figure out how can the study of the features of classical style give me more insight on how to make a faithful interpretation? Through the methods of content analysis I have found which topics were discussed and considered important from mid-18th century to mid-19th century. These topics were then systematized and placed in tables, compared and placed in one common table. Then scores were marked as close as possible to L. Mozart’s intentions, L. Spohr’s intentions and the score I used before (marked before my research). After that, these were practiced and recorded. Comparing the scores has brought me to some conclusions, differences between my playing and the requests of the masters. These were all the basic features of the classical style, which can be applied to my interpretation in theory. With the practicing and recording methods, I could choose more objectively which features of classical style, which I shall apply to my interpretation (the ones listed as an answer to the third sub-question). Theoretically speaking, regarding the tempo – I have always practiced perfect tempo keeping with the metronome and never even considered the fact of slowing down, let alone accelerating in furious passages. The dynamics marked in my score are similar to what is in L. Mozart and L. Spohr versions. I had never accentuated first of the slurred notes and then made a diminuendo, as L. Mozart asks. One difference, however, was in the dolce section in which I used to play a quasi- polyphonic setting in which both piano and forte was used. Mozart and Spohr would play dolce in a soft, ingratiating. The bowings in my version are more versatile and in a way continue L. Spohr’s tradition of slowly leaving behind the down beat down bow tradition so present in L. Mozart’s Versuch. Regarding the usage of my bow, through Spohr’s Violinschule I have rediscovered the upper half of the bow. For instance, I always played the detasche bowing in the middle part of the bow, unlike Spohr suggests (upper third). My fingerings version was almost the same as the L. Spohr’s version and quite different from L. Mozart’s version. Being able to use the open string and flageolets is truly helpful. Though, according to some, the usage of the harmonics when playing orchestra auditions with this concerto should be somewhat limited. (Kugel, 2014) Before analyzing the two violin schools, I have used different ornamentation, which was marked in my score. (Hoffmeister F. A., 1996) For example in bar 41 Music Well edition that I was using asks for a trill, while Henle edition only marks a turn. Also, it has before never occurred to me to even consider adding some embellishments myself. After reading L. Mozart’s Versuch, I am much more confident to add the embellishments, as well as to treat the vibrato (tremolo) as an embellishment, which should be added only on long notes. Practically speaking, I have made different choices for my interpretation. This new interpretation is a mixture of both violin methods and it represents the classical features that I shall apply to the performance practice because of their musical consequences.19 I have often found it somewhat hard to understand what exactly the classical style is. But, in my opinion, with such little improvements as mentioned earlier in this section, one can get closer to the style. As we know, playing in a correct style has gained more and more importance in the last century (Scherman, n.d.), and the audition setting asks for it as well. (Lebrecht, 2014) What still should be done to improve the clarity of the research is to apply the topics that I have extracted in the tables on the whole concerto. Also, there is definitely room for improvement in the embellishments section. In my research, there was no place for a thorough study of all embellishments that L. Mozart had stated. Such study and its application on the whole of Hoffmeister concerto would be of great importance to its understanding. Also, a study of the difference between the L. Mozart’s Versuch and L. Spohr’s Violinschule could bring great insight to how violin technique changed from mid-18th century to mid-19th century. I consider my common table as a good beginning of the study. To conclude, I hope my research will bring some clarity to the young colleagues who wish to have more information on the Hoffmeister Viola Concerto, as it did for me. Especially I wish it to be a guide for putting down bowings, choosing fingerings, adding and performing embellishments. If but one wondering violist is somewhat helped, I shall be pleased.
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• I don't know Up from Down (Bow) (2018) author(s): Jesse Feves Limited publication. Only visible to members of the portal : KC Research Portal
  Name: Jesse Feves Main Subject: Violone Research Supervisor: Johannes Boer Title of Research: I don't know Up from Down (Bow) Research Question: How do I choose my bowings when playing J.S. Bach's Orchestral suite no.2 on 16 foot Violone? Summary of Results: Although all string players are interested in the problems of bowing, it remains a major point of discussion at rehearsals and takes up a lot of time. More often than not there is not enough time, short-cuts are taken, and the bowings are just a standard imposed on the music for ease of rehearsal. A phrase can be played differently with the same bowing directions or sound the same with different bowings. To be able to play a phrase the way I would like it should I practice until satisfied or change the bowings? Due to the lack of information on bowing directions of 16 foot Violone in the 18th century I have looked to visit treatises of the 18th century that contain information on bowing directions of the violin. This piece has been chosen in particular because much thematic material of the violins also occurs in the basso, enabling the possibility of comparing similarities and differences. The extent to which the 18th century rules of violin playing apply to the 16 foot Violone remains arguable, as the rules themselves. Biography: Jesse Feves, born and raised in Amsterdam, started his musical career transporting his mother’s harpsichord and sleeping under it. His older brother's example of terrific violin playing and hand-me-down violins served the tenderfoot well, studying with Coosje Wijzenbeek and Lorna Glover. Some years ago a new delight, the Double Bass, entered his life appreciating bass lines and drawing much inspiration from his father.
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  Performing the 'Group of the Six' (2018) author(s): Federico Forla published in: KC Research Portal
  Name: Federico Forla Main Subject: Oboe Research supervisor: Wouter Verschuren Title of Research: Performing the 'Group of the Six' Research Question: Which are the common aesthetic aspects found in the Group of the Six? How can one exemplify it in the performance? Summary of Results: A new French style starts to develop at the beginning of twentieth-century. This style will flourish and develop trough all the century. We can find in the 'Group of the Six' a first controversial example of this new aesthetic. In my research I used historical sources, writings of the composers and writers of the time, together with detailed analysis of representative compositions. Merging all this information, I was able to create a clearer picture of the new French aesthetic of the 'Group of the Six'. Performance practice is a central aspect: specific examples of the aesthetic's reflection in the scores are intended as a suggestion for the execution. A case-study at the end of the research shows a practical example of how the collected information can be used and related within a specific piece. Biography: Since the beginning of my musical studies I got really interested in chamber music. It was for me the most direct, simple and democratic way to make music together. In the following years this interest persisted, giving me the urge to explore and experiment new repertoire. My initial period at the Royal Conservatoire was characterized by my first serious approach to French chamber music of twentieth-century. My research was inspired by the issues, doubts and reflections of that period.
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