Table of Contents Preface ........................................................................................................................................ 3 Programme Monday 4 April 2016 ............................................................................................. 4 Programme Tuesday 5 April 2016 ............................................................................................. 5 Programme Wednesday 6 April 2016 ........................................................................................ 6 Programme Thursday 7 April 2016 ............................................................................................ 7 Programme Friday 8 April 2016 ................................................................................................ 8 Research Abstracts ..................................................................................................................... 9 Pavol Blaho ............................................................................................................................ 9 Evan Buttar ........................................................................................................................... 10 Juan Manuel Cisneros García ............................................................................................... 11 Carina Cosgrave ................................................................................................................... 12 Daniël Yves Dudok .............................................................................................................. 13 Zhou Feng ............................................................................................................................ 14 Federico Forla ...................................................................................................................... 15 Peter Primus Frosch ............................................................................................................. 16 Isa Goldschmeding ............................................................................................................... 17 Mariko Goto ......................................................................................................................... 18 Charlotte Houberg ................................................................................................................ 19 Elisa van Kesteren ................................................................................................................ 20 Seunghun Kim ...................................................................................................................... 21 Stefan Knuijt ........................................................................................................................ 22 Yerang Ko ............................................................................................................................ 23 Pieter van Loenen ................................................................................................................. 24 Carlos Máquez López ........................................................................................................... 25 Vincent Martig ..................................................................................................................... 26 Isabella Mercuri .................................................................................................................... 27 Aljosja Mietus ...................................................................................................................... 28 Jihee Min .............................................................................................................................. 29 Juan José Molero Ramos ...................................................................................................... 30 Aurore Montaulieu ............................................................................................................... 31 Fumiko Morie ....................................................................................................................... 32 Samuel Terence Nolan ......................................................................................................... 33 Koske Nozaki ....................................................................................................................... 34 Agnieszka Papierska ............................................................................................................ 35 Ivan Pavlov ........................................................................................................................... 36 Antero Pellikka ..................................................................................................................... 37 Antonio Pierna...................................................................................................................... 38 Vera Plosila .......................................................................................................................... 39 Manvydas Pratkelis .............................................................................................................. 40 Ryuko Reid ........................................................................................................................... 41 Gabrielle Resche .................................................................................................................. 42 George Ross ......................................................................................................................... 43 Bernardo Sacconi ................................................................................................................. 44 Aleix Sala Ribera ................................................................................................................. 45 Bethany Shepherd ................................................................................................................ 46 Ana Catarina da Silva Costa................................................................................................. 47 Leo Sörlin ............................................................................................................................. 48 1 Marianna Soroka .................................................................................................................. 49 Cody Takacs ......................................................................................................................... 50 Emilio Nunzio Tritto ............................................................................................................ 51 Thomas de Visser ................................................................................................................. 52 Rudolf Weges ....................................................................................................................... 53 Rosa Welker ......................................................................................................................... 54 Sven Weyens ........................................................................................................................ 55 Marc Wielart ........................................................................................................................ 56 Davide Zambon .................................................................................................................... 57 Biographies external committee members ............................................................................... 58 The assessment of the research results ..................................................................................... 65 2 Preface Welcome to the Master Research Symposium 2016 of the Master Research Programme of the Royal Conservatoire. Master students from the departments of Classical Music, Early Music, Vocal Studies, and Jazz will be demonstrating the outcome of two years of dedicated work on their individual research projects. As can be expected from a conservatoire with students from all over the globe, this symposium will contain a variety of fascinating research presentations, ranging from: Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire to Johann Sebastian Bach - a religious-philosophical approach to the beauty of his music. The Master Research Programme of the Royal Conservatoire is an intensive course aimed at developing the research abilities of the individual students, enabling them to continue their development in the arts after their studies, be it in a PhD program, or in another capacity in the world of performance and beyond. Students enter the programme with a chosen topic in the form of a research question. For many, it is a daunting but exciting task to see where this question will lead them during the two years of their studies. As Head of Master Research, I derive satisfaction from observing the personal growth of each student as they gain confidence in their own skills during their research journey. The online KC Research portal has now been fully implemented for all first and second year students, providing them with a drawing board for developing their research ideas, and providing the Master Research Team with the means of assessing the progress of each individual research project on a regular basis. This academic year we are also proud to be “paper free”, as internal and external examiners will be assessing each student “Exposition” as presented on the Research Catalogue. At this time I would like to extend my thanks to the entire Master Research Team, as well as our dedicated Research supervisors and Master circle leaders, and of course the students themselves, for making this another successful year. In addition, I wish those students who will be leaving us at the end of this term artistic and personal success in whatever endeavor they embark upon next. Kathryn Cok, PhD – Head of Master Research 3 Programme Monday 4 April 2016 STUDIO 1 Monday April 4 COMMITTEE: 9:00 – 10:00 Students Ibanez Santervas, Mikel Main Subject Supervisor Jeurissen, Violin Herman 10:15 – 11:15 Min, Ji Hee Piano 11:30 – 12:30 Takacs, Cody Double Bass Bellido Herrero, David Pablo Violin Chairman Jury (supervisor) Jury (ex.) Cok, Kathryn Jeurissen, Herman Uhde, Katharina Mooiman, Bert Urquhart, Margaret Uhde, Katharina Prchal, Martin Bouwhuis, Gerard Uhde, Katharina Borgdorff, Henk Bouwhuis, Gerard Draper, Paul Mooiman, Bert Cok, Kathryn Urquhart, Margaret Cok, Kathryn Uhde, Katharina LUNCHBREAK Piano 15:45 – 16:45 Wielart, Marc Da Silva Costa, Ana Bouwhuis, Gerard Bouwhuis, Gerard Flute Williams, Susan Borgdorff, Henk Williams, Susan Draper, Paul 17:00 – 18:00 Pavlov, Ivan Piano Scott, Anna Scott, Anna Draper, Paul 13:15 – 14:15 14:30 – 15:30 STUDIO 3 Monday April 4 COMMITTEE: 10:15 – 11:15 Students Moreno Camacho, Pablo Oses Ruiz, Amaya 11:30 – 12:30 Goto, Mariko 9:00 – 10:00 Borgdorff, Henk Prchal, Martin Jury (supervisor) Wright, Andrew Wright, Andrew Prchal, Martin Mooiman, Bert Meulen, Henk van der Meulen, Henk van der Urquhart, Margaret Urquhart, Margaret Prchal, Martin Mooiman, Bert Main Subject Supervisor Wright, Piano Andrew Wright, Piano Andrew Mooiman, Fortepiano Bert Chairman Prchal, Martin Jury Kuyken, David Jury (ex.) Grasso Caprioli, Leonella Grasso Caprioli, Leonella Bouckaert, Bruno Gatti, Enrico Bouckaert, Bruno Bouckaert, Bruno Bouckaert, Bruno LUNCHBREAK 13:15 – 14:15 Papierska, Agnieszka 14:30 – 15:30 Ross, George Baroque Violin Baroque Cello 15:45 – 16:45 Mietus, Aljosja Harpsichord Urquhart, Margaret Urquhart, Margaret Mooiman, Bert 4 Programme Tuesday 5 April 2016 STUDIO 1 COMMITTEE: Tuesday April 5 Students Montaulieu, 9:00 – 10:00 Aurore Main Subject Supervisor Chairman Jury (supervisor) Cello Scott, Anna Cok, Kathryn Scott, Anna Uhde, Katharina 10:15 – 11:15 Ha, Yeni Violin Uhde, Katharina Cosgrave, Carina Violone Cok, Kathryn Borgdorff, Henk Clark, Kate 11:30 – 12:30 Clark, Kate Verschuren, Wouter Cok, Kathryn Uhde, Katharina 13:15 – 14:15 Kim, Seunghun French Horn Borgdorff, Henk 14:30 – 15:30 15:45 – 16:45 Ko, Yerang Maquez Lopez, Carlos 17:00 – 18:00 Nolan, Samuel French Horn Bass Trombone Bass Trombone Saunders, Pete Saunders, Pete Saunders, Pete Saunders, Pete Saunders, Pete Saunders, Pete Saunders, Pete Saunders, Pete Jury Jury (ex.) LUNCHBREAK Vos, Wim Meulen, Henk van der Meulen, Henk van der STUDIO 3 Jeurissen, Herman Jeurissen, Herman Draper, Paul Draper, Paul Draper, Paul Draper, Paul COMMITTEE: Tuesday April 5 Students Main Subject Supervisor Chairman Jury (supervisor) Jury (ex.) 9:00 – 10:00 Weges, Rudolf Baroque Trumpet Clark, Kate Borgdorff, Henk Clark, Kate Willi, Barbara 10:15 – 11:15 Feng, Zhou Cisneros Garcia, Juan Manuel Violone Clark, Kate Borgdorff, Henk Clark, Kate Willi, Barbara Fortepiano Oort, Bart van Vos, Wim Oort, Bart van Willi, Barbara 11:30 – 12:30 LUNCHBREAK 13:15 – 14:15 Resche, Gabrielle Harpsichord Cok, Kathryn Vos, Wim Cok, Kathryn 14:30 – 15:30 Weyens, Sven Shepherd, Bethany Molero Ramos, Juan Jose Classical Singing Cok, Kathryn Borgdorff, Henk Cok, Kathryn EM Singing Toet, Charles Borgdorff, Henk Toet, Charles Willi, Barbara Grasso Caprioli, Leonella Grasso Caprioli, Leonella Historical Clarinet Toet, Charles Borgdorff, Henk Toet, Charles Willi, Barbara 15:45 – 16:45 17:00 – 18:00 5 Programme Wednesday 6 April 2016 STUDIO 1 Wednesday April 6 9:00 – 10:00 10:15 – 11:15 11:30 – 12:30 COMMITTEE: Students Pratkelis, Manvydas Sucasas Bujones, Miguel Dudok, Daniël Main Subject Jazz Saxophone Jury (supervisor) Schenkius, Patrick Supervisor Chairman Schenkius, Patrick Vos, Wim Jazz Saxophone Schenkius, Patrick Vos, Wim Jazz Guitar Voorhorst, Enno Vos, Wim Schenkius, Patrick Voorhorst, Enno Jazz Guitar Voorhorst, Enno Clarinet Jeurissen, Herman Clarinet Vos, Wim Meulen, Henk van der Meulen, Henk van der Voorhorst, Enno Jeurissen, Herman Jeurissen, Herman Cok, Kathryn Avena Braga, Inês de Meulen, Henk van der Avena Braga, Inês de Jury Hoogendijk, Jarmo Jury (ex.) Halle, Morten Halle, Morten Draper, Paul LUNCHBREAK 15:45 – 16:45 Zambon, Davide Farina Martin, Ale Martig, Vincent 17:00 – 18:00 Nozaki, Koske Recorder Jeurissen, Herman Avena Braga, Inês de/ Heijghen, Peter van Mercuri, Isabella Avena Braga, Inês de/ Thouvenot, Frédérique 13:15 – 14:15 14:30 – 15:30 Draper, Paul Uhde, Katharina Uhde, Katharina Verhagen, Reine-Marie Willi, Barbara DINNER 19:15 – 20:15 STUDIO 3 Wednesday April 6 9:00 – 10:00 10:15 – 11:15 11:30 – 12:30 Recorder Willi, Barbara COMMITTEE: Blaho, Pavol Visser, Thomas de Main Subject Supervisor Jazz Double Smeets, Bass Yvonne Smeets, Jazz Drums Yvonne Schenkius, Jazz Drums Patrick Tritto, Emilio Jazz Saxophone Students Sacconi, Bernardo Chairman Cok, Kathryn Cok, Kathryn Damen, Monica Jury (supervisor) Smeets, Yvonne Smeets, Yvonne Schenkius, Patrick Jury Jury (ex.) Bruneel, Janos Schlarmann, Felix Schlarmann, Felix Draper, Paul Draper, Paul Halle, Morten LUNCHBREAK 13:15 – 14:15 14:30 – 15:30 15:45 – 16:45 Frosch, Peter Gieben, Liesbeth 17:00 – 18:00 Welker, Rosa Schenkius, Patrick Schenkius, Jazz Drums Patrick Schenkius, Jazz Singing Patrick Schenkius, Patrick/ Viola Willekes, Arno Damen, Monica Schenkius, Patrick Schenkius, Patrick Schenkius, Patrick Meulen, Henk van der Schenkius, Patrick Damen, Monica Damen, Monica Halle, Morten Hoogendijk, Jarmo Draper, Paul Halle, Morten Willekes, Arno Uhde, Katharina 6 Programme Thursday 7 April 2016 STUDIO 1 Thursday April 7 COMMITTEE: Main Subject 9:00 – 10:00 Students Sanchez Martinez, Ezequiel 10:15 – 11:15 Forla, Federico 13:15 – 14:15 Jury (supervisor) Verschuren, Wouter Verschuren, Wouter Jury (ex.) Johansson, Karin Johansson, Karin Wiersma, Peppie Vos, Wim Boer, Johannes Wiersma, Peppie Wiersma, Peppie Willi, Barbara Uhde, Katharina Uhde, Katharina Boer, Johannes Boer, Johannes Willi, Barbara Chairman Oboe Supervisor Verschuren, Wouter Verschuren, Wouter Reid, Ryuko Baroque Violin Boer, Johannes Vos, Wim 14:30 – 15:30 Soroka, Marianna Percussion Wiersma, Peppie Vos, Wim 15:45 – 16:45 Vera Payo, Nerea Percussion 17:00 – 18:00 Verdon, Nathalie Baroque Violin Oboe Prchal, Martin Prchal, Martin 11:30 – 12:30 LUNCHBREAK STUDIO 3 Prchal, Martin COMMITTEE: Thursday April 7 Students Main Subject Supervisor Chairman Jury (supervisor) Jury (ex.) 9:00 – 10:00 Kesteren, Elisa van Accordion Petrovic, Stefan Boer, Johannes Petrovic, Stefan Draper, Paul 10:15 – 11:15 Jongsma, Wilma Oboe Petrovic, Stefan Boer, Johannes Petrovic, Stefan Draper, Paul 11:30 – 12:30 Loenen, Pieter van Violin Petrovic, Stefan Boer, Johannes Petrovic, Stefan Johansson, Karin 13:15 – 14:15 Sala Ribera, Aleix Cello Voorhorst, Enno 14:30 – 15:30 Sorlin, Leo Goldschmeding, Isa Guitar Voorhorst, Enno Violin Scott, Anna LUNCHBREAK 15:45 – 16:45 Turkenburg, Wouter Turkenburg, Wouter Turkenburg, Wouter Voorhorst, Enno Newark, Cormac Voorhorst, Enno Newark, Cormac Scott, Anna Newark, Cormac 7 Programme Friday 8 April 2016 STUDIO 1 COMMITTEE: Chairman Jury (supervisor) Jury (ex.) Damen, Monica Oort, Bart van Uhde, Katharina Verbey, Theo Uhde, Katharina Tuba Verbey, Theo Damen, Monica Saunders, Pete Damen, Monica Saunders, Pete Johansson, Karin EM Singing Classical Singing Classical Singing Zelm, Gerda van Zelm, Gerda van Zelm, Gerda van Zelm, Gerda van Zelm, Gerda van Zelm, Gerda van Friday April 8 Students Main Subject 9:00 – 10:00 Morie, Fumiko Baroque Violin 10:15 – 11:15 Dimitrov, Anto Piano 11:30 – 12:30 Knuijt, Stefan LUNCHBREAK 13:15 – 14:15 (Th) Bartnik, Aldona 14:30 – 15:30 15:45 – 16:45 Houberg, Charlotte Meijden, Veronique van der Supervisor Oort, Bart van STUDIO 3 Vos, Wim Vos, Wim Newark, Cormac Newark, Cormac Newark, Cormac COMMITTEE: Friday April 8 Students 9:00 – 10:00 Vos, Wim Buttar, Evan 10:15 – 11:15 Plosila, Vera Pellikka, 11:30 – 12:30 Antero Main Subject Supervisor Baroque Cello Boer, Johannes Boer, Johannes/ Traverso Krausz, Tami Deurzen, Guitar Patrick van Chairman Meulen, Henk van der Meulen, Henk van der Turkenburg, Wouter Jury (supervisor) Jury Jury (ex.) Boer, Johannes Willi, Barbara Turkenburg, Wouter Deurzen, Patrick van Turkenburg, Wouter Turkenburg, Wouter Deurzen, Patrick van Boer, Johannes Deurzen, Patrick van Krausz, Tami Willi, Barbara Draper, Paul LUNCHBREAK Feruleva, 13:15 – 14:15 Anastasia Pierna Garcia, 14:30 – 15:30 Antonio Percussion Deurzen, Patrick van Deurzen, Patrick van/ Gibson, Ewan 15:45 – 16:45 Bove, Alexis Williams, Susan Cello Cello Williams, Susan Johansson, Karin Gibson, Ewan Draper, Paul Draper, Paul 8 Research Abstracts Name: Pavol Blaho Main Subject: Jazz Drums Research Supervisor: Yvonne Smeets Title of Research: Tony Williams - a drummer who has changed the way of my drumming Research Question: How can I become a better drummer through researching, transcribing and analyzing Tony Williams, who is able to play more "open" and react on specific moments and be more helpful - conductive for the band? Summary of Results: My master research is fundamentally about myself and how can I become a better drummer influenced by Tony Williams. I did transcriptions of "short - licks ", drum solos and drum comping. I then created drum exercises, which are inspired by Tony Williams’, playing. By practicing these exercises I hope to become a better drummer. Biography: My first contact with music happened when I was 4 years old and it was behind the drums. When I was 9, I started to study classical clarinet at a basic music school in my town. I went for secondary school to Conservatory in Banska Bystrica. After six years of studies at the Classic Conservatory Banska Bystrica on the clarinet, I decided to go to study Drums at the Royal Conservatoire in Den Haag. I have at least 10 years of teaching experience. 9 Name: Evan Buttar Main Subject: Baroque Cello Research Supervisor: Johannes Boer Title of Research: Basso Continuo Instrumentation in Baroque Cello Sonatas With a Focus on Jean-Baptiste Barrière Research Question: What basso continuo instrumentation possibilities exist in baroque cello sonatas, and specifically in the works of Jean-Baptiste Barrière? Summary of Results: Basso continuo is an essential part of baroque music, but the instrumentation of it is often ignored or dismissed. All too often, modern performers play with harpsichord and cello without considering the other options. This research paper investigates what the most common instrumentations for the basso continuo were in France and Italy, as well as what exceptions were made. The goal of the paper is to have a better understanding as to what instrument combinations can be added to baroque cello sonatas, and specifically to those of Jean-Baptiste Barrière - this composer was chosen because of the inventiveness, virtuosity, and unique nature of his music. Since there is little evidence relating directly to the cello, the continuo groups in orchestral, chamber, and solo music are investigated. After gathering a wealth of information, it seemed most likely that Barrière would have played his sonatas with a harpsichord together with a cello realizing the basso continuo, but it is reasonable to suggest that other instruments could have been added to this, based on contemporary evidence. This information is then applied to practice through a series of instrumentation experiments on sonatas of Barrière, with a second cello, double bass, archlute, guitar, and harpsichord. The addition of guitar to one of the sonatas was surprisingly effective. The bass sometimes added a majestic and powerful effect, but at other times created a texture that was far too bassheavy. The archlute added much to the ensemble, though it was less effective without the harpsichord alongside it. The experiments themselves revealed some interesting insights into the music and performance, including how instrumentation could change the affect of a piece, and how various combinations changed the way I phrased and used dynamics. Recorded samples of this process are supplied and discussed. The presentation will include an overview and discussion of the sources and evidence found, and live musical demonstrations presented by myself and colleagues. Biography: Evan Buttar began playing the cello at a young age in Vancouver, Canada. He obtained a Bachelor of Music at the University of Ottawa in 2014, and is currently pursuing a Masters degree with Jaap ter Linden at the Royal Conservatoire in The Hague. His studies on the baroque cello began in 2011, and this instrument and style has been his passion since. He also plays the viola da gamba, which he currently studies with Mieneke van der Velden. He has played in master classes for many renowned musicians, including Steven Isserlis, Ronald Leonard, Jeanne Lamon, Kenneth Slowik, and Wieland Kuijken. 10 Name: Juan Manuel Cisneros García Main Subject: Fortepiano Research Supervisor: Bart van Oort Title of Research: Frozen Improvisation: The Mozart Piano Variations as a Model for Improvisation on the Classical Style Research Question: Could it be possible using Mozart piano variations as a model for improvisation in the classical style? Summary of Results: The fourteen sets of piano variations composed by Wolfgang Amadeus Mozart are a sort of microcosmos of his whole pianistic output. Their complete composition covered practically his entire lifetime, from 1766 to 1791 and some of them were originated in actual improvisatory performances. Considering also the historically documented connections between the variation genre and the extemporization practices, this research is focused on their study as models for learning improvisation on the Classical style. With this purpose, I am using a concrete methodology that is being developed now in Spain (IEM methodology) that places the improvisation in the core of music education, with special emphasis in the use of patterns extracted from the musical sources. This has been combined with the historically informed performance practice in order to develop a repertory of exercises and proposals to be used as a guided practice for this learning process. Biography: Juan Manuel Cisneros (Málaga, Spain, 1978) is pianist, composer and teacher. He has a Bachelor´s degree on Piano (Conservatoire of Málaga), Phylosophy (University of Málaga) and Composition (Conservatoire of Granada). He completed his studies as composer and pianist in the Centre Acanthes (Metz, France), among other musical institutions. He is currently performing in several ensembles, from early music to jazz, in Spain, France, Holland, Italy and Romania. His passion for historic keyboard instruments led him to the fortepiano and the harpsichord in recent years. He is developing an extensive activity in the field of historic improvisation, with frequent lectures, concerts and workshops in Spain and abroad. He is composition and improvisation teacher at the Conservatoire of Granada and teacher member of the IEM (Music Education Institute) methodology. 11 Name: Carina Cosgrave Main Subject: Violone Research Supervisor: Wouter Verschuren Title of Research: The ‘Great Dooble Basse' Research Question: How was the violone used during the 17th century in England? Summary of Results: Having thought the violone had no place in early English repertoire until the 1700s Maggie Urqhaurt introduced me to the fantasias of Orlando Gibbons written for ‘the Great dooble basse’ This was a fascinating moment in my studies as If Orlando Gibbons was music writing for the violone, and there were players and instruments in England, then which other composers may have written repertoire specifically for this instrument? In which setting would the violone have been used in? Where else might the violone have been employed? This presentation will look at evidence of the arrival and use of the violone in England up until 1700, the period between the death of Purcell (1695) and the arrival of Handel in London in 1710. Around 1700 the use of the violone declined and the lowest stringed bowed bass instruments began doubling the bass line an octave below. It will look at some specific examples from the repertoire that seems to ask for a violone as the bass instrument. Biography: Carina studied Double Bass and baroque bass with Peter Buckoke at the Royal College of Music, London, supported by a Douglas and Hilda Simmons study award. Carina’s passion for historical performance has grown since her first encounter with historical instruments performing Biber’s Battalia and has seen her continue her studies in this field with Maggie Urqhuart at the Koninklijk Conservatorium in The Hague. Carina is a founder member of the New Century Baroque orchestra and plays with early music ensembles in the UK, France and The Netherlands including the English Concert, Florilegium, Les Siècles, and La Serenissima. 12 Name: Daniël Yves Dudok Main Subject: Jazz Guitar Research Supervisor: Enno Voorhorst Title of Research: The combination of Soul and Jazz techniques in playing the guitar Research Question: How can guitar players combine the Soul and Jazz in their playing? Summary of Results: ‘Keep on grooving’ -that is the slogan of my research. Jazz and Soul were two popular music styles in the 50’s and the guitar as well. ‘How can guitar players combine Jazz and Soul in their playing? I made a research paper and found out that it is possible to combine these two. I used Kenny Burrell to show how it works and in the end I made some exercises demonstrating how to combine Jazz and Soul. My paper is divided into three chapters: Techniques, Accompanying and Solos. In every chapter I discuss how it works for every style. I was suprised by the combination of the two. Clean rhythms with punchy jazzy lines. A good combination for Jazz and Soul music. Biography: Daniël Yves Dudok is an enthusiastic and busy freelance guitar player, graduating in 2016 with his Master at the Royal Conservatoire, who likes to play in every project. Combining Jazz and Soul is his trademark. His biggest project is Matt Bianco. ‘Whose side are you on’ which was a hit in the 80’s. Daniël participated in the European Jazz Orchestra (EJO) in 2013. He has performed on all Jazz stages in Europa. He was member of the NJJO. Daniël is the guitarist in: The Royal Sisters, The Shepherds, Shariffa Indiana and a theaterproject Pseodologia. 13 Name: Zhou Feng Main Subject: Violone Research supervisor(s): Kate Clark Title of Research: Fingering of the Viennese Double Bass Research Question: What was the historical fingering of the Viennese double bass? Which different effects it would have on different fingerings? What’s the modern solution of fingerings and its influence? Summary of Results: The Viennese Double Bass was a dominant type of double bass used in the Classical Period in Vienna. It usually has 5 string, tuned in F1-A1-D-F#-A, with frets. Unfortunately, we can barely find any historical material that was written down on the fingering of this instrument. Through the analysis of the history of fingerings on various double basses documented in historical methods, I can find the pattern of fingering that is often related to the tuning intervals of the instrument. The Viennese double bass was possibly using a '1-2-4' fingering system. In my research paper, I give the suggestions of specific fingerings, including basic fingerings (scales, arpeggios), exception fingerings (chordal fingering, octave fingering). For octaves, I find the possible solutions by using basic, chordal, extension fingerings and shifting strategy. With excerpts of solo works and orchestral parts, I give further explanation of the fingerings. Finally, I try to point out that the modern tuning of the Viennese double bass could cause alteration of the historical fingerings. Furthermore, it would also change the timbre. Biography: Master student of Violone (Koninklijk Conservatorium, Den Haag) Artist Diploma of Double Bass (China Central Conservatory, Beijing) Master Degree of Journalism (Tsinghua University, Beijing) 14 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 through 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 esthetic'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. 15 Name: Peter Primus Frosch Main Subject: Jazz Drums Research Supervisor: Patrick Schenkius Title of Research: Jazz Drummer Elvin Jones – His Musical Heritage Research Question: What are the methods of Elvin Jones' playing and how did famous jazz drummers deal with his heritage? Summary of Results: The American jazz drummer Elvin Jones is one of the most famous musicians in jazz history. Nevertheless due to the writers' lack of ability to play the drums the existing research is very unsatisfying from a jazz drummer's perspective. Based on a wide array of transcriptions I put together several methods and concepts for accompaniment as well as drum solos developed by Elvin Jones. I also identified two predecessors to specific stylistic approaches. The second chapter is about Jack Dejohnette, Jeff 'Tain' Watts and Brian Blade and how they dealt with his heritage. My main conclusion is that aspects of Elvin's style especially the method of 'play the drum set as one instrument' completely changed the approach of playing the drums in Jazz. Specific characteristics can be found in the better part of contemporary jazz drummers and therefore it is essential to deal with his concepts and ideas. This research helped me to increase my awareness of various stylistics of modern jazz drum set playing and at the same time I got an idea on how to apply those methods. Biography: Peter Primus Frosch (drums) born on the 11.12.1990 He started playing drums at age 5. After school in 2010 he enrolled at the Konservatorium Wien Privatuniversität studying with the likes of Mario Gonzi and Walter Grassmann. Since fall 2014 he is now continuing his master studies at the Royal Conservatory in The Hague, where he is under the guidance of the great Dutch jazz drummer Eric Ineke. Awards: Fidelio competition finalist in 2012 and 2013, winner of the audience award in 2012; Most promising award“ by Marianne Mendt Jazznachwuchsförderung; winner of „New faces of Slovak Jazz“ 2014 best drummer at Generations International Jazzfestival Frauenfeld (Switzerland) - Jury: Lewis Nash, Seamus Blake, Don Friedman 2015: Winner of the Herbert Schedlmayer Jazz Stipendium workshops with Louis Hayes, Jimmy Cobb, Lewis Nash, David Hazeltine, Don Friedman, Seamus Blake among others; played with: Roman Schwaller, Clemens Salesny, Stephan Plecher, Jure Pukl, Daniel Nösig, Oliver Kent, Franz Hautzinger, Adrian Mears, Peter Herbert, Reinhard Micko, Klaus Gesing etc. 16 Name: Isa Goldschmeding Main Subject: Violin Research Supervisor: Anna Scott Title of Research: Dancing about Music Research Question: How does consciously moving while playing help to interpret and communicate a piece of music? Summary of Results: Using movement is the most natural and direct way with which people express themselves. Elaborate research has been done on the connection between movement (gesture) and intention (meaning) in spoke language. The same principles and findings in these studies can be applied to movement and its connection to music. The method described in my case study, in which I studied Lera Auerbach’s Lonely Suite for violin solo while focusing on my body’s impulses, makes use of the this instinctual way of showing what we feel, and therefore leads to a sincere and convincing interpretation. In doing so, this process can be very clarifying for a performer. Based on my research into the available background literature I can conclude that there is much to be gained by using conscious movement while learning and performing a piece of music. Indeed, various authors repeatedly emphasize the importance of this subject for musicians, and their hope that it will be further researched and developed within the context of musical performance. By way of my case study, I have found that using movement provides a new approach to learning a piece of music and to developing a personal, sincere, and honest interpretation. Biography: Isa Goldschmeding studied with Axel Strauss at the San Francisco Conservatory of Music and with Theodore Geraets and Ilona Sie Dhian Ho at the Royal Conservatoire in The Hague. She participated in masterclasses with Theo Olof, Philippe Graffin, Stephan Picard, Isabelle van Keulen and the Osiris Trio. Isa enjoys playing chamber music and has a special interets in contemporary music. In 2014 she was one of the instrumental soloists in Vivier’s opera Kopernikus with the Dutch National Opera. She performed with Asko Schonberg, Ensemble Klang, Rosa Ensemble, Residentie Orkest and Nieuwe Philharmonie Utrecht and is a member of the young The Hague based ensemble Kluster5. 17 Name: Mariko Goto Main Subject: Fortepiano Research Supervisor: Bert Mooiman Title of Research: Forbidden Beauty: Performance Practice of un-notated arpeggio in fortepiano music in late 19th Century Research Question: Is it appropriate to arpeggiate a chord when it is not notated, especially in romantic repertory in second half of 19th century? If we can do it, where and how can we add arpeggio? Summary of Results: Modern pianism is quite skeptical to the addition of an arpeggio that is not written in the score. Pianists in the same generation as I am also may have had such the experience of hearing that their teacher say, “Don’t play arpeggio when the composer doesn’t indicate it” or “Don’t break your right and left hand”. Such a strict attitude to the un-notated arpeggio originates from the tendency that the musicology (and musicians) in the late 20th century considered the intentions of composers as the most important thing, and they attributed it to the authentic score like manuscripts, or a first edition. In such a mood, it was not “authentic” to add un-notated arpeggios. Playing unnotated arpeggios was a symbol of over romanticism, and sloppy playing. But there is much evidence that composers themselves added arpeggios, even if they show a strict attitude to the un-notated arpeggio in their remarks. If we look at the treaties, we can see that the un-notated arpeggio has a long tradition from the Baroque and Classical period. It is not a symbol of over-romanticism in the late 19th century, but a tactical tool to express character and affect of pieces. From the remarks of treaties, and early recordings of first half of 20th century, we can see that the character and affect of a piece is a very important element to decide, whether we can use arpeggio or not. Especially in the slow, expressive pieces or sections of a pieces we have many opportunities to add arpeggio. If we consider the tradition and usefulness of un-notated arpeggio, we should feel free to use it, especially on historical keyboard instruments. Biography: Born in Tokyo, Mariko Goto started her modern piano studies in her earliest childhood. She encountered early music, namely fortepiano and cembalo, at Tokyo University of the Arts. After completing her Master degree of Musicology at said university for her musical rhetoric studies about improvisation in Haydn’s works, she devoted herself to the performance of these instruments. Since 2014, she has been pursuing a master’s degree in fortepiano at the Royal Conservatoire of the The Hague under Bart van Oort. 18 Name: Charlotte Houberg Main Subject: Classical Singing Research Supervisor: Gerda van Zelm Title of Research: Body language of a singer on stage Research Question: How can a singer on stage use his body language to support his expression? Summary of Results: By the use of different research methods, there have been created ideas and strategies to become aware of your body language and how to use it in a confident way on stage. Body language is, next to singing, an equally important communication tool for singers on stage. It shows knowledge of the movements of the body and understanding of the role or character. The libretto can be translated into body language, so the audience can understand it without knowing exactly what text is sung. It can be concluded that all body parts can be chosen to show a certain mood which fits within the role or character. Gestures do not have to be overexaggerated, because the audience is able to see and interpret small signs, even from a distance. Consciously chosen body language is easier to decode than spontaneous body language and can be more convincing, even though the singer is not in that certain mood. Body language is part of the luggage of a singer and a tool for showing his expression and intentions. I chose for the form of a research paper, because I would like to share new or expanded knowledge with my colleagues by doing an in-depth research. Biography: Charlotte (1991) takes part in Studio 32, an opera studio of her teacher Henny Diemer. She sang the roles Amor (Cadmus et Hermione), Zerlina (Don Giovanni) and Bess (Porgy and Bess). She had a tour with Sinfonia Rotterdam and sang solo with several Dutch orchestras. In Jordan she performed Miroir de Peine of Andriessen with the Amman Orchestra. She has been invited for chamber concerts and has given song recitals on several stages of the Netherlands. From the oratorio repertoire she sings regularly the Matthew Passion (Bach) and the requiem (Fauré and Mozart). She will sing the role First Witch in the new opera of Andriessen (The Theatre of the World) in LA and Amsterdam. 19 Name: Elisa van Kesteren Main Subject: Accordion Research Supervisor: Stefan Petrovic Title of Research: The Russian way of playing the accordion: a case study related to the Chamber Suite of Vladislav Solotarjow Research Question: Does the Russian way of playing the bayan exist and if so, how can I achieve this in my own artistic practice? Summary of Results: Russian music is very particular, and as Russian music has always touched and inspired me, it was obvious to specialize in this music during my master studies. What are the characteristics of this music and how do Russian performers play? I wanted to get as close as possible to the ‘Russian way of playing’, by focusing on Vladislav Solotarjow’s ‘Chambersuite’ or ‘Sentimental pieces to Alexander Blok’, made me develop my Russian way of playing. I did this through listening, analyzing and comparing recordings, from Mika Vayrynen a Scandinavian bayanist and one of Russia’s most important bayanists Friedrich Lips and making my own recordings. This research has proven to me that the Russians play very expressive, with a lot of passion and freedom. Their music and their instrument are very colorful. I have achieved many of these characteristics in my own playing, even adding my own personal style to it in the end. Only the colorfulness of sound was still missing sometimes. Wondering about my technique and musical decisions, I took the chance to compare the two instruments with each other. My Western Europe built accordion (Castelfidardo, Italy) versus the in Russia manufactured Bayan (Moscow). It was really helpful to investigate about the history of the instrument, the history of Russia and their music in order to get as close as possible to the Russian way of playing. Furthermore, reading about Solotarjow’s life, analysing his composition and listening to different recordings, made me get a much better understanding of this music. These things have helped me to develop my artistic practice. The part of the research that directly involved my artistic practice has been of great value for me. It has enriched my expressive pallet by including more freedom in my playing in many different aspects. I have concluded that it is possible to achieve the Russian way of playing. Biography: Elisa van Kesteren was born in Leeuwarden, The Netherlands. She started playing the accordion at the age of eight. After graduating for the Bachelor Degree here at the Royal Conservatory in 2014, she continued studying with An Raskin and will graduate for the Master degree this year. She is a member of the very recently founded accordion ensemble “The Blackboxes”, and has a great interest for Russian but also contemporary music. 20 Name: Seunghun Kim Main Subject: French Horn Research Supervisor: Pete Saunders Title of Research: Development of horn's playing technique in 19th century Research Question: What is the development of horn playing technique from the beginning to the late 19th century? What was the playing technique of horn used in orchestral music in the 19th century? Summary of Results: This paper researches the development of horn playing technique throughout the 19th century. The result of my research is that the natural horn and valve horn are completely different instruments. Starting from the point of the natural horn, which was the instrument used at the beginning of the century, it describes the changes made to the horn itself, most notably the incorporation of valves. Through examples drawn from orchestral repertoire from three periods of the 19th century (the beginning of the 19th century: 1800-1840, the middle: 18401890, the late: 1890-1910). From simple parts in Beethoven's 3rd symphony through the increasingly difficult and complex parts of works by, among others, (Rossini, Schumann, Brahms, Mahler, Strauss) many aspects of the evolving technique of playing the horn are described. The paper concludes that now modern horn players should be aware of these developments, and also be able to play in the styles and on the instruments of the periods, such as the natural horn with hand stopping. It can be very helpful to modern horn players when playing the music from the classical to the beginning of the romantic period. Biography: I was born in Gwangyang city, South Korea where I studied the horn from 17 years old and I graduated the Seoul arts high school. I later studied in the Seoul national university college of music and graduated in 2013. I am currently studying in master course of Royal Conservatoire. 21 Name: Stefan Knuijt Main Subject: Tuba Research Supervisor: Pete Saunders Title of Research: The rise of the tuba in the first orchestral repertoire Research Question: How did the tuba and its use develop in the first orchestral repertoire? Summary of Results: Moritz and Wieprecht invented the tuba in 1835. There are 2 main reasons for the invention in this time period: the start of the romantic period (composers were looking for new ‘ways’ and also new instruments) and the industrial revolution (without the right machines it is impossible to build a tuba). So around this time the technical possibilities and the “composers’ psychology” were exactly right to invent the tuba. The most important ancestors of the tuba are the serpent and the ophicleide. The serpent was a wooden instrument with holes and the ophicleide a brass instrument with keys. They both do not have valves so the invention of the valves was an important development. One of the first pieces that were written for tuba is Wagner’s Ein Faust Overture. To see the change from ophicleide to tuba it is interesting to analyze also some pieces with ophicleide parts, like Wagner’s Rienzi, Berlioz’ Symphonie Fantastique and Mendelssohn’s Midsummer Night’s Dream. The register in ophicleide parts is generally higher than in tuba parts (and even lower in contrabass tuba parts, like Wagner’s Rheingold). Also the doublings and the role of ophicleide can be different than the role of the tuba. The ophicleide is more a bass instrument for woodwinds while the tuba is more connected to the brass. Biography: Stefan Knuijt, born on 15 September 1992 in Nieuw -en Sint Joosland and started playing the baritone when he was 8 years old. He studied this instrument at the “Zeeuwse Muziekschool” in Middelburg, with René Passenier. When he was 9 years old, he started to play the piano. Until 2009 he studied piano and composition with Leen de Broekert, also at the “Zeeuwse Muziekschool”. After this Stefan continues his piano courses with Rien Balkenende. He studied composition from 2009 to 2011 at the Royal Conservatoire in The Hague, with Calliope Tsoupaki and from 2010 to 2016 tuba with Hendrik Jan Renes at this Conservatoire. 22 Name: Yerang Ko Main Subject: French Horn Research Supervisor: Pete Saunders Title of Research: Transition from Natural Horn to Valve Horn in the 19th Century Research Question: Why did composers in the 19th century use both natural horn and valve horn together in a single work? By looking at the development from natural horn to valve horn, what becomes possible? Summary of Results: This paper examines the transition from natural horn to valve horn. There were many changes in this instrument in the 19th century, including different valve designs. Using analysis of compositions using both natural and valve horn it answers the questions: Why were there changes? What did this make possible for the player? What did this make possible for the composer? What are the advantages of each? The paper concludes that, although the natural horn is the ancestor of the modern horn, they remain different instruments for different musical purposes, often used together in a single composition, and modern horn players should be able to play both. The paper concludes with interviews with horn players who perform music from this period of transition, giving their views on the instruments. In the 18th century they coexisted, showing the advantages of each of them. The natural horn has a more open sound and it blends very easily with woodwinds and brass and each key of crooks gets different colors. During the early times of its use many people did not accept the valve system because they thought the natural horn was a more complete instrument and the sound of the valve horn was not complete and was not clear. But many composers used the valve horn in their pieces, so the role of the valve horn became very important. Reasons were that the natural horn could not be played in the low register and with full dynamics, and because of hand techniques, the natural horn was difficult to play in chromatic scales and with large intervals and so on. So, the natural horn was replaced by the valve horn in many pieces. Biography: I started to learn the piano when I was 8. My piano teacher’s daughter studied the horn at the College of music. My teacher suggested to me that I play the horn. I found the sound of the horn pleasing. After deciding to start, I attended the arts middle school at the age of 13. I improved my musical talent by participating in wood quintet, brass quintet and an orchestra. Naturally, I moved on to attend a fine arts high school. I also learned various non-technical aspects of music such as musical theory and history through my high school curriculum. I participated in many competitions and also was a part of many different orchestras. At 18, I went to perform with my high school orchestra at Musikverein in Austria. It was unforgettable and I gained such a valuable experience from it. 23 Name: Pieter van Loenen Main Subject: Violin Research Supervisor: Stefan Petrovic Title of Research: Performing modern music Research Question: How should you go about performing modern music? Summary of Results: In this paper, I have approached the fundamental question of how to go about performing modern music from different perspectives. Looking at the writings of Stravinsky and Schoenberg teaches us that there are different ideas about the role a performer should have. Stravinsky would ideally have a performer execute music and not ‘interpret’ it, while Schoenberg expects more expressive input from the performer. However, we have also seen that Stravinsky’s allergy against ‘interpretation’ probably stems from bad experiences with performers interpreting his music the wrong way. Present-day performers agree that his music – or any music, for that matter: the same principles apply to music of all ages – does need to be interpreted by the performer, but in the correct style. Interpretation of a score is not an exact science. However, that does not mean it cannot go wrong. The prime directive of interpretation is that it should not go against the literal text of the score. Since notation is almost never complete, other methods of interpretation can be used to fill in the gaps. When textual interpretation does not provide enough information, the performer can resort to contextual interpretation: the context of the piece (e.g. sung text, or a structural analysis) or the context of the composer’s work in general, i.e. his style, or language. Other methods that can be used in connection with these basic types of interpretation include speaking with the composer or listening to recordings of the composer or with the composer’s approval. This last method can be problematic, since more information is always required on the value a particular recording should have: is this exactly what the composer intended or is it just acceptable to the composer within the boundaries they set? Biography: Pieter van Loenen is a Dutch violinist who graduated his bachelor’s cum laude at the Royal Conservatoire in The Hague as a student of Vera Beths. He won 1st prize at the Prinses Christina Competition in 2010 and was awarded 2nd prize and the Audience prize at the Dutch National Violin Competition in 2016. He has appeared as a soloist with several orchestras throughout the Netherlands, including the Rotterdam Philharmonic Orchestra, Domestica Rotterdam and the Youth Orchestra of the Netherlands. He has a special affinity with performing contemporary music 24 Name: Carlos Máquez López Main Subject: Bass Trombone Research Supervisor: Pete Saunders Title of Research: The sociocultural mixture on the present day trombone Research question: How can sociocultural fusion affect the performance practice of contemporary trombonists? Summary of results: Lite music and jazz music are present in classical music for the trombone in the XX and XXI centuries. Through this documentary study of the evolution of trombone music throughout history, one reaches the conclusion that society and music evolve hand in hand and these developments are influenced by the technological advances of the moment. The twentieth century experienced a fusion, resulting from globalization, where the individual musical genres are in the background, dominating the mixture of styles. These ideas are illustrated through an analysis of SubZero by Daniel Schnyder. This composition requires prior knowledge , as the compositional influences of Daniel Schnyder vary, the result is a mixture with a very distinctive sound very close to the world of jazz. Biography: Carlos Maquez Lopez was born in Santiago de Compostela in 1989. He studied the specialty of trombone at the Conservatory of Music of A Coruña and he received his bachelor diploma at the School of Music de Catalunya (ESMUC). During his studies he collaborated with various orchestras such as the Symphony Youth Orchestra of Galicia, Catalonia National Youth Orchestra, the Symphony Orchestra of Galicia, Orchestra Nacional de Catalunya, Wind Orchestra of the Galician Federation, Chamber Orchestra Terrassa. Interest in the field of lite music led him to join groups like Skarallaos or Itaca Band, also collaborating with: El Son De La Chama, Mo- Cambo Reggae, New Generation Backing Band, Mystic Soul- diers, Tokyo Sex Destruction Roger Pistola, Tonino Carotone. Carlos is presently studying for a master at the Royal Conservatoire of The Hague. 25 Name: Vincent Martig Main Subject: Clarinet Research Supervisor: Herman Jeurissen Title of Research: The “Haagse School” and Clarinet Research Question: How did the Haagse School develop and which compositions for clarinet did it bring forth? Summary of Results: After the Second World War, something was growing in the Dutch compositional landscape: a reaction to Schoenberg and romantic music on the one hand, and American minimalism on the other. This reaction obtained its clearest form at the Royal Conservatoire in The Hague, first with Kees van Baaren and his students, and later Louis Andriessen with his fellow composers and his ensembles (Hoketus, for example). Because of the strong characteristics of this reaction, the composition department in The Hague was labeled the “Haagse School”, but in my paper, I investigate how these characteristics are merely superficial, and there is a much broader view to the Haagse School than you would expect. Afterwards, I look at the list of clarinet compositions from The Hague, just to see that there are not many, and the ones we have, are very difficult to obtain (both recordings and sheet music). Making these pieces better known might also give a stimulus to new composers from The Hague, to write for clarinet. For this paper I had e-mail, contact and interviews with several composers and musicologists who were (remotely) connected to The Hague and its composition department. Biography: Vincent Martig started playing the clarinet when he was eight years old. Since August 2012, Vincent has been studying at the Royal Conservatoire in The Hague, with Pierre Woudenberg. In conservatoire and student orchestras Vincent played under Isaac van Steen, Susanna Malkki, and Valery Gergiev. He followed mastercalsses with Chen Halevi, Ralph Manno, and Olivier Patey. In recent years Vincent has also taken up composing, arranging and conducting. 26 Name: Isabella Mercuri Main Subject: Recorder Research Supervisors: Inês de Avena Braga and Frédérique Thouvenot Title of Research: Music as an artificial language - an annotated collection of early music sources mentioning the relationship between instrumental music, singing, and speaking, questioning their relevance for today’s performers Research Question: What do treatises of the Renaissance and Baroque period mention about the relationship between instrumental music, singing, and speaking and how can I use those indications in my playing? Summary of Results: The collection of sources from the beginning of the sixteenth century until the middle of the eighteenth century showed that the indications given by the authors are often very similar to each other, although having being written in a completely different time and environment. The following three main ideas appear in several treatises and were therefore examined more in detail: - Imitation of the human voice or of a specific instrument Following a speech and using the means of rhetoric Underlying instrumental music with text The practical application of those three ideas led to an enrichment of my palette of sound colours, to an improvement in making clear phrasings and gave me some inspiration to find the appropriate affections to communicate to the listeners. This research paper and the included collection of sources might also be a starting point for further research exploring for instance more in detail one of the three main ideas mentioned above. Biography: Isabella Mercuri was born in Switzerland, where she started studying the recorder with Kees Boeke and Matthias Weilenmann and completed her Bachelor of Arts in Music at the Zürcher Hochschule der Künste in 2013. She then moved to the Netherlands to continue her studies with Daniël Brüggen at the Royal Conservatoire in The Hague, where she also studies the baroque oboe with Frank de Bruine. Isabella Mercuri is active as a recorder teacher for children and adults and regularly performs in different chamber music settings in the Netherlands, Belgium, Switzerland, Serbia and Spain. 27 Name: Aljosja Mietus Main Subject: Harpsichord Research Supervisor: Bert Mooiman Title of Research: Johann Sebastian Bach - a religious-philosophical approach to the beauty of his music Research Question: Is it possible, with the help of philosophical concepts, to pinpoint a universal dimension in music that can, at least partly, explain its beauty? Summary of Results: In this research paper, the author investigates if it is possible, with the help of philosophical concepts, to pinpoint a universal dimension in music that can, at least partly, explain its beauty. He defines music with the help of contemporary thinker R. Welten as more than a phenomenon that can be accurately described in a purely scientific way, but as something that transcends it because it has the ability to move, to affect people. Consequently he studies passages from the philosophical works of the writers F.W.J. Schelling (1775-1854), A. Schopenhauer (1788-1860) and H. Cohen (1842-1918), who all gave musical art a fundamental role in their philosophical reflections. The author comes to the conclusion that all thinkers agree in their own way on the idea that ‘true’ musical art originates in the mastery of strict forms (e.g. harmony, or musical styles such as fugues or dances) and the overcoming of these forms without losing freedom. In the last part of the paper, this temporary conclusion is put to the test in existing music, namely J.S. Bach’s Ouvertüre nach Französischer Art and Goldberg variations. In these works, the author sees a confirmation of his temporary conclusion in the way Bach merges the forms of strict counterpoint and rich harmony with the forms of the different French dances, and in the limiting boundaries the overarching idea behind the Goldberg variations imposes without limiting the expressiveness of the work. As a final conclusion, the author states that the use of philosophical concepts in musical reality can be challenging since thinking about music often seems farfetched from musical reality, but that this research shows that philosophy can help to shed some light on one of mankind’s many mysteries: the beauty of music. Biography: Aljosja Mietus (The Netherlands, 1990) received his first piano lessons when he was eight years old, but switched to the harpsichord at the age of twelve, having lessons with Menno van Delft and later with Tilman Gey. After finishing his secondary education at the Barlaeus Gymnasium in Amsterdam, he started his Theology studies at Leiden University where he graduated in 2012. During his Theology studies he started his Harpsichord and Basso Continuo studies at the Royal Conservatoire of The Hague with Jacques Ogg and Patrick Ayrton. He finished his Bachelor’s in 2014 and started his Master’s at the same institute with Jacques Ogg and Kris Verhelst. He also started a Master of Theology at the PThU in Amsterdam in that same year. 28 Name: Jihee Min Main Subject: Piano Research Supervisor: Bert Mooiman Title of Research: Comparative Analysis of Performances by four different pianists Research Question: What are the differences between four performances of Beethoven’s piano sonata “das Lebewohl,” played by distinctive players and how can musician’s improve their analytical listening skill based upon this research Summary of Results: YouTube is a good source of music interpretation of how a piece of music could be interpreted and performed. Listening to recordings is a wonderful way of obtaining musical ideas from the talented musicians around the world. However, I realized that when one listens to a piece without knowing the music beforehand, it is difficult to understand the diverse interpretation of the music from any of the YouTube videos. This pitiful fact led me to a question: What should I do to listen with more analytical ability to obtain broaden and diverse interpretation from recordings? The research is made with comparative analysis of performances by four pianists, Emil Giles, Claudio Arrau, Dmitry Masleev, and Alfred Brendel, on Beethoven’s piano sonata “das Lebewohl” to improve pianist’s analytical listening skill. To understand diverse interpretation contained in performances of four pianists, basic knowledge of this sonata including musical analysis and historical background is presented prior to analysis of performances. Comparative analysis of performance is categorized in five main sections: Theme development, articulation, pedal usage, tempo flexibility and phrasing. In the end of the analysis, one can easily witness Gilels showing clean and stable performance in general. Arrau shows the most clear and motivic transformation amongst the four. Masleev stands out with playing the most even performance. Last but not least, Brendel best demonstrates his personal understandings through a whole piece. Biography Jihee Min was born in South Korea in 1990. She began to play the piano at her age of 7 in Yongin where she was born. She continued her studying in a specialized institution of education of classical piano, SunHwa Arts School and SunHwa Arts High School. In 2010, she came to the Netherlands to widen her perspective of music and learn music in the hometown of classical music. She studies at the Royal Conservatoire of The Hague with Professor Naum Grubert. 29 Name: Juan José Molero Ramos Main Subject: Historical Clarinet Research Supervisor: Charles Toet Title of Research: A Concerto for Clarinet and Orchestra in E-Flat Major. The authorship issue between Mr. James Hook and Mr. Jean-Xavier Lefèvre Research Question: After discovering the same music written by two composers (J. Hook and J. X. Lefèvre), Who would be the authentic composer of the piece? Summary of Results: James Hook composed a Clarinet Concerto in E-flat Major in 1812 which seems to be the first English clarinet concerto in 19th century. Nobody realized before this concerto is the same music as Lefèvre’s Clarinet Concerto in E-flat Major. The reason is Lefèvre’s Clarinet Concerto was lost until now. Internet Data systems (like RISM) make possible to locate Lefèvre’s score in the Russian State Library in Moscow. During the research process I discovered similarities between both concertos and I focused my research to clear this authorship issue. The tools used to be successful in my target was the comparison of the music itself from both composer between them and with the concerto, but also and more important, the bibliographic data of both original sources by using archives and documentation techniques. Biography: Juan José Molero Ramos is a young spanish clarinetist specialized in historical performance practice. After his studies in musicology in Conservatorio Superior de Sevilla (SPA) he went to the Koninklijk Conservatorium Den Haag (NED) in order to study bachelor and master in historical clarinets and its performance with Eric Hoeprich. Juan José has experience playing both chamber music and orchestral. He collaborated with orchestras and ensembles like Orchestra of the 18th Century (NED), Orchestra of the Age of Enlightenment (GBR), Orchestre Jeunesse Atlantique (FRA), Bremen Baroque Orchestra (GER), Juventus Lyrica (ARG), Thalia Ensemble (NED), Café 1800 (NED) among others. He was conducted by great conductors like Sir Simon Rattle, Sir Roger Norrington, Marcus Crees, Richard Egarr, JeanFrançois Heisser, Michael Thomas, Michel Piquemal, etc. Juan José Molero debuted as soloist in the Festival Mozart di Rovereto, Italy, in 2014 playing Johann Stamitz Clarinet Concerto with Theresia Baroque Orchestra under the maestro al cembalo Claudio Astronio. The journals wrote: "Concerto di Stamitz [...] prova le capacità tecniche con virtuosismi anche espressivi ai quali Ramos risponde con eleganza e apparente semplicità." (The Concerto by Stamitz tests the technical capabilities with expressive virtuosity which Ramos responds with elegance and apparent simplicity) 30 Name: Aurore Montaulieu Main Subject: Cello Research Supervisor: Anna Scott Title of Research: How Adrien-François Servais (1807-1866) Improve Cello Technique During the 19th Century Research Question: With particular focus on his scores, how did Adrien-François Servais advance cello technique in the middle of the 19th century, and with what implications for modern performers? Summary of Results: Widely considered to have been the 'Paganini of the Cello,' Adrien-François Servais (1807 1866) was one of the most famous cellists of the 19th century, and is best known today for his 6 Caprices Op. 11. Many modern performers however are unaware of Servais’s numerous and important contributions to the history of cello construction, playing style, and technique. After a brief overview of notable cellists (including Duport, Romberg, and Dotzauer) and playing techniques (including vibrato, portamento, and bow-holds) that coexisted at the beginning of the 19th century, this research paper goes on to examine Servais’s life and work as an independent concert artist. While Servais did not leave behind any methods or treatises, a close study of contemporaneous accounts of his playing style, technique, instrument preferences, concert programs, and his association with many of the leading composers of his day reveals his enduring contributions to the rise of the cello as a vehicle for the new Romantic virtuoso style. Most notable among these contributions were his standardization of the use of the endpin, his wide-ranging and successful career as a touring performer, and the invaluable impression he left on the younger generation of cellist-composers (including Davidov and Popper). It is however an in-depth analysis of his Fantaisie 'Souvenir de SaintPétersbourg' Op. 15 that ultimately reveals the most revolutionary and innovative aspects of his technique and playing style: from his fingering, shifting, and use of harmonics, to his bowing, phrasing, articulation, arpeggiation, use of thumb position, and extroverted approach - elements that have all gone on to form the basis of modern cello playing. During my presentation I intend to provide an overview of these findings, and to demonstrate evidence of Servais's technical and stylistic achievements as revealed by his Fantaisie Op. 15 on my own instrument. Biography: Aurore Montaulieu is a French cellist. Born in Cannes, she started her musical studies at the age of 4. In 2012, she graduated with her Bachelors degree from the Pôle Supérieur of ParisBoulogne-Billancourt in Hélène Dautry’s class. Aurore is currently in the Orchestra Masters program at the Royal Conservatoire of The Hague in Michel Strauss and Jan-Ype Nota’s class. She has had the opportunity to receive guidance from great musicians such as F. Helmerson, G. Hoffman, P. Wispelway and D. Geringas. 31 Name: Fumiko Morie Main Subject: Baroque Violin Research supervisor: Bart van Oort Title of Research: Finding the proper musical character in the case of Allegro in Germany, 1717-1750 Research Question: To find the correct character is one of the biggest problem for us, musicians. In this paper I suggest how to find them. Summary of Results: Doing this research by taking Allegro as an example, I found that the tempo markings are not just about tempo, but also about the particular character of the piece. To find the appropriate character for the musical piece is the most important thing in performance. All the elements which I have described in this paper help to decide the character of the piece, which in turn can help to determine the eventual tempo of the piece. Therefore, the character and the tempo of the piece are closely related. In this research I found six different characters of Allegro between 1717 and 1750, however, to decide the character of the piece accurately, it is necessary to have enough technique, knowledge and intuition. A combined application of these elements is the way to decide the befitting tempo of the piece, and the way to get close to the idea of the composers. The process I followed to find the different characters of Allegro can be applied to all the musical expressions, providing a significant practical solution for future students and musicians who are interested in how to determine the proper musical character of a piece. Biography: Fumiko studied her bachelor in baroque violin in Conservatoire Den Haag with Ryo Terakado, and now is studying her master with Kati Debretzeni and Ryo Terakado. 32 Name: Samuel Terence Nolan Main Subject: Bass Trombone Research Supervisor: Pete Saunders Title of Research: The Electronic Trombone Research Question: What is the best way to create an Electronic Trombone capable of participating in the creation of electronic music across multiple genres? Summary of Results: By following the development of electronic music throughout history and analyzing its use in the present environment, my research paper outlines the artistic potential of an electronic trombone. Though interviews with leading electronic brass artists my paper then goes onto deconstruct the two main brass electronic interfaces, determine the benefits and weaknesses of each. These results are then collated and a new interface with the capability of working across all genres of electronic music is designed. This new interface gives Electronic Trombone artists anew tool which they can use to greatly enhances their creativity and the opportunity to create deeper emotional connections with their audiences. Biography: Sam Nolan is an Australian bass trombonist born in Brisbane. After graduating from the Queensland Conservatoire of Music, Sam became a member of Musica Viva's Best of Brass quintet and a freelance musician working with ensembles and artists such as Jeff Mills, Natalie Cole, David Campbell, Bill Watrous and the Queensland Symphony Orchestra. Since moving to The Hague in 2014 Sam has spent his time between studying at the Royal Conservatoire working as a bass trombone and bass sackbut player throughout the country with ensembles including the Residentie Orkest and the Orchestra of the 18th Century. 33 Name: Koske Nozaki Main Subject: Recorder Research Supervisors: Inês de Avena Braga and Peter Van Heyghen Title of Research: A practical exploration of the historical fingerings of Baroque Recorders in England, France and Germany Research Question: What is “historical fingering” for Baroque recorders, and how does it work and affect our modern recorder performance practice. Summary of Results: The recorder was an important instrument in the Early Music revival, partly due to its large repertoire of Baroque music. However, most recorder players today do not use the instruments that were most commonly used in the Baroque period, i.e. those with historical fingering systems. Instead, we normally use instruments with “modern fingering,” a slight modification that simplifies fingerings and homogenizes notes. With our modern instruments and their different fingering systems, several notes and trills do not work with the existing fingering charts for Baroque recorders. The Investigation of this research, on 7 actual original 18th century recorders from England, Germany, and France, and 40 fingering charts from historical methods shows us; it is a very logical system. The people at the time were playing the recorders in a different way, with differently tuned instruments. Fingerings on the recorder have always been found by trial and error, by players, with their own comfort and ease in mind. Though it is clearly not possible to know how the people in the Baroque period were choosing their fingerings; the best approximation is to have the same instrument tuned in the same system from the time. Historical tutors allow us to realize how their system of thought was different, which helps us to get closer to them. A bit of effort to accept the valuable tips from centuries past, with a taste for authenticity on the Baroque-fingered recorder, is a necessity. Biography: Koske Nozaki (Tokyo, 1988) began playing recorder at the age of 9. He loved the friendliness of such a simple flute with so many possibilities, and had a lot of curiosity for repertoire and the instrument itself. His school life at a beautiful seaside was focused on the recorder ensemble with his friends, which taught him a lot of basic musical knowledge. In his high school life, on a mountain this time, he learned not only recorder, but cello in the school orchestra as well. He studied recorder and Early Music performance at The National Tokyo University of Fine Arts and Music, where he obtained his Bachelor degree. After three years of working as a recorder player and teacher in Japan, he moved to The Netherlands in 2014. He is currently completing his Master’s degree at the Royal Conservatoire in The Hague, where he studies recorder and baroque flute. 34 Name: Agnieszka Papierska Main Subject: Baroque Violin Research Supervisor: Margaret Urquhart Title of Research: Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives. Research Questions: How much would the sound of the violin change with holding it in a different position? Could this be a tool of expression? Does the way we hold the instrument influence other choices we make about performance practice e.g. regarding fingering, bowing? Could this knowledge be used in performance practice today? Summary of Results: During the baroque and classical period many different ways of holding the violin existed, often at the same time. This paper investigates the way in which the different positions of holding the instrument could change the sound of it. After studying the sources and making experiments with different posture it can be confirmed that the sound changes with different ways of holding the violin. The technique and interpretation are also affected. The main conclusion is that violin technique is not unchangeable. We can adjust it in order to develop the sound that we desire. Biography: Agnieszka is an accomplished and experienced chamber music and orchestral musician. She started her professional career at a very early age. While still a student in Poland she collaborated with many professional orchestras where she worked with world-class conductors and soloists. After completing her Bachelor's diploma in modern violin an interest in historical performance practice let to her move to The Netherlands in order to study in the early music department of The Hague Royal Conservatoire. In 2012 she also completed her master studies at the Wroclaw Academy of Music in Poland. She currently works with the Theresia Youth Baroque Orchestra in Italy and also performs with other groups in the Netherlands and abroad. She plays an anonymous 18th century violin from the Klingenthal region. 35 Name: Ivan Pavlov Main Subject: Piano Research Supervisor: Anna Scott Title of Research: Similarities and Differences Between Béla Bartók’s Sonata for Two Pianos and Percussion and Stefan Ikonomov's Music for Two Pianos and Percussion Research Question: What are the similarities and differences between Béla Bartók’s Sonata for Two Pianos and Percussion and Stefan Ikonomov's Music for Two Pianos and Percussion? Summary of Results: Both composers have a complex style of writing music. Each maintains his own ideas and musical language, especially Ikonomov. Ikonomov got the idea of a piece for two pianos and percussion after hearing Bartók's sonata. Writing such a piece in the shadow of Bartok's monumental composition was surely not an easy task. Ikonomov however succeeded in writing a work according to his own musical language and ideas. The two pieces have their similarities and differences: both composers use similar techniques of composition, such as ancient Greek models, pentatonics, old folk songs, and rhythms from the Balkan region. One of the main differences between the two pieces, which we can discover right away upon examining their scores, is the usage of percussion instruments. Ikonomov and Bartók use different sets of percussion instruments and combine them differently with the piano. The two pieces are equally outstanding, and even though they at first don't seem to have much in common musically, after analysing them and comparing each composer's compositional technique, one can discover many similarities between each composer and their works. Biography: Education: 2003-2008: National Music High School “Lubomir Pipkov,” piano class of Stefka Matanova; 2008: National Musical Academy "Prof. Pancho Vladigerov,” piano class of Prof. Stela Dimitrova- Maistorova and Ilia Tchernaev; 2013: Royal Conservatory in Den Haag, Master of Music program, piano class of Ellen Corver. Awards: 2009: Academic Piano Competition – dedicated to 200 years since the death of Joseph Haydn and 110 years since the birth of Pancho Vladigerov – I prize; 2009: VII International Competition “Franc Schubert” – chamber music –category “D” – Third group – II prize; 2010 Academic Piano Competition – dedicated to the 200th anniversary of the birth of Frederic Chopin and Robert Schumann – I prize; 2012: won an audition to play with the Sofia Philharmonic Orchestra in the 2012-2013 season. Concerts and Events: Participated in the final concert and won the audience award at the Italian master class "8 San Daniele INTERNATIONAL PIANO MEETING"; 2013: debut on the stage of the "Bulgaria" Hall under the direction of JordanKamdzjhalov; participation in the Royal Conservatory in Den Haag Piano department evenings; 2014 Concert with a Singer in Maranathakerk; participated in the NJO Summer Academy 2015; 2015: solo concert in Akoesticum, Ede. 36 Name: Antero Pellikka Main Subject: Guitar Research Supervisor: Patrick van Deurzen Title of Research: Arranging the Mystery Sonatas by H.I.F. Biber for the guitar Research Question: What strategies can I take when arranging pieces with melody and continuo for the guitar? Summary of Results: Throughout the existence of our instrument, guitarists have been arranging and transcribing music written for other instruments. Many compositions that are not originally written for the guitar have gained a place in the standard repertoire. Especially making arrangements of Baroque violin music is a long established tradition. My research aims to continue this tradition by presenting three arrangements of the Mystery Sonatas by Heinrich Biber, who was undoubtedly one of the most famous violinists and composers of the 17th century. This research describes the arranging process of these compositions and how a classical guitarist can use the basso continuo practice as a central tool when arranging pieces with melody and continuo. Some performance aspects of 17th century music will also be discussed as well as different arranging methods for the guitar. The final product of this research is the arrangements of Mystery Sonatas III, IV and V by Heinrich Biber, which show the information gathered in the research paper in practice. The presentation will go deeper into different methods I used in making these arrangements visually through PowerPoint and contain audible examples of my arrangements. Biography: Antero Pellikka (born in 1988) is a Finnish guitarist. He received his first guitar at the age of 7 and soon after that he started his guitar studies at Juvenalia Music Institute under the guidance of Esko Virtanen. After graduating from music school, Pellikka studied with Petri Kumela at the Helsinki Conservatory and Metropolia University of Applied Studies. He is currently completing his Master’s degree at the Royal Conservatoire in The Hague under the guidance of Zoran Dukić and at Sibelius Academy in Helsinki with Jukka Savijoki. 37 Name: Antonio Pierna Main Subject: Percussion Research Supervisors: Patrick van Deurzen and Ewan Gibson Title of Research: Contemporary Percussion Education Research Questions: -How is the situation of contemporary classical percussion education today? -What are the possibilities of teaching contemporary classical music to young children? Summary of Results: In 2014, when I started teaching music to two young students, I started questioning myself what my possibilities were of teaching contemporary music to them. I realized that I did not have that kind of training in my former education so I decided to discover if this could be a general problem. After analyzing some ideas and projects done on this topic, I created different activities based on different pieces from the repertoire of my Master, using two big topics: John Cage and electronic music. I tried the activities with my students and the result was very satisfactory. This and the perception of a lack of contemporary music in the educational system, encourages me to continue discovering the possibilities of contemporary music education for young students. Format of presentation: research paper. Biography: Antonio Pierna was born in Valladolid (Spain) in 1991. During his percussion studies at the Conservatorio Superior de Música de Castilla y León, he developed his interest in orchestral and contemporary music and collaborated with professional orchestras like Orquesta Sinfónica de Castilla y Leon, Orquesta Sinfónica de Galicia or Orquesta Sinfónica de Burgos. In 2011 he started at The Royal Conservatory of The Hague (KC), where he finished his Bachelor in 2014 and where he currently studies an orchestral master, together with the Residentie Orkest. In The Netherlands, Antonio has collaborated with Slagwerk Den Haag, Asko Schoenberg, Ludwig Ensemble or the Eighteen Century Orchestra. 38 Name: Vera Plosila Main Subject: Traverso Research Supervisors: Johannes Boer and Tami Krausz Title of Research: Unlocking the Sound Potential of the Body in Traverso Playing Research Questions: 1. How do professional traverso players and students describe their body usage in relation to their sound production? 2. Can body awareness exercises assist the players in accessing their desired sound? Summary of Results: The research aims to discover how the player's body usage affects the sound on a traverso. Since the body forms the acoustic chamber for the instrument, its usage can directly influence the sound-making on the instrument. Fifteen professional players were interviewed for the paper to discover some common sound ideals and methods of accessing them. It seems that traverso players are very body aware in their everyday practice. Thus, it was worth to investigate if also body awareness exercises might help the players to access their "ideal sound". With my personal experience with body awareness methods and literature, I formed a set of exercises for the specific needs of traverso players. These exercises were then tested determine the possible effects on the players' sound formation. It seems that there is a direct link in our body awareness and the tools we possess to improve our sound. Biography: Vera Plosila began her traverso studies at the age of 11 at the Helsinki Conservatory of Music. At the moment she is finishing her Master of Music studies at the Royal Conservatory of The Hague as a pupil of Kate Clark and Wilbert Hazelzet. Plosila has participated in masterclasses with Anne Freitag, Frank Theuns and Jed Wentz. Plosila works regularly as a chamber and orchestral player. During the last years she has performed with Trondheim Barokk, Schwetzingen Hofmusik-Akademie and the Nordisk Barokkorkester. She has worked with conductors and concertmasters such as Peter van Heyghen, Midori Seiler and Christoph Rousset. Plosila has performed on festivals such as Musica Sacra Maastricht, Trondheim Barokkfest, SWR Festspiele, Laus Polyphoniae Antwerpen and Fringe Oude Muziek Utrecht, as well as the Bach op Vrijdag concert series in the Netherlands. Some of these concerts have been broadcasted on the NRK (Norway), SWR2 (Germany) and NPO Radio4 (Netherlands) channels. 39 Name: Manvydas Pratkelis Main Subject: Jazz Saxophone Research Supervisor: Patrick Schenkius Title of Research: The influences of John Coltrane in Kenny Garret’s style of improvisation Research Question: Which improvisation techniques did Kenny Garrett take from John Coltrane and what did he do to adopt these techniques to his own improvisation on the alto saxophone Summary of Results: The main reason of this research is to learn about the major influential aspects of alto saxophonist Kenny Garrett’s improvisation, which he adopted from studying tenor saxophonist John Coltrane’s improvisation, and how he uses it on alto saxophone. This does not mean that John Coltrane was his only influence, as there is no doubt that Garrett studied a lot of Charlie Parker’s improvisation and that of many more jazz musicians. However, I found that Garrett’s biggest influence is Coltrane, especially his harmonic improvisation and melodic aspects. The main source of information for the analysis are various John Coltrane recordings from 1957 till 1966, and Kenny Garrett’s studio and live recordings from 1984 till 2005. My research is mainly of two parts: First - looking for similarities, the same harmonicmelodic structures of phrases, listening to Coltrane and Garrett from the original recordings, finding similar aspects, and notating similar characteristics. Second – the analysis, understanding, and adopting of these ideas in my own playing. Biography: After winning the Grand Prix in the international “Vilnius Jazz Young Power” in 2010, alto saxophonist Manvydas Pratkelis has come a long way. He has developed into an expressive, universal and subtle performer, exploring technique and improvisation in a wide range of musical traditions and styles, starting from early jazz, to be-bop, free jazz, fusion, contemporary, hip-hop, funk, R&B styles. 40 Name: Ryuko Reid Main Subject: Baroque Violin Research Supervisor: Johannes Boer Title of Research: Apollo’s Banquet for Children: Teaching baroque music to the young violinist Research Question: How can the baroque “rules” being used today in the field of historically informed performance practice be taught at a young age? Summary of Results: The purpose of this study is to investigate what aspects of the musical language of the baroque era can be experienced from twenty songs found in John Playford’s Apollo’s Banquet. This is a collection of country-dances, broad street ballads, theatre tunes, tunes from Morris dancing, Scottish tunes and French dances, that were published for the amateur violinist in 1670. In this study, these songs were taught to students between the ages of 5 and 10 with activities designed to create awareness of gestures, bar hierarchy, light cadences and other important baroque features, in a fun and approachable way. Videos and observations of the lessons show that the repertoire was well received and the paper shows that the use of the songs provided an effective initial stage in experiencing baroque music However the students would need to be exposed to many more examples of these baroque elements before they become consciously learned. This paper also concludes that other elements of baroque music not included in this study, such as rhetorical devices and improvisation could be investigated, and exploring folk music repertoire of the seventeenth century would provide our students with a richer experience of the baroque style. Biography: Ryuko Reid is a baroque violinist specialising in historically informed performance practice and is the artist director and leader of Amsterdam Corelli Collective. Ryuko works as a violin teacher in Muziekschool Amstelveen and studied the Kodály method at Koninklijk Conservatorium. She came to study baroque violin with Sophie Gent at Conservatorium van Amsterdam and is currently finishing her masters at Koninklijk Conservatorium, with Kati Debretzeni and Walter Reiter. Before moving to Amsterdam, she studied modern violin with Jan Repko, taught at Chetham’s School of Music and studied Dalcroze method in Manchester, UK. 41 Name: Gabrielle Resche Main Subject: Harpsichord Research Supervisor: Kathryn Cok Title of Research: Italian keyboard Sonatas from 1730 to 1800: harpsichord, forte-piano and new keyboard instruments Research Question: What are the key elements in choosing the appropriate instrument to perform these sonatas? Summary of Results: Europe in the 18th century experienced an evolution in the arts: in Painting, in Music, in Literature, in Industry and Production. These changes are linked to the subject of this research: understanding and associating them in the evolution of keyboard instrument building and musical style. In Music, a new aesthetic appeared in order to give freedom to one's passions: composers, musicians and instrument makers were looking for contrasting interpretations. In this perspective, new instruments were built as well as new ways of composing were developed. Were these new keyboard instruments having any influence on composer's notation and on music publishers? How should one then perform music (and more precisely Italian keyboard music from 1730 to 1800) in a historical informed way? And finally, what are the key elements in choosing the appropriate instrument to perform these sonatas? Looking back at the entire process of this research, no treatise, dedications to fellow keyboard musicians, article or experimentation has been found that deals with the choice of the appropriate instrument. It is hence difficult to make a strict choice of instrument based on no evidence, and also to answer to the following question: how was the musical interpretation at that time. The question of choosing the appropriate instrument to perform keyboard Sonatas of the transition period between baroque and classical (and precisely Italian keyboard Sonatas from 1730 to 1800) can't be answered based on treatises. The actual performance depends on an adaptation of the performance on the different instruments more than a choice between the two. A performer could analyse the musical needs of each piece based on the strengths and/or limitations of each instrument. Biography: Gabrielle Resche is French from her father and Italian from her mother. After a diploma in Piano and a diploma in Harpsichord obtained in 2009 and 2010, she completed the Bachelor program with Aline Zylberajch at the Académie Supérieure de Strasbourg. In the same institution she studied organ with Francis Jacob and chamber music with Martin Gester. Gabrielle is currently student at the Kroyal Conservatoire of The Hague in Double Master Harpsichord and Forte-piano, with Fabio Bonizzoni and Bart van Oort. 42 Name: George Ross Main Subject: Baroque Cello Research Supervisor: Maggie Urquhart Title of Research: The 'cello in Prussia under Frederick the Great Research Questions: Who were the cellists active at the court of Frederick the Great? Did they write any repertoire for their instrument? What other repertoire is there, written by musicians working at the court during this time? Summary of Results: When starting out on this subject I had no idea how little information there would be about the cellists who were active at the Prussian court leading up to and during the early reign of Frederick the Great. When I established who these two cellists were, I was hoping to find more information on each of them. It was at this slightly disheartening point in my research, that I decided to look into the other musicians that would have worked in the Hofkapelle with Ignaz Mara. I was incredibly pleased whilst researching the two families, which played an important role in the musical goings on, not only in the court, but also in the more private events, that my research into both the Benda and the Graun families led to three unknown works that I could add to my repertory of this period in Berlin. It was obviously not what I had hoped for, but it was a result, nonetheless and one that still had room to build on. Having decided on eliminating certain areas of research for the sake of focusing on a narrower period of time and within a smaller geographical area, I have still become far more aware of the other musicians around Germany at the time, and have begun to build the connection between a time in Berlin when there was practically no music-making happening, under Friedrich II’s father, Friedrich Wilhelm I’s leadership, to a period when the cellistic development in Berlin flourished, under Friedrich Wilhelm II’s reign (a cellist himself), during the late eighteenth century. Biography: George Ross is a British cellist, specialising in period instrument performance, currently in the second year of his master’s studies at the Royal Conservatory in The Hague where he receives lessons from Jaap ter Linden. Having attained a first class honours for his Bachelor of Music degree at the Royal College of Music in London, George has worked with such groups as The King's Consort, the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, and the Hanover Band. As well as performing orchestrally, in July last year his string quartet, the Consone Quartet was awarded two prizes at the International Young Artists Competition in York; the EUBO Development Trust prize, and a place on the Eeemerging Scheme 2016. In March this year (2016), the Consone Quartet won the Royal Over-Seas League competition. 43 Name: Bernardo Sacconi Main Subject: Jazz Double Bass Research Supervisor: Yvonne Smeets Title of Research: Discovering the bowing techniques for the articulation in jazz Research Question: How can I use the classical bowing technique in order to create exercises for practicing swing phrasing within a Jazz Solo with the bow? Summary of Results: The double bass has mostly been played with the “Pizzicato” technique throughout history the history of jazz, even though some famous bassists in the 30s and 40s were incorporating the bow in their solos in order to explore different sound possibilities. My methodology is to write bowing articulation over the transcriptions of five solos, two by tenor saxophone-players and three by bass-players, in order to sound as close as possible to the original and then I wrote five bowing-examples that could be used as an exercise to practice some of the lines in the transcriptions. Biography: I was born in Florence (Italy) on December 1989 and I grew up in a family where my father and my brother were both electric bass players and I started playing guitar and bass on my fifteenth birthday. I graduated at the Conservatory of Florence “Luigi Cherubini” in Jazz arrangement “Cum Lauda” and composition with Riccardo Fassi, Barend Middelhoff and Stefano Zenni and at the Royal Conservatoire in Double Bass with Janos Bruneel, Roelof Meijer, Clemens van der Feen, Tony Overwater and getting workshops with Renaud Garcia Fons, Dominic Seldis, Panagiotis Andreou, Eddie Gomez, Anders Jormin, Paolino Dalla Porta, Furio Di Castri, Omer Avital, Kurt Rosenwinkel, Nicholas Walter and others. 44 Name: Aleix Sala Ribera Main Subject: Cello Research Supervisor: Enno Voorhorst Title of Research: Singing Cello Research Question: How can we use vocal resources in order to improve our cello playing? Summary of Results: A vocal approach to the cello can be extremely beneficial. In this research paper, I analyzed what singers do and how we can transfer some of their resources to cello playing so it can enrich our sense of communication. The results that I came up with are the following: •I have experienced that the use of singing during practice improves the advantage of the time you spend. •Through singing, it is much easier to find your own interpretation and then be able to transmit it to the cello •The use of inner singing while performing gives you much more focus in music and not in technical aspects of the playing. •The importance of breath in playing; the amount of energy that it can give to you, is one the most valuable things I have discovered in my playing. Biography: Aleix Sala was born in 1988 in Barcelona and began studying the cello at the age of eight. He is currently a master student at the Royal Conservatoire with professors Jan-Ype Nota and Michel Strauss. Aleix graduated from the Conservatori Superior del Liceu with Amparo Lacruz in 2013. He has played with orchestras such as Jove Orquestra Nacional de Catalunya, Barcelona Filarmonia and Orquestra de Cambra del Penedès. 45 Name: Bethany Shepherd Main Subject: Early Music Singing Research Supervisor: Charles Toet Title of Research: Subversive Climes: Exploring the role of exoticism in Les Indes Galantes Research Question: What is the role of exoticism in Les Indes Galantes? Summary of Results: Exoticism in Rameau’s opéra-ballet Les Indes Galantes has three primary functions. By setting the plots of the four independent entrées in real but geographically distant cultures, the librettist Louis Fuzelier was able to introduce new spectacles to the operatic stage, providing novelty for audiences jaded by the tradition of entertainment based on gods and mythology. This dramatic development in turn provided Rameau with the opportunity to manipulate and extend the musical conventions of the time in order to create a style of expression appropriate to depict these exotic characters and locales. A deeper understanding of the context in which Rameau and Fuzelier created this work was has further revealed that the libretto and Rameau’s musical depiction of the characters in Les Incas du Pérou and Les Sauvages reflect the practice in early Enlightenment literary and philosophical cirlces of idealising exotic cultures to criticise eighteenth century French society. These conclusions offer modern performers a wider range of interpretive options when approaching this work, allowing for a more nuanced performance, which brings together the elements of drama, music, philosophy and entertainment in a cohesive manner. Biography: Australian soprano Bethany Shepherd studied Classical Singing at the Queensland Conservatorium of Music, under renowned Wagnerian soprano Lisa Gasteen. After obtaining a Bachelor degree with distinction in Australia, Bethany moved to The Netherlands to undertake studies in Early Music at the Koninklijk Conservatorium. She is currently completing a Master of Early Music Singing, studying with Rita Dams, Jill Feldman, Peter Kooij, Michael Chance and Pascal Bertin. 46 Name: Ana Catarina da Silva Costa Main Subject: Orchestra Master – Flute and Piccolo Research Supervisor: Susan Williams Title of Research: The Piccolo Flute: A Storyteller through Zephyrus Voice Research Question: An Artistical Approach to (re)discover the Piccolo Flute Summary of Results: The use of Fairy Tales or Myths is often used in psychoanalysis to represent the psyche. The research project about the Piccolo Flute, presented in this Research Paper, was developed in order to tell a story through the music, exploring its sounds and techniques, and creating sound metaphors to express emotions. Zephyrus, the west wind God, blows different kinds of wind and can be used as archetypes for many emotional states and affects. This artistic approach to (re) discover the Piccolo Flute is a storytelling that pretends to express some of the Zephyrus emotions and simultaneously show some of the Piccolo sound resources. Biography: Ana Catarina Costa began her flute studies at the age of 12 with Ana Maria Ribeiro in her hometown conservatoire – Aveiro, Portugal, continuing her studies with Felix Renggli in the Musik-Akademie Basel. Since 2014 she is Orchestra Master student in the Royal Conservatoire The Hague, working with Jeroen Bron and Dorine Schade. During the past few years she regularly performs as a chamber music and orchestral player, working with conductors such as Vladimir Ashkenazy, Valery Gergiev or Kent Nagano. Ana Catarina was invited in October 2015 for a trial as Solo Piccolo in the Gothenburg Symphonic Orchestra in Sweden. 47 Name: Leo Sörlin Main Subject: Guitar Research Supervisor: Enno Voorhorst Title of Research: An analysis and realization of André Jolivet's Deux Etudes de Concert for solo guitar The ambition of this research was to study André Jolivet's Deux Etudes de Concert (1965) for solo guitar with the ambition to find out how he responded to the nature of the guitar when he composed the piece. Research Questions: 1. When composing Deux Etudes de Concert, how did Jolivet respond to the nature of the instrument? 2. In what ways can I justify my performance, based on my knowledge of the instrument combined with my musical analysis of the piece? A thorough analysis with this focus results in a couple of located instances – with varying level of certainty – where adaptation is believed to been made. Being unfamiliar with the guitar, the influences from the instrument that were found during the analysis could not always be realized to its fullest potential. In the second part of this research the problems of realizing the score were addressed. Some of the focused spots required certain solutions, and the correspondence with the analysis gave an opportunity to value different aspects of the music. Summary of Results: The effects of this research resulted in motivated solutions for the difficult problems encountered in the piece, as well as an understanding for how Jolivet's influences by the guitar shows itself in the music. Keywords: Guitar, André Jolivet, adaptation, realization, analysis. Biography: Leo Sörlin from Luleå, Sweden started playing the guitar at the age of ten. Showing early talent and dedication, he was soon provided with additional lessons. After two years of music studies at Framnäs folkhögskola, he received the biggest scholarship for extra-ordinary development. He took his Bachelor exam in Piteå, school of music for prof. Jan-Olof Eriksson. Leo is now in the process of finishing his Master diploma at the Royal Conservatoire under the tutelage of prof. Zoran Dukić. 48 Name: Marianna Soroka Main Subject: Percussion Research Supervisor: Peppie Wiersma Title of Research: Between West and East, classical and traditional music. How should a modern percussionist approach early percussion playing? Research Question: How should a modern percussionist approach early percussion playing? Summary of Results: Interested in historical performance, I decided to try to answer some questions I have been dealing with since I started playing early music on percussion. Instruments and techniques, improvisation and lack of music scores, finally – occasions and places where percussion was used: the analysis of all these elements brought me straight to traditional music of Spain. Biography: Marianna Soroka (born in Poznań, Poland) started her musical education playing piano and singing in a choir. Currently living in The Netherlands, she is finishing her studies at The Royal Conservatory in The Hague, focusing on contemporary, Latin and baroque percussion. Marianna is a member of Mitomani multi-style folk group, the winner of the Simcha Prize for the most promising band at the International Jewish Music Fesival in Amsterdam (2014). She also collaborates with groups such as Slagwerk Den Haag and LUDWIG. 49 Name: Cody Takacs Main Subject: Double Bass Research Supervisor: Margaret Urquhart Title of Research: Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire Research Question: How can double bassists efficiently learn contemporary solo double bass repertoire requiring the simultaneous use of their voice and playing their instrument? Summary of Results: Due to an exponentially growing number of compositions and a complete lack of pedagogical material regarding simultaneously using the voice and playing the double bass, I have written a method book titled The Double Bass-Voice: A How-To Guide. For this book I have collected, adapted, and organized information from double bass pedagogical resources, vocal pedagogical resources, musical scores, and reflections on past experiences with this repertoire. The book is intended to develop the technique and coordination necessary to effectively prepare solo double bass-voice repertoire. The book is divided into four main sections: “Using the Voice as a Practice Aid,” “Vocal Tools and Techniques,” “Etudes and Exercises,” and “Notation Examples” as well as a database of the solo double bass-voice repertoire. By incorporating the voice as a tool into individual practice, understanding an efficient practice process and fundamental vocal technique, having access to simple etudes to develop double bass-voice technique and coordination in musical contexts, and knowing what to expect in notation, double bassists will be better prepared in learning works for double bass-voice more efficiently. These results will be presented via PowerPoint presentation with musical examples from the method book and select double bass-voice works. Biography: Cody Takacs is a classically trained American double bassist currently residing in The Hague. An avid performer of new music, he has performed with Ensemble Klang, De Nieuwe European Ensemble, Het Metropole Orkest, and the Lucerne Festival Academy Orchestra and has appeared in the Gaudeamus Muziekweek, Venice Biennale, and the Bang on a Can Summer Music Festival. He has given contemporary solo performances at the Rotterdam Contemporary Art Fair, Carnegie Hall, several universities and conservatories across the U.S. and Europe, and a lecture/performance on Iannis Xenakis at the International Society of Bassists convention. 50 Name: Emilio Nunzio Tritto Main Subject: Jazz Saxophone Research Supervisors: Patrick Schenkius Title of the Research: Baritone saxophone in jazz quartet Research Question: What are the aspects involved in creating and performing a repertoire with baritone saxophone as soloists in jazz quartet? Summary of Results: Through a historical overview and the analysis of the most relevant releases of the great baritone players of jazz history, I've been able to recover different solutions and ideas to create a repertoire of original pieces suitable for quartet, concerning composing, arranging, selection of the instrumentation, theme exposition, solo contents, and eventual issues. I finalized my work displaying my works and my choices about technical and artistic aspects concerning my own quartet. Biography: Emilio Tritto (Matera, 10th March 1990) is an Italian baritone and soprano saxophonist (doubling flute and bass clarinet). After starting his musical education in Italy studying jazz saxophone privately with Felice Mezzina, has successfully earned his bachelor degree studying with John Ruocco and Rolf Delfos at the Royal Conservatoire of The Hague (2014), where he is currently attending his second year of master studies. His experience stretches from mainstream and avant-garde jazz to pop music, to experimental music. 51 Name: Thomas de Visser Main Subject: Jazz Drums Research Supervisor: Patrick Schenkius Title of Research: The effective drummer from a melodical point of view Research Question: How can I become a more effective but melodic musician in smaller ensembles and big band, inspired by the playing of Shelly Manne? Summary of Results: As a drummer with great interest towards effective but melodic playing, I have been trying to improve my approach to creating supportive accompaniment and melodic solos. Shelly Manne, in particular came to my attention because he accomplished just that in his playing. Tangible research results: 1. I improved my playing by making rhythms based on melodies instead of melodies made of rhythms. 2. My conception of time keeping changed and became stronger. 3. My brush playing improved unexpectedly as a side effect of researching Shelly Manne. 4. I became more in control of my sound, more secure in taking risks, and more secure in leaving open spaces in my improvisation because of this research. Biography Thomas de Visser is a Dutch drummer who specializes in jazz whilst also having stage and studio experience in a large variety of music styles. Thomas is currently living in The Hague and worked his way into the Dutch music scene. He is currently a sideman and bandleader, touring throughout the Netherlands, Belgium, Germany and other European countries. In addition, he recently played concerts in the south of Brazil with the Marcio Philomena guitar trio. 52 Name: Rudolf Weges Main Subject: Baroque Trumpet Research Supervisor: Kate Clark Title of Research: How to play ornaments in the late 18th century on baroque trumpet Research Question: What are the possibilities and non-possibilities for ornaments on the baroque trumpet according to Leopold Mozart’s book “A treatise on the fundamental principles of violin playing”? Summary of Results: The baroque trumpet has many technical restrictions compared with the violin. Not all notes can be played on the baroque trumpet, this is because the baroque trumpet has only the notes of its own overtone series, so not all the chromatic/diatonic notes can be played. Therefore one can also not play in all the keys and notes in diatonic sequence can only be produced in the highest “clarino” register. It is also questionable whether a (brass) wind instrument with its fixed mouth piece and limits on articulation because of this can hope to imitate the many delicate possibilities for articulation and sound achievable on the violin with its strings and many bowing techniques. The baroque trumpet also had a complete different function. It was first a ceremonial instrument and war instrument. It is likely that in these functions they weren’t suspected to add ornamentation to their music. As trumpeters’ skills improved, they started to play in the higher “clarino” register. So later the trumpet became an instrument of Art. How to play ornaments in Leopold Mozart’s concerto for clarino? And how to interpret the ornaments written in his treatise for the violin on the natural/baroque trumpet? was one of my main questions. Besides Leopold Mozarts treatise I also did research on Giuseppe Tartini’s “treatise on ornaments in music” and “On playing the flute” by Johann Joachim Quantz. I do now better understand how to interpret the written ornaments and how to play them. Some ornaments you don’t see, as far as I know, in the trumpet literature. Are they impossible to play? Not all, but also not easy, mostly it could be possible in the clarino register. But it also depends on how the composers wrote for the trumpet. Biography: Rudolf Weges is an all-round professional trumpeter. He studied classical trumpet at the Conservatoire in Groningen, where he also studied conducting. Rudolf continued his studies at the Utrechts Conservatoire, where he studied jazz trumpet. He studied baroque trumpet with Susan Williams at the Royal Conservatoire in The Hague but he had also private lessons with Friedemann Immer, and has given performances as both soloist and orchestral player with the Kölner Barockorchester, the Hamburger Barockorchester, Concerto Barocco, Cappella Maria Barbera and Gelders Bach Collegium. Rudolf’s playing career to date has let him to perform in a wide variety of styles as a soloist and in numerous orchestras. As such, he has toured throughout the whole of Europe as well as performing in Canada, Tasmania and New Zealand. His playing experience has encompassed baroque and symphony orchestras, bigbands, wind orchestras, musicals, pop, funk and jazz. 53 Name: Rosa Welker Main Subject: Viola Research Supervisors: Patrick Schenkius and Arno Willekes Title of Research: What can be the role of the viola in Senegalese music ? Research Question: What can be the role of the viola in Senegalese music ? Summary of Results: This research suggests a possible role for the viola in Senegalese music including some knowledge on Senegal, African music and Senegalese instruments. Viola can have two functions in this musical style: melodic and harmonic. These latter are explained through ideas and examples such as audio illustrations or musical scores. This research can help classical musicians interested in playing or discovering a rich musical culture. Biography: Born in 1991 in Switzerland, Rosa Welker got in touch with the musical world at six years old. After two years of musical initiation, she began to learn violin. Admitted in a special high school program for music, she was able to focus even more on her passion, which expanded through meeting and sharing with others musicians. She started playing viola six years ago. In 2011 she entered at the Haute Ecole de Musique of Lausanne in Christine Sörensen’s class and acquired her Bachelor’s diploma in 2014. For the past two years she studies with Asdis Valdimarsdottir at the Royal Conservatoire of The Hague. 54 Name: Sven Weyens Main Subject: Classical Singing Research Supervisor: Kathryn Cok Title of Research: ‘Play like a singer and sing like an instrumentalist!” Research Question: What are the main differences between vocalists and instrumentalists? Is it an advantage to have an instrumental background as a singer and vice versa? Summary of Results: I am a professional cellist in the Residence Orchestra of The Hague, but I have always been singing next to my career as a cellist. When I started my Masters in classical singing in 2014, I was confronted with the fact that in many ways singing is really different from playing an instrument, as well physically, technically as mentally. But in some ways it feels the same. The question arose: are there real differences between singing and playing an instrument, and what are they exactly? This Research paper gives an answer to the question what the differences are between playing an instrument and singing, and explains them. In seven chapters I compare the physical instrument, the location of pitch, text versus musical language, personality, etc… I found that it is an advantage to have an instrumental background as a singer and vice versa. There are also big differences between singing and playing an instrument. The research is based on a questionnaire, interviews, books and my own experiences as a cellist and singer. Biography: Sven Weyens (°1974, Antwerp) started playing the cello at the age of ten with Frieda Celis. He studied in Antwerp, Leuven, Ghent, Zwolle and Detmold under Jaap Kruithof, Hans Mannes, France Springuel, Jeroen Reuling and Marcio Carneiro. In 1998 he obtained his Masters Degree with great distinction. He also took masterclasses with Harro Ruysenaars, Schmoel Magen, Francois Guy, Wolgang Laufer, Valentin Erben and Thomas Kakuschka. He is a member of the Residence Orchestra (The Hague Philharmonic) since 2004. Besides that, he has specialised in chamber music. He performed with a.o. the Josef Aschtak Trio, with whom he toured in the U.S. and Portugal. Sven gave masterclasses in the U.S. and Switzerland. In September 2014 Sven Weyens started a masters in Classical singing with Sasja Hunnego at the Royal Conservatoire of The Hague. Since then, he has performed regularly in the chamber music series of the Residence Orchestra and sang the part of “Te fish” in the summer of 2014 in "Vom Fischer und seiner Frau" by Otmar Schoeck, at the Grachtenfestival Amsterdam. In November 2014, Sven performed “Dover Beach” by Samuel Barber live for NPO4. In January 2015 he sang the role of Bartolo in a production of Le Nozze de Figaro at the Dutch National Opera Academy, and the role of Don Alfonso in Cosi fan Tutte in Festival Opera Aan Zee. He also sang the part of Moses in C.P.E. Bach’s “Israelieten in der Wüste", the bass arias in J.S. Bach’s Christmas Oratorio, the baritone soli in the Fauré”s Requiem and in the 9th Symphony of Beethoven. He is currently preparing his master's final recital, where he will perform “Kindertotenlieder” of G. Mahler, accompanied by members of the Residence Orchestra The Hague. 55 Name: Marc Wielart Main Subject: Piano Research Supervisor: Gerard Bouwhuis Title of Research: Jewish composers in a social context Research Question: Should Jewish composers be programmed under the heading of their identity, considering their position in society and their artistic influence? Summary of Results: This research paper is a personal subject; belonging to a minority means to conceal a part of your identity when necessary. Ultimately, Jewish individuals who deepened their social awareness, contributed disproportionately by expressing their inner richness to the arts. Quite often composers of Jewish descent are being programmed because of their presumed identity. German speaking Jews shared in general a deep respect for German culture, language and national identity. Almost all of Jewish intellectuals identified themselves above all as ‘German’. In order to outline the social context of several influential Jewish composers, a journey leads us through correspondence and thoughts by intellectuals from the nineteenth century to the landmark of the Second Viennese School and Expressionism. Everyone’s artistic and personal development is an individual occasion. Jewish composers shared in general a high awareness of their social position and the political developments in the societies they were part of. The historical background of German-ruled Europe in the nineteenth century is important to understand the eventually cruel fate. German culture was both inclusive as exclusive, as I described in an introducing chapter on historical and social developments. Gradually artists of Jewish descent and loyalty were confronted with the downside of their culture: Exclusion. Today, we have access to an enormous amount of information, such as musical sources, correspondence, publications and interviews. While using the direct sources, we are able to set eyes on expressions of hatred, anxiety and alienation. Biography: Marc Wielart (1990) studied with pianists Ton Hartsuiker, Rian de Waal and Ellen Corver. Before this research he studied subjects as the relation of music to the fine arts, wrote a dissertation on the influence of Immanuel Kant on modern European artists and is active at informing on modern anti-Semitism. 56 Name: Davide Zambon Main Subject: Jazz Guitar Research Supervisor: Enno Voorhorst Title of Research: The sound and harmonic possibilities of the guitar. In pursuit of my own sound on guitar and for a wider independence in music performance through the study of classical guitar technique and repertoire. Research Question: How can the study of classical guitar technique and repertoire contribute in helping me reach a personal sound on guitar, broaden my harmonic possibilities, and develop the music independence I am aiming at in music performance? Summary of Results: The study of classical guitar technique and repertoire can be a source of inspiration for a contemporary guitarist and improviser when working on finding a personal sound, broadening the harmonic possibilities, and accessing the full polyphonic potential of the instrument through the use of the right hand fingers. The research is therefore an investigation into three aspects of classical guitar which I consider being of particular interest for these purposes: the use of open strings within a chord structure or scale, the independence of the thumb from the other fingers of the right hand in its melodic and rhythmic function, and natural and ‘extended natural harmonics’. My conclusion is that a process of learning and developing these aspects can be of strong enrichment for musicians aiming at finding a personal sound and music identity, and consequently making them more suited to diverse music contexts both inside and outside the jazz and improvised music area. Biography: Davide Zambon (Valdagno, Italy, 1991) is a guitarist, improviser, and composer mainly involved in jazz and improvised music. Since 2012 he has been living in the Netherlands, studying at the Royal Conservatoire of The Hague, where he graduated with a bachelor degree in jazz guitar. Since then he has been performing as a leader of his trio, as well as a sideman in various other projects. In 2015 he was given the chance to go to the Rhythmic Music Conservatory of Copenhagen as an exchange student, where he performed and came in contact with its vibrant improvised music scene. 57 Biographies external committee members Bruno Bouckaert was born in 1969 in the Dutch-speaking Flemish Community of Belgium. He received his master’s and doctoral training in musicology at the Catholic University of Leuven, earning a Ph.D. in 1998. Until September 2008 he was affiliated with the same university (Department of Musicology) as a part-time Lecturer and as a Post-Doctoral Research Fellow which has been funded by three consecutive three-year grants from the Research Foundation Flanders. Currently he is Guest Professor at the Royal Conservatory of Antwerp (course Research and Heuristic Methods; and active as supervisor of master papers). His main area of research is the music and culture of the Low Countries in the Middle Ages, Renaissance, and early Baroque, with particular emphasis on the development of FrancoFlemish polyphony in the 15th and 16th centuries, and its diffusion throughout Europe. His Ph.D. dissertation dealt with music and musical life in the collegiate churches in Ghent, c.1350-c.1630. He has published on manuscript sources of polyphonic music from Northern France and on the biographies of several influential composers; on the role of wind bands in solemn processions; music at the Burgundian-Habsburg court chapel; and patronage of music and musicians by lay confraternities. In all these he attempts to approach music not only on its own terms, but as part of culture, intersecting with such domains as education, social institutions, patronage, performance practice, and liturgy, and requiring the study of diverse primary sources -- musical, archival and liturgical. He has also worked on 17th and 18th century music, specifically on the musical repertory of the Low Countries and its development from the early Baroque until about 1830, the life and work of the composer Franciscus Krafft (1729-1795), organ-building and bellfounding in the Low Countries, and the careers and contributions of 19th-century historians, including Coussemaker, Vander Straeten, and Fétis. Among his most important musicological publications as editor are Mémoires du chant. Le livre de musique d’Isidore de Séville à Edmond de Coussemaker (Lille, 2007), several volumes of the scholarly series Yearbook of the Alamire Foundation (Leuven, 1999-2008, volumes 3-7) and Monumenta Flandriae musica, the program book of the 17th Quinquennial Congress of the International Musicological Society (Leuven, 2002), and the journal Musica antiqua (19911993). 58 Paul Draper holds a doctorate in education and is professor of artistic research at the Queensland Conservatorium Griffith University in Australia where he has held the university Chair in Digital Arts and has served as Conservatorium research dean. With a 25-year track record as a professional musician and record producer, Paul designed and realised the Conservatorium's recording studios, computer laboratories and networked audio-visual environments. He has developed and led undergraduate and postgraduate degree programs and is the recipient of numerous grants and awards in these areas. Paul is a composer, jazz musician and record producer who publishes widely on music education, artistic research, web 2.0 culture and record production. His current academic responsibilities include program director of the Doctor of Musical Arts at the Queensland Conservatorium. Leonella Grasso Caprioli (1964) graduated cum Laude in Musicology at the University of Pavia. She is Full Professor of Theory and Practice of Music Theatre at the Conservatoire of Vicenza, where she is also Head of Research and Director of the Department of Singing and Music Theatre. As regards her artistic activity, LGC first worked as assistant Director in Italian main Opera houses (Teatro dell’Opera di Roma, Teatro Comunale di Firenze, Bologna, Cagliari, Catania, Sperimentale di Spoleto etc.), starting later to deal with other creative disciplines, including video documentation (doc-film La Fenice, la rinascita, Triennale Milano 2002), and musical dramaturgy applied to contemporary performig arts (Cut-out & Trees, Biennale Venezia 2010). More recently, as WG member of EPARM - European platform of artistic research in music (AEC – Association Europèenne des Conservatoires) and as President of RAMI, the leading Italian association of artistic research in music, she is involved in an intense institutional activity for the development and dissemination of the concept of Artistic Research in music higher education at both national and international level. LGC is at the same time Assistant Professor (by contract) of Fundamentals of Music Communication at the University of Padua, where she has been for a decade Research Fellow, specializing in the fields of musical lexicography applied to the historical Italian vocal didactics. In the field of scientific research, LGC devoted particularly to the development of the database Italian lexicon of Singing (Liguori ed. 2014), a long term project highly advanced in terms of methodological innovation and application of new technologies to the 59 humanities area. This research has been funded twice by MIUR (Italian Ministry of University) as PRIN (Progetto di ricerca di interesse nazionale) and it won in 2008 a special funding as ‘Project of Excellence’ at the University of Padua. LGC has published several essays on Italian vocal style (e.g. Singing Rossini in The Cambridge Companion to Rossini, 2004), musical lexicography, musical ecocriticism and biographies of Italian Opera singers (author for the Treccani ed. Dizionario Biografico degli Italiani). Morten Halle, born 1957, lives in Oslo, Norway. Saxophonist and composer. Morten Halle is head of department for improvised music, jazz and traditional music at the Norwegian Academy of Music in Oslo. He has been associated with the academy since the early eighties, first as part-time teacher in jazz-saxophone and ensemble, and then since 2004 as associate professor. Halle has played with a large number of Norwegian bands, and has also been active internationally with Jon Balkes Magnetic North Orchestra (1992-2002, four albums for ECM/Emarcy) and Geir Lysnes "Listening Ensemble" and "The Grieg Code" (1999 to 2009, five albums for german label ACT). He has also worked as a producer for Sidsel Endresen, Solveig Slettahjell and "Come Shine". He has received the Norwegian states three year grant for artists both as a musician and a composer. Commissions includes work for the jazz festivals in Molde, Lillehammer and Kongsberg as well as the Bergen International Festival. Halle has also composed, performed and recorded music for a large number of films, theater and ballet productions. Selected Discography: As a leader Altopiano (Curling Legs, 2014) Halles komet (Curling Legs, 2007) Ten Easy Pieces (Curling Legs, 2005) with Anders Jormin og Svante Henryson Bands: Northern Arc (Curling Legs, 2012) Metropolitan: Love Is Blind (Curling Legs, 2004) Metropolitan (Sonymusic, 1999) Halle/Eberson Kvartett The 00 Quartet (Curlingl Legs, 2001) The Eagle (Curling Legs, 1995) 2 (Curling Legs, 1992) 60 Blow! (Odin Records, 1989) Cutting Edge: Duesenberg (Curling Legs 19 Our man in paradise (Curling Legs 19 Cutting Edge (Odin 19 Alle Tre (CD compilation, Curling Legs 1995) Other Recordings: Torgrim Sollid: Østerdalsmusikk (NorCD 2014) Søyr: Alene hjemme (Curling Legs 2001) Bussene lengter hjem (Curling Legs 1994) Geir Lysne Ensemble: The Grieg Code (Act 2009) Geir Lysne Listening Ensemble: Boahjenásti - The North Star (Act 2006) Korall (Act 2002) Live at Berlin J.F. (Act 2002) Aurora Borealis - Northern Lights (Act 2002) Jon Balke & Magnetic North Orchestra: Kyanos (ECM 2002) Solarized (Emarcy 1999) Further (ECM 1994) Knut Værnes Band: Roneo (1993) Oslo 13: Oslo 13 Live (1993) Jon Balke/Oslo 13: Nonsentration (1992) Helge Iberg: Never ending "West Side" Story (1997) Sinikka Langeland: Har du lyttet til elvene om natta? (Grappa 1995) As a producer: Sidsel Endresen & Bugge Wesseltoft: Nightsong (Curling Legs 1995) Solveig Slettahjell & the slow motion orchestra (Curling Legs 19... Trondheim Voices: Pitch: Pust: Live Roggen & Lars Andreas Haug: Tuba (Curling Legs 19 61 Dr Karin Johansson is a performing organist, professor and the director of artistic research in Music at the Department of Music Education and Performance, Malmö Academy of Music, Lund University, Sweden. After her PhD thesis Organ improvisation – activity, action and rhetorical practice (2008) she has worked with the projects (Re)thinking improvisation, funded by the Swedish Research Council, Students’ Ownership of Learning based at the Royal Academy of Music, Stockholm, and with the international research network Choir in Focus, funded by Riksbankens Jubileumsfond. She has a special interest in the performance practices of early and contemporary music. Dr Cormac Newark studied Music at the University of Oxford, Music Theory and Analysis at King's College London, and orchestral conducting at the École Normale de Musique in Paris. Returning to Oxford, he wrote his doctoral dissertation (on the reception of Parisian grand opéra) under the supervision of Roger Parker; then for three years he was a fellow of Trinity Hall, Cambridge. Between 2002 and 2004 he lived in Bologna, carrying out research funded by the Leverhulme Trust, after which he took up a lectureship at the University of Ulster. He has been the recipient of a number of grants and prizes from, among others, the British Academy, the Worshipful Company of Musicians, the French Government, and the American Musicological Society. Cormac works mainly on nineteenth-century French and Italian opera and literature. His book, Opera in the Novel from Balzac to Proust, was published by CUP in 2011, and his essays have appeared in 19th-Century Music, the Cambridge Opera Journal, the Journal of the Royal Musical Association, and various edited collections. He has also written for Opera magazine and the Guardian. 62 Katharina Uhde, born in Freiburg im Breisgau, Germany, began playing the violin at the age of six. She is Assistant Professor in Violin and Musicology at Valparaiso University, IN. She holds MMS and DMA degrees from the University of Michigan and an Artists Diploma from the University of Music, Karlsruhe. She has finished her PhD at Duke University in musicology under Prof. R. Larry Todd in 2014 with a dissertation titled ‘Joseph Joachim, Psychologische Musik and the Search for a New Music Aesthetic in the 1850s’. Dr. Uhde is under contract with Boydell & Brewer Press for her monograph The Music of Joseph Joachim (February 2017). Her peer-reviewed article and reviews of scholarly editions of Beethoven, Brahms, and Tchaikovsky concerti and chamber music have appeared in Nineteenth-Century Music Review. 2013 recipient of the Richard Wagner Stipendium, Geiringer Award, and Brahms House fellowship, Dr. Uhde’s work on Brahms, Beethoven, and 19th-century violin virtuoso Joseph Joachim has earned her invitations to lecture and give lecture recitals in several European and American settings, including the International Joseph Joachim Conference (2016, forthcoming), American Musicological Society (2015), 19thCentury Salon Conference Ireland (2015), Beethoven Conference Bonn (2014), Maison Heinrich Heine, Paris, the Schumann House, and the Musikhochschule Karlsruhe, from which she earned her BM, performance and pedagogy diplomas. She founded the Viktor Ullmann Quartet in 1998, which won 1st prize at the International Competition Concertino Praga, 1st prize in the International Competition Verfemte Musik, 2nd prize in the International Competition Charles Hennen. She has appeared as a soloist with the Sinfonia Varsovia, the Baden-Baden Philharmonic, the Goettinger Musikfreunde Orchestra, the Marburg University Orchestra, and the Belgrade University Orchestra and has toured as a soloist and chamber musician through Germany, Switzerland, France, Italy, Estonia, Poland, Czech Republic, Serbia, Montenegro, Israel and Brazil. In May 2013 her first CD appeared featuring romantic Brazilian piano trio repertory. Uhde is currently engaged in a recording of the Beethoven Sonatas with R. Larry Todd. 63 Barbara Maria Willi is a Czech-German unconventional harpsichordist. She has significantly contributed to the development of Historical Performance Practice in the Czech republic. In 1991 she founded a harpsichord class at the Janáček Academy of Music and Dramatic Arts in Brno. Since 2014, she is head of the Department of Early Music and Organ. In 2006 she attained her Ph.D. with a research on Basso continuo styles in 17th century Central Europe. In 2010 she received her professorship from the hands of the Czech president Václav Klaus. Her musical style is very much influenced by her teachers Stanislav Heller (Freiburg i. Br./Germany), Aline Zylberajch (Strasbourg/France) and Kenneth Gilbert (Mozarteum Salzburg/Austria). She gained new insights on Early Music by studying with Nikolaus Harnoncourt at the Mozarteum Salzburg, where she finished her postgraduate diploma with excellence in 1995. Her love for historical instruments was nourished by master classes with Jos van Immerseel, Mark Lindley and Jesper Christensen. Barbara Maria Willi is a demanded soloist and chamber music player. She is currently working with artists as Martina Janková, Iva Bittová, Erich Hoeprich, Doron Sherwin, Erich Höbarth, Sergio Azzolini, and Christian Leitherer. As a member of the ensemble PragueBerlin, she is working with members of the Berlin and Prague Philharmonics. She appears at stages such as the Zürich opera house, the philharmonic concert halls in Krakov, Essen, Wroclav, Bratislava, Utrecht. In Czech republic, she is a regular guest of the Early music series of the philharmonics Prague (FOK). Barbara Maria Willi is contributing to cultural life with her new musical energy, the inclusion of improvisation to interpretation and new insights to music having their foundation in systemic theories. Her research work focuses on basso continuo sources of the 17th century and Lieder repertory of Czech composers of the late 18th century hand (Josef Rösler, Jan Hugo Voříšek, Leopold Koželuh). During her international career she gained a number of musical rewards: in 1995 a special mention at the International harpsichord competition in Bruges/Belgium, furthermore the price of the German Music Critics for her CD „Intrada di Polcinelli“ and the Choc du monde de musique (“Shock of the Musical World”) for the compact disc „Salve mater“ with Capilla Flamenca and Schola Gregoriana Pragensis. In 2000 her recording of Handel arias with Magdalena Kožená was awarded the TV price Golden Prague. She is a regular guest of TV shows and the Czech State Television created her portrait under the title: Bravo – Barbara Maria Willi. The unconventional harpsichordist is program director of Early Music festivals, for which she created original and sometimes provocative program lines (e.g. Flemish storm, Great composers and their enemies). She is program director of the Czech organ festival Bach´s Organ Autumn and member of the Prague Spring Harpsichord Competition commission. 64 The assessment of the research results The research is personal to the student, so it is difficult to give a general frame of reference for the assessment of what will by definition be very diverse presentations. Therefore it has been decided to base the Royal Conservatoire assessment criteria on the “AEC/ Polifonia Learning Outcomes for the 2nd cycle” (= master’s study). These were formulated after lengthy study by a working group of international experts and are applied by a growing number of music academies in Europe. Assessment criteria for master research presentations according to international standard In general, master’s students should attain the following learning outcomes, as described in the Learning Outcomes for master’s studies defined by the European Association of Conservatoires (AEC): - Knowledge and understanding of repertoire and musical materials: At the completion of their master’s studies, through individual in-depth research and study, students should have acquired comprehensive knowledge of Principal Study repertoire. - Knowledge and understanding of context At the completion of their master’s studies, students should have a profound understanding of the interrelationship between their theoretical and practical studies and should have a sense of how to use this knowledge to strengthen their own artistic development. At the completion of their master’s studies, students are expected to have extended their contextual knowledge, developing it independently in ways relevant to their area of specialisation. - Verbal skills Where required, students should be able to demonstrate their command of verbal skills in extended written or spoken presentations. Assessment Criteria master research Royal Conservatoire The assessment of the research by the examination committee will be guided by the following questions: Relevance - Artistic development Is the research relevant for the artistic development of the student? - Wider context Is the research relevant for others, e.g. other students, musicians, for the professional field or musical life at large? Project design and content - Questions, issues, problems Are the research questions, issues or problems well formulated or articulated? And how do they relate to the student’s main studies? 65 - Contextualisation Is it clear how the research relates to the (artistic, historical, cultural, theoretical) state of the art in the field of inquiry and to what others have done in this area? - Methods Are the chosen methods adequate to answer the questions, issues or problems? And how is musical practice as method employed? - New knowledge, insights, experiences, techniques and/or devices Does the research deliver something that we did not know, understand, experience or have? - Process Is the research process sufficiently well described or otherwise communicated? - Outcome Is the balance between the research process and the (artistic) outcome of the research satisfactory? Argumentation, documentation, presentation - Reasoning, writing, documentation Does the research make a clear case or claim and how does the use of text relate to the use of non-textual, e.g. artistic material? And does the form of documentation support the claim of the research? - Information, source material, referencing, language Is the information accurate, is the handling of source material and the referencing correct, and is the use of English acceptable? - Public presentation Is the verbal and public presentation of the research well-structured and convincing? And is the role of the artistic work in the presentation clear? Is the use of English acceptable? For the assessment the following qualitative descriptions are being used: □ excellent □ very good □ good □ sufficient plus □ sufficient □ insufficient □ non-appearance The final presentation of the research is given before a committee of examiners consisting of three or more persons, including: 1. a chairman (generally a member of the board of management of the conservatoire, the coordinator of a department or the Head of Master Research); 2. the student’s own research supervisor(s); 3. if possible, the Master circle leader; 4. if possible, the teacher of the student’s principal subject; 5. an external member, usually from an institution abroad. 66 The final documentation of the research results must take the form of a research paper or thesis and must be presented on the Research Catalogue (www.researchcatalogue.net). The paper or thesis must be written in English and adhere to one of the following formats: a) Research paper The research paper is the culmination and final product of an in-depth period of research, and should include: critical thinking, source evaluation, and documentation. The research paper should also serve as a vehicle for sharing new or expanded knowledge with the wider world. It should be centered upon a process that concerns the musical practice of the student, and at the same time it should demonstrate academic rigor. In the research paper, the balance between the use of text and the use of other media (audio, video, scores, images) may vary. On the one hand, students have the option to choose for a primarily text-based paper, complemented with musical examples/score fragments and images as illustrations for what has been researched. On the other hand, students are encouraged to opt for a documentation of the research that uses above all artistic/musical material (e.g. registrations of performance fragments, compositions, improvisations, sketches, transcriptions) to communicate the research. In this case, words are used to contextualize the artistic research components and to illuminate the research process. Whatever configuration between the two poles one chooses, the artistic practice of the student is central to the research and to the research paper. Students, in consultation with their supervisors, should decide what balance and configuration of words, sounds and images, are appropriate to the communication and publication of the research project. Here the multimedia possibilities of the Research Catalogue make it possible to choose the most adequate format of the final research paper. During the Master Research Symposium students are required to give a research presentation in English of 30 minutes, which must include live performance or audio and/or video examples. The research paper must contain the following information: 1. the research question or issue addressed and its relevance for peers, the student’s own artistic development and the music world at large; 2. a description of the research process (the search for the solution to the research question) including methodology; 3. an analysis or critical discussion of the findings; 4. conclusions; 5. a list of the sources consulted: next to the bibliography this may also include a list of interviews, experiments, etc; 6. the paper may include performance registrations, transcriptions, original compositions, musical analysis, instruction manuals, images or other material relevant to the research. Additional mandatory elements of the research paper: A Title Page (including title of paper, name of student, main subject, student number, date, name of main subject teacher(s), research supervisor(s) and circle leader, the final chosen format of documentation, date/time/location of the presentation and name/place of the school), a Table of Contents and Chapters; Students must also adhere to the rules for quoting sources as addressed in the Introduction to Research in the Arts course; Suggested word count: 5.000-10.000 words. 67 b) Thesis Students wishing to write an academic thesis should produce a substantial document with a defined structure, including an introduction, a body and a conclusion, in which students document their research through reasoning and the use of evidence and the correct use of sources. A master thesis should be an academic work, but need not be as extensive as a Doctoral thesis. The artistic/musical practice of the student will still be the point of departure. During the Master Research Symposium students are required to give a research presentation in English of 30 minutes, during which they defend their research subject and results and which must include live performance or audio and/or video examples. The committee will include at least one member with a PhD. The thesis must contain the following information: 1. the research question or issue addressed and its relevance for peers and the student’s own artistic development; 2. a description of the research process (the search for the solution to the research question) including methodology; 3. an analysis or critical discussion of the findings; 4. conclusions; 5. a list of the source s consulted; 6. there must be a Title Page (including title of paper, name of student, main subject, student number, date, name of main subject teacher(s), research supervisor(s) and circle leader, the final chosen format of documentation: Thesis, date/time/location of the presentation and name/place of the school), Table of Contents, Chapters and page numbers. Students must adhere to the rules for quoting sources as addressed in the Introduction to Research in the Arts course. Suggested word count: 10,000-25,000 words. 68
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