|> /~\ |≥ (
#research catalogue

Listening to / in Public Space

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Theory in |>ractice – /~\nalysing Music Theory

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Imagine

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Two Viennese piano schools: Beethoven and Hummel

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The role of music theory in professional music education, a historic overview [Snapshot from dev system - 2022-12-06 14:40]

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Interrupts /~\nd Intervention

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S|≥L: Enhancing Self-|≥egulated Learning for Musicians

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/~\ YE/~\|≥ IN THE LIFE OF THE SONOLOGY ELE(T|≥O/~\(OUSTI( ENSEMBLE

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(reative performer | |>erforming creative

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Learning |>ods

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Lectorate Event 2019

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(lassic Express |≥esearch project

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Hearing Geoelectric

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Sound spatialization in live electronic music

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Look again

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Methodology for developing and internalising rhythm and timing through body movement for jazz students

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|≥esearch |>rojects Lectorate Music, Education & Society 2018-2021

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Crossing Borders

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The Ways We Teach

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Diamond Marimba as a Creative Tool

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Deep Listening Today: (onnecting with audiences through the music and teachings of |>auline Oliveros and others

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KEYBO/~\|≥D MUSI(I/~\NSHI|>: "Developing a methodology through musical repertoire"

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YEARNING TO CONNECT A Short Introduction to Music Curatorship

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Disseminating & Connecting Research Data

Joint Research Day '23
Fr 27 Oct 2023 14:00 – 14:30, Presentation - Gallery 2, KABK, Prinsessegracht 4

The Singing Violin: Portamento use in Franz Schubert’s violin music

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'What may have happened…'

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HOW TO IM|>|≥OVE (ELLO O|≥(HEST|≥/~\L EX(E|≥|>TS

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The Usage of recordings from other musicians as a source of information by students of (lassical Music

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/~\|>|>|≥O/~\(HING IM/~\GES: /~\ Journey from Imagery to the (oncrete

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/~\n Embouchure /~\id for Wind Musicians

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(amilo /~\rias - Master |≥esearch Last Sand

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Historical Clarinet Mouthpieces: An Analysis and Re-creation studyHistorical Clarinet Mouthpieces: An Analysis and 3D Re-creation study

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Interpretation of Schumann's 'Humoreske' in B flat major, op. 20, within the context of Jean |>aul |≥ichter's romantic concept of 'humor'

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“How to motivate students in classroom mandatory music lessons?”

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With trumpets?

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Divertimento Sextet

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Singing and Playing - A Kodály Approach to Cello Playing

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Hindemith’s Musical Enigmas Through the Eyes of Bach

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The extra dimension: exploring 3D use of the accordion bellows

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Composing Situation: An approach for understanding and repeating a musical practice

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LE/~\DING F|≥OM THE H/~\|≥|>SI(HO|≥D: /~\ HISTO|≥I(/~\L INFO|≥MED /~\|>|>|≥O/~\(H TO E/~\|≥LY MUSI( '(ONDU(TING'

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Sonic Placemaking: (Re)Creating Place as a Comprehensive Compositional Practice

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Michael Chekhov’s acting technique through the lens of a classical singer

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Saverio Mercadante and the Neapolitan flute school of the early 19th century. /~\ dramma buffo on the historically informed approach

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Keith Jarrett: The Köln (oncert, re-composition for a big ensemble

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The Viennese violone : /~\ "Viennoiserie" with 5 spices

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Interluding: Identifying practice methods for classical improvisation on the Violin

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/~\impathy

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/~\n Investigation of Eastern (ultural Influences in the (lassical Guitar Solo |≥epertoire.

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|>ercussion Meets Environmentalism: /~\ method of performance for environmental awareness

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(larinet |>edagogy in Times of (hange and /~\dvancement: The Evolution of /~\mand Vanderhagen’s Méthode Nouvelle et |≥aisonnée pour La (larinette

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/~\ Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings

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Laments for a Modern World: Exploring the pathetic capabilities of 17th-century Laments

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The Kodály effect: Measuring musical literacy in Dutch primary school children

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|>oiesis and the |>erformance |>ractice of |>hysically |>olyphonic Notations

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Moving early music: Improvisation and the work-concept in seventeenth-century French keyboard performance

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The |>alestinian music-making experience in the West Bank, 1920s to 1959: Nationalism, colonialism, and identity

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Musika: The becoming of an artistic musical metaphysics

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Blind maps and blue dots: the blurring of the producer–user divide in the production of visual information

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The variational mode: three cases about documents, artworks and animation

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(antos da Floresta (Forest Songs) : exchanging and sharing indigenous music in Brazil

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The reflections of memory : an account of a cognitive approach to historically informed staging

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Ebifananyi : a study of photographs in Uganda in and through an artistic practice

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The deep-rooted microtonality of the bass clarinet

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The 'cello' in the Low (ountries : the instrument and its practical use in the 17th and 18th centuries

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(De)(omposing Immersion

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|>ropaganda /~\rt from the 20th to the 21st (entury

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Die |>artimenti von Giovanni |>aisiello /~\nsätze zu ihrem Verständnis

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/~\udible absence: searching for the site in sound production

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|≥eForm

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Imagined Voices : a poetics of Music-Text-Film

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Discantare Super |>lanum (antum : new approaches to vocal polyphonic improvisation 1300-1470

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The magic of projection : augmentation and immersion in media art

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|≥epertoire for a Swedish bassoon virtuoso: /~\pproaching early nineteenth-century works composed for Frans |>reumayr with an original Grenser & Wiesner bassoon

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Het Urban Future-project

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Grenzen van het hoorbare: over de meerstemmigheid van het lichaam

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Between air and electricity : microphones and loudspeakers as musical instruments

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Laborinth II : denken als experiment : 472 'meditaties' over de noodzaak van het creatief denken en experimenteren in het uitvoeren van complexe muziek van 1962 tot heden

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(reating and re-creating tangos : artistic processes and innovations in music by |>ugliese, Salgán, |>iazzolla and Beytelmann

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LO(VS : herinnering en vergankelijkheid in de verbeelding van plaats : van Italische domus naar artistiek environment

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Giovanni Girolamo Kapsperger (ca. 1581 – 1651) : Betrachtungen zu seinem Leben und Umfeld, seiner Vokalmusik und seinem praktischen Material zum Basso continuo-Spiel

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Multiple |>aths: Towards a |>erformance |>ractice in (omputer Music

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Shifting identities : the musician as theatrical perfomer

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Finding Focus

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Beyond Borders. Broadening the /~\rtistic |>alette of ((omposing) Improvisers in Jazz.

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In Search of the |>ublic: Exploring (ontemporary |>erformance |>ractices of (lassical Music in the Netherlands

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Double Bass in Indian (lassical Music

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Why can't I sleep?: /~\ psychoanalysis of the manifestation of unattainable control through the art of composition.

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/~\ modern analysis of Historical Informed |>erformance: considerations about the method, its past and its future

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The Feeling of Sound: Music (urating, |>erforming and (onnecting with and through Music

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/~\rranging and |>erforming

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Johann Melchior Molter

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Musical Monticello: (lassical Music and /~\merica

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Situating |>ersonal Values in /~\rtistic |>ractice: Towards a |≥eflective and |≥eflexive Framework

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Music, Meaning and Emotion

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HOW THE DEG|≥EE TO WHI(H INST|≥UMENT/~\LIST /~\ND (OM|>OSE|≥ WO|≥K TOGETHE|≥ /~\FFE(TS THE (OM|>OSITION/~\L |>|≥O(ESS, THE (OM|>OSITION /~\ND THE FIN/~\L |>E|≥FO|≥M/~\N(E

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Flow, The Optimal Experience

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(lassic Expression: the effect of storytelling in a classical concert for children

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Karol Szymanowski and |>olish Folklore. Using |>odhale folk music to inform performances of Szymanowski's Harnasie

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The singing |>erformer: Who am I on stage when not singing?

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THE GE|≥M/~\N BOW IN T/~\NGO MUSI(

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Lyon & Healy: the /~\merican Harp

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Listening to Messiaen’s colourful hands

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The |>erformer (omposer |≥elation

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(ranio Sacral Therapy and Singing

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“Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript.

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|≥eading Garoto – a study over the legendary musician who changed Brazilian music.

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The advent of the transverse flute in Italy and its use in mixed consorts during the sixteenth and early seventeenth centuries

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|>oly-rhythmic structures as frameworks for improvisation.

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What is Music Theater?

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How to use feedback, advice and judgement after an exam

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The use of Bel (anto singing in the Italian opera of the XVIII century

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Examination of mid-nineteenth century double bass playing based on /~\. Müller and F.(. Franke’s discourse in the Neue Zeitschrift für Musik, 1848 – 1851

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|>erforming (lassical Music in the 21st (entury

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The Unplayable Notes of JS Bach

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/~\dapting Telemann’s unaccompanied violin fantasias to the guitar - an investigation of transcriptional methods

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/~\pproaching jazz composition through the music of Billy Strayhorn

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/~\ More Sincere Brahms: /~\n Exploration of Widening Expressive |>ossibilities in the Opus 120 (larinet Sonatas.

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The violin-type fingering and oblique left hand position in the history of cello technique

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"/~\rt of drumming within jazz piano trio"

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/~\n Interdisciplinary /~\pproach to Jazz |>erformance

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Navigating through Harmony

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(ollecting |≥epertoire for Kodály-inspired Music Lessons in Dutch Elementary Schools

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|>laying by Heart

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The Joy of |>ractice. /~\ (ase study of Keren by I.Xenakis - The pursuit of happiness in our practice room

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Modern vertical thinking (Triad pairs over seventh chords)

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/~\ Study of Basso (ontinuo Instrumentation in Baroque (ello Sonatas With a Focus on Jean-Baptiste Barrière

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Exploring the space within intervals: an approach on different ways of shifting on cello

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The Early Violone

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Dancing /~\bout Music

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Jazz Drummer Elvin Jones: His Musical Heritage

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Fingering of the Viennese Double Bass

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Developing Vocal Techniques in (ontemporary Solo Double Bass |≥epertoire: /~\ pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire

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Subversive (limes: Exploring the role of exoticism in Les Indes Galantes

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Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.

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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

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|>erforming modern music

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Body Language

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Forbidden Beauty: |>erformance |>ractice of un-notated arpeggio in fortepiano music in late 19th (entury

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|≥eferential Networks, (omposing and the "Outside World"

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/~\ practical exploration of the historical fingerings of Baroque |≥ecorders in England, France and Germany

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|≥eseach: (aprice Basque, |>. Sarasate

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/~\drien-François Servais’s contribution to the evolution of the cello technique

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Frozen Improvisation

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Spatial awareness in instrumental music: Transformations of attention in a situation, becoming musical structure.

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(atch and |≥elease: Field |≥ecordings as Source for Instrumental (omposition

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Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia

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Singing in the Music Theory Lesson: /~\ model for how singing can be used as an effective teaching tool for a practical approach to the subject of music theory

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|>erspectives on Kodály (ello Teaching

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/~\pollo’s Banquet for children: Teaching baroque music to the young violinist

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How can aspects of the Kodály philosophy and methodology be integrated into instrumental education?

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Vladislav Solotarjow and the |≥ussian way of playing the accordion: a case study

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Music education in the Teacher Training (ollege

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To understand staff notation aurally

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Searching for the Top |≥ange in Early Nineteenth (entury Bassoon |≥epertoire from Sweden: Issues of Material and/or Technique?'

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How Obvious is the /~\rtistic and the Musical Expertise of the Music Teacher?

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Help! /~\ Talent! The Student-Teacher |≥elationship in Higher Music Education

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Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education

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From |>otential To |>erformance. Training |>ractice and |>erformance |>reparation in (onservatoires

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Fontegara as researcher

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how musicians use their brains

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/~\ Musicians’ View on (ooperating with (omposers: The influence of composers on the performance practice

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Luigi Boccherini: patronage and musical life in Madrid between 1768 and 1805

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Italian elements in French music for traverso by J.M.Laclair and M.Blavet

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|>roposing Live Electronics as an /~\lternative to Larger |>erformance Set-Ups

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(omparisons of |>erspective in the Empfindsamer Stil: How the music of (arl |>hilipp Emmanuel Bach represents a microcosm of an emerging cultural initiative

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How Do You Swing a Quarter Note? /~\n /~\nalysis of the Great Walking Bassists of the 1950s and 60s.

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Keyboard transcriptions of orchestral works by M. Marais and J. |>h. |≥ameau

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(hordal (ontinuo |≥ealization on the Violoncello: /~\ look at the practice of chordal accompaniment by cellists over the course of two centuries, with a focus on recitative accompaniment practices between 1774 and 1832

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Jiří Čart (Georg (zarth) and his Flute Sonata in D minor

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Barry Harris: Exploring the Diminished

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The place of modern technique in historical performance practice.

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The influence of some characteristics of |≥omanian folk music on the |≥omanian |≥hapsody no. 1 opus 11 by George Enescu – /~\n arrangement for 2 pianos

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(ombining (oco, /~\rranging for Het (oco (ollectief

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Violin education in middle childhood

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Understanding (lassical and Early |≥omantic Dynamics 1750-1830

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From |>hrase to |>hrasing - a (lassical |>erspective

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Of |≥ules and (anons — |≥aaijmakers' |≥eflection On Morphology

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The |>ower of Long Notes

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Searching for Sattler

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(ompLex - an OS( and Voltage controlled Signal |>ath Generator (V(-S|>G)

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Fast Notes!

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IN - The creation of an immerive music performance

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Double Bass Home |≥ecordings

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Harmony on the violin - internalising harmony for violinists and the role of (tonal) improvisation

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/~\dapting live classical music performance for different venues

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Babylon Quartet: Ghosts, Mirrors, and The |≥iver

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John (age's Bacchanale. /~\ reconstruction for percussion ensemble.

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On Electronic Sound Sculptures: (ircuits and /~\esthetics

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Transcribing |≥achmaninoff’s Variations on a Theme of (orelli for Orchestral Ensemble.

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Josef Beer - The perfect clarinetist

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To beat or not to beat

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Ottoman music as a source of inspiration for today’s composers

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To be melodramatic: Writing a text to music according to the melodramatic tradition

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Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino

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The Brass |>layers Stutter

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George Lloyd - Music for Brass, from symphony to test-piece

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Learning the altissimo register of the saxophone

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The characters of the flute. /~\ performer’s exploration of the dramatic roles of the baroque flute

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Squalid and Obscure: Timbral Word |>ainting at the /~\rpa Doppia

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The success of a symphonic transcription

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The Lamentações para a Semana Santa by José Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments

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The Sound of the Big Band: Between evolution and continuity

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From /~\ural Teaching to Musical Literacy in the Elementary Horn (lass

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The Mental Effect of the (Temporary) Tonic: a study of tones in jazz tunes through John (urwen's Tonic Sol-fa

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Seventeenth-century cello playing, focussing mainly on bow technique

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Breathtaking: /~\n alternative approach to breathing for trumpeters

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The |>hilly Joe Jones |≥udimental Soloing Style

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The Development of the |>erformer's |≥ole in Karlheinz Stockhausen's |>iano Works

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Building Bridges Between the Modern (omposer and (lassically Trained Singer

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Nights in the Spanish Gardens. Meaning and inspiration

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Emancipation of the (larinet (1720-1760)

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The /~\ccompaniment for the Villancico in New Spain

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Entwine – finding music within a poem.

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Madness in music

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Violin Baroque |>ieces on Soprano Saxophone

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Hearing Double: how to use the double bass in the VI (oncerti /~\rmonici by Unico Wilhelm van Wassenaer.

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Deliver the meaning - |>erformance expression in a physical shape

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From publisher to public

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The Music of Johann |≥udolph /~\hle

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European Female Wind Band (omposers and Their Works

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To bow, or not to bow

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The Voice of the (halumeau

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Intentional Listening

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The (an of Norms: Expanding the Modern Lute |>lucking Technique

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Monteverdi and the architecture of emotions

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The /~\rt of /~\rpeggiation

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Towards an integrated method for practicing: internalizing the composer’s language.

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(oncepts of Embodiment in Interdisciplinary Work Within a Musical (ontext

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|>erforming the 'Group of the Six'

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La (ourante Françoise. Historically Informed |>erformance of the French (ourante For Harpsichord During the Second Half of the Seventeenth (entury Following the (riteria Obtained From the Baroque Dance

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The Improvisational Ear-How to build improvisational language through the study of speech

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Did They Throw Tomatoes? The |>erformer-/~\udience |≥elationship in 18th-century England

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/~\pproaching a |≥hetorical |>erformance of Late 18th (entury Keyboard Music from the Methods of john Walker

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Intention-based |>iano |>edagogy

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I'm Nobody, Who am I?

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How can a performance of Shostakovich’ piano quintet be dramatized by using words, movements, staging and lighting?

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Monteverdi’s lamenti and lettere amorose and the pre-existing art of declamation

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Berio violin duets - an introduction

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Speaking directly in an indirect way

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Tenor in |>uccini's opera

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|>laying Harmonium /~\rt Music on the (oncert /~\ccordion

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|>edro |>érez de /~\lbéniz: Fortepiano Fantasies

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The art of auditioning

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(reating open form scores for improvising musicians

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Historically Inspired Improvisation - Improvising on basis of 19th-century music making

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Document the Sound |>rojection of /~\us Licht

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From the forest to the concert hall

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Singing and Well-being - The Experiences of |>rofessional (hoir Singers

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On the role of organ music

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16th-(entury Keyboard Tablature as |>erformance Notation

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Britten Folksongs and Their Traditional (ounterparts

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La pratica degli affetti - The practice of affections

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/~\ngelical music XVI-XVIII centuries music from the New World

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How can I find my own voice through my instrument

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The Effect of Mental Imagery in Daily |>ractice

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SIM|>LI(ITY OF ST|≥ONG EMOTION: Study on the performance style of Frederic Mompou based on his recording of (ants Màgics

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BEL (/~\NTO /~\ND HÄNDEL: The evolution of bel canto throughout the history and its implementation into the interpretation of Italian operatic music for tenor composed by Georg Friedrich Händel

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/~\ discourse on the basset horn between 1770 -1850 in Vienna and German-speaking countries

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Expanding a |≥epertoire

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The Limits of Traverso; Exploring the sound possibilities of traverso through contemporary music

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The |>rolonged Touch: Finger |>edaling and Legatissimo in (lassical and Early |≥omantic |>iano Music

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|≥ethinking ornamentation : a rhetorical approach to da capo arias of Georg Friedrich Händel

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The instrumental section singer - Implementing vocals in a 3 part horn arrangement

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Gestures and their role in restoring a singer’s performance-focus

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The bassoon in Barcelona in the second half of the XVIIIth century

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DEBUSSY /~\ND MOVEMENT - IM/~\NOL (/~\S/~\N

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Losing time

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(|≥E)SOUNDING /~\LEX/~\NDE|≥ J. ELLIS: /~\ S|>E(UL/~\TIVE BIOG|≥/~\|>HY TH|≥OUGH TUNING, SONG W|≥ITING /~\ND (OM|>OSITION. (exam version)

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/~\ntonio (asimir (artellieri: a forgotten master at the Viennese (ourt

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/~\n /~\pproach to |≥omantic cello playing in Brahms's time

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SOUND IDENTITY

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How Do I (ompose Music Based on Game |≥ules? Transforming the Emotions of a Game Into Music

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Teaching jazz double bass in the 21st century

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Mindful practicing - Mindfulness and goal setting exercises for fostering self-efficacy

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Down to business

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The horn of Leutgeb and Mozart : investigation and experimentation

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Effects of visual instructions in one-on-one violin lessons

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Walton viola (oncerto beyond the score

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Master |≥esearch Exposition "Instrumental (hamber Music in (ollection of Diocesan Library of Sandomierz- characteristics, socio-historical background and local importance"

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The Bass Guitar in the (ontemporary Music

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Unraveling Musical |≥elativity: Following in the Footsteps of 19th-century (onductors

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Diminutions, Divisions, and Doubles in Viol Literature

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/~\ccessibility of Music |>roduction Software for the Visually Impaired: /~\ study of developing an eyes-free audio application for a surface haptic interface

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Mastering trumpet excerpts for wind band orchestra: practicing, making exercises and testing their pedagogical usefulness

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Innovative |>ractice of Enhancing Musical |>erceptions

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J/~\ZZ D|≥UMS: 5 unconventional comping examples

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|>laying with Words

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Batterie & Baroque Guitars

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/~\ Study on Ornamentation and Expression in French vocal Music (1650-1750)

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Intabulation as process and practice (Master thesis)

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|>iano four-hands, "once again"

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Taking off the mask: embracing vulnerability on stage

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E quando mai potro cessar di piangere ? : an exploration of the links between arias with obbligato instruments and musical affects in /~\ntonio (aldara’s oratorios composed between 1716 and 1736 for the Habsburg’s Hofmusikkapelle in Vienna

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Giuseppe Torelli and the birth of the Violin (oncerto

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From Xavier Lefèvre to Frédéric Berr: (larinet instruction at the |>aris (onservatory between 1795 and 1838.

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What is the word

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How can autonomy and active learning be stimulated in a blended oboe class program?

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(onstructing a framework for interdisciplinary performances featuring classically trained musicians and dancers or actors

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Integration and development of jazz drum soloing

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The /~\rabic Maqam on Double Bass

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The discovery of Ludovicus Mirandolle’s manuscripts

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Size Matters: Historical String Lengths and |>ossible Tunings of the (hitarrone or Theorbo

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One in Norway by One of Them: Vlogging for (lassical Musicians

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Exploring Expressive Lied |>erformance: |≥e-enacting Lotte Lehmann’s |>re-World War II Lied |>erformances

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OBOET|≥Y – French poetry played in melody: a poetical & vocal approach to French 'mélodie' on oboe

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/~\ case study of instrument design

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The Transfigured Guitar of /~\lberto Ginastera Sonata for Guitar, op. 47

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No Joy in the Brilliance of Sunshine

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"/~\n /~\ctor |>repares": /~\ musician's approach to a selection of techniques by Konstantin Stanislavski

Research Catalogue KC

|≥ethinking the traditional concert format through the lens of |≥ussian mystic composer Nikolai Obukhov

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/~\dding to the Narrative: Intersectional Feminist (ritical (uratorial |>ractices in (lassical Vocal Music |>erformance

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La Basse de Violon

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Searching for the Siren | Exploring contemporary vocal aesthetics

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(ello Meets Soleares

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Out of the 'Engine |≥ooms'

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"/~\vec |>icasso, ce matin..."

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The appearance of the sound

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How to understand stage fright?

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Ecognosis: Ecological /~\wareness in Multimedia (omposition

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O|>TIM/~\L |>ractising: /~\n /~\utonomous Journey of Exploring Enhanced Expectancies and External Focus

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|≥esearch and (ritical Edition of (apriccio Diabolico by Mario (astelnuovo-Tedesco

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|>erforming Music Theory

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/~\ Quest for Musical (larity: Grounding (ompositional |>ractices in Gestalt and |>erception Theories

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Casper Schipper