bluuebunny/crossref_metadata_2025 huggingface dataset:
Building Bridges Between the Modern Composer and Classically Trained Singer
Authors: Georgi Sztojanov
Published: September 2024

Name: Georgi Sztojanov

Main Subject: Classical Singing

Research Supervisor: Anna Scott, Yannis Kyriakides

Title of Research: Building a Bridge Between the Contemporary Composer and Classically-Trained Singer

Research Question: How can the aesthetic oxymoron between the wishes of modern composers and the needs of singers be mediated or resolved, and what changes could be made on both sides in order to achieve a more fruitful relationship, resulting in compositions that are both singable and that explore the voice's potential beyond its Classical boundaries?

Summary of Results:
As a case study, I document the process of learning the tenor solo in Louis Andriessen's De Materie, and discuss how my classical training helped me to sing this demanding part even though it is not meant to be sung with a Romantic sound. After discussing two further projects in which I acted as a mediator between composers and singers, I found my initial suspicions to be true: many composers do not receive enough education in composing for the voice, meaning that they do not respect its physical limitations, they often misjudge the combination of ranges, dynamics and colors possible, and they believe that any singer can reproduce any sound (regardless of culture, style, or tradition). Clearly, studying these elements while working closely with singers would be one solution, as would choosing a more performer-centric notational system including expression markings and other indications that invite singers to find the intention or subtext behind the music—all of which can help the singer's instrument work more effectively. For their part, singers need more training in music theory, solfege and score reading skills, and while they need to master their classical technique, they must also be openminded and flexible enough to experiment beyond that training—while staying within the healthy limits of their sound production, and knowing how to communicate in order to preserve these boundaries. This study helped me to successfully mediate between composer-singer collaborators, and I hope to turn my findings into a booklet for those looking to create beautiful and exciting new vocal works together—not in spite of one another.

Biography:
Georgi Sztojanov has two MAs in composition from the Liszt Academy in Budapest and The Royal Conservatoire of The Hague. He obtained his BA in singing in 2016 with Sasja Hunnego. As both singer and composer he has broad experience with vocal premieres, multidisciplinary collaborative works, and leading ensembles and festivals. He received the Tenso Young Composers Award in 2014. As a composer he has a wide spectrum of works, and as a singer his activities are equally diverse, ranging from opera to lied, numerous premieres, staged productions, and ensemble singing (recently as a member of Groot Omroepkoor).
Seventeenth-century cello playing, focussing mainly on bow technique
Authors: Anne-Linde Visser
Published: September 2024

Name: Anne-Linde Visser

Main Subject: Baroque Cello

Research Supervisor: Johannes Boer

Title of Research: Seventeenth century (Italian) cello playing, focusing mainly on bow technique

Research Question:

How can we regain seventeenth century bow-technique for cello repertoire?

Summary of Results:

My aim for this research was to find out more about 17th century cello playing, with the focus on bow technique. The first cello treatise was not written until 1741 (Corette) and therefore most cellists will play this repertoire with a late 18th century (bow) technique. Repertoire which is written especially for the violoncello starts in the late 17th century, but a lot of this repertoire was still composed in the old style.
In short, my research contains the following elements: the bow, the bow-hold, bow-technique and other sources on articulation. The sources used include mainly treatises and iconography (taking into account that not all iconography is appropriate).
Iconography shows us that there are a lot of possibilities to play the cello. In terms of bow hold, underhand bow hold is seen the most, but also overhand bow hold can be seen towards the end of the 17th century. The treatises by Sylvestre Ganassi, Riccardo Rognioni and Francesco Frognoni, were my main sources for bow-technique. Ganassi (16th century) already gives some very important ‘rules’ on string-playing that are still applicable today. Written in even greater detail concerning articulation, are the treatises for wind instruments.
In my opinion, those treatises are not only valuable for 17th century repertoire, but could be also a source of inspiration for any other repertoire.

Biography:

Anne-Linde Visser (The Netherlands, 1992) studies baroque cello with Lucia Swarts. Last year she studied with Jonathan Manson at the Royal Academy of Music in London (Erasmus Exchange). Anne-Linde is ‘Young Bach Fellow’ of the Nederlandse Bachvereniging and member of the Theresia Youth Baroque Orchestra (Italy). Besides that, she regularly performs with the Laurenscantorij, Ars Musica and the Dutch Baroque Orchestra. With the Castello Consort she was recently accepted to take part in the Eeemerging-programme. She especially enjoys playing basso continuo, which has been described as ‘excellent’ (Early Music Reviews) and ‘impressive: unobtrusive yet decisive’ (Opera Today).
Nights in the Spanish Gardens. Meaning and inspiration
Authors: Samuel	Tirado Villaescusa
Published: September 2024

Name: Samuel Tirado Villaescusa

Main Subject: Classical Piano

Research Supervisor: Bart van Oort

Title of Research: Nights in the Spanish Gardens: Meaning and inspiration

Research Question: Which are the most important sources of inspiration in the piece Nights in the Spanish Gardens and how all of them affect the performance of the soloist and the orchestra?

Summary of Results:
Manuel de Falla's piece Nights in the Spanish Gardens has become popular during the last twenty years. Several of the greatest performers have recorded it achieving impressive results. However, the piece presents key aspects from the Spanish folklore and French impressionism that, usually, are not taken into account. Searching information for my research, I discovered that the most important sources of inspiration come from »cante jondo« (a Spanish primitive chant), the Spanish guitar and the music of Claude Debussy. Thus, I found several examples that prove the connection and help the performer to make the interpretation as coherent as possible. The research process changed my vision about topics such as the role of the soloist, the interpretation of ornaments, melodic lines and rubato as well as the imitation of the guitar in De Falla's music. Furthermore, this information could also help not only pianist performing Nights in the Spanish Gardens, but also any musician playing Manuel de Falla's music.

Biography:
Samuel Tirado begins his studies in Salamanca, where he completed a bachelor degree with Patrin Garcia Barredo. He has participated in masterclasses with teachers like Claudio Martinez Mehner, Ferenc Rados, Edith Fischer, Kennedy Moretti and Galina Eguiazarova among others.
He has performed as a soloist and chamber music member and in places such as the national auditorium in Madrid, auditorium of Cuenca and theaters in Salamanca, Ciudad Real and Ávila. He has also played in countries such as Holland, France and Austria.
Approaching a Rhetorical Performance of Late 18th Century Keyboard Music from the Methods of john Walker
Authors: Anders Muskens
Published: September 2024

Student Number
3105008

Supervisor(s)
Anna Scott, Jed Wentz

Title
Approaching a Rhetorical Performance of Late 18th Century Keyboard Music from the Methods of john Walker

Research Question
How can we apply declamatory principles from late 18th century English treatises to historical performance of late 18th century solo keyboard music?

Summary
There is no doubt that the art of classical rhetoric played an important role in the conception and performance of music in the 18th century. In order to better understand how to perform rhetorically in an historically informed manner, an understanding of declamation as it was understood in the late 18th century is key. This thesis uses the written methods of English actor-turned-elocutionist, John Walker, as the basis to proposing a rhetorical approach to late 18th century solo keyboard repertoire. Linguistic concepts of sense, structure, style, and delivery (acting) are likened to analogous concepts in galant music and supported with statements from musical treatises and examples from musical works. Two main performance case studies are considered for comparison: the first linguistic, being Walker’s 1787 annotated version of Edward IV’s speech from William Shakespeare’s "Richard III"; and the second musical, being the Adagio movement of Joseph Haydn’s 1794 Keyboard Sonata Hob. XVI:52. It is hoped that this investigation will not only expand the horizons of the author’s solo performances, but will also provide interesting and useful tools for other musicians.

Short Bio
Anders Muskens began modern piano studies at the age of 4 in Edmonton, Canada. He graduated from the Royal Conservatory of Music, Toronto under the tutelage of Dr. Irina Konovalov. He now studies fortepiano and harpsichord at the Royal Conservatoire of The Hague with Dr. Bart van Oort, Petra Somlai, and Fabio Bonizzoni. He received numerous awards including: 1st place at the Early Music Young Ensemble Competition at the London Exhibition of Early Music 2018 in a duo with soprano Tinka Pypker; and the „Hofkapelle Elbe-Elster“ prize at the „Gebrüder Graun Prize“ 2018 with his ensemble Das Neue Mannheimer Orchester.
Teaching jazz double bass in the 21st century
Authors: Tony Overwater
Published: September 2024

My initial plan was to do research and catalogue the available existing method books for Jazz bass education. But during the process I realized that matters were more complex than I had foreseen. Jazz (bass) methods were often based on classical music methods but Jazz education demands a different skillset and approach. I reexamined the fundamental building blocks necessary to successfully teach Jazz double bass. For this I designed a graphic theoretical framework that helped me analyze the existing methods. With this information I built a data base and webpage that offers analytical information about the available methods. Methods not limited to the traditional books but also on line learning programs and other methodical teaching material. Furthermore I examined the influence of the technological developments that the computer, smartphones, tablets and the internet have to offer. Teaching Jazz in the 21st century has proven to be much more of a modulair approach than the traditional linear approach.
The instrumental section singer - Implementing vocals in a 3 part horn arrangement
Authors: Marit Eline van der Lei
Published: September 2024

This research investigate how arrangers can use vocals as an addition to their horn arrangements. Through experimenting and literature research I will explore the role a voice can have as an autonomous part in a horn section with 2 other horns.

In this research I ask myself the question: How can I use voice to complement 3 part horn arrangements?

Using the most common horns in jazz, I make groupings of 2 horns paired up with the voice based on instrument information and range. We will play in different devisions and explore the influence that vowels will have on blending, opting for a homogeneous sound, where the voice is adopted in the section.
The Prolonged Touch: Finger Pedaling and Legatissimo in Classical and Early Romantic Piano Music
Authors: Blake Proehl
Published: September 2024

The term prolonged touch comes from Carl Czerny and is synonymous with finger pedaling, legatissimo, overlegato, and, in some cases, legato. This was a common technique used by the early pianists who took it out of the practices of harpsichord, clavichord, and organ playing. Its use in piano music declined during the Romantic period and beyond, due to the development of the piano and its sound, the advancement of damper pedal technique, and a more "literal” reading of notation. My research aims to understand how and where in music the prolonged touch was used in Classical and early Romantic piano music. Passages describing this technique were found in treatises and works by C. P. E. Bach, Türk, Milchmeyer, Adam, Hummel, Moscheles, Czerny, and more. From these passages, I examined the ways the aforementioned composers notated or indicated the use of this technique in their compositions. Next, based on what the treatises tell, I organized categories of musical applications of the prolonged touch. And then I gave examples from piano literature to further illustrate their use within each category. Finally, I demonstrated my artistic use of the prolonged touch in Mozart’s Sonata in F major, K. 332.
(2019) The Singing Violin: Portamento use in Franz Schubert’s violin music
Authors: Emma WIlliams
Published: September 2024

(this research was submitted March 2019)

How can late-18th- and early-19th-century vocal techniques influence our way of experimenting with portamento use in Schubert’s violin music and how can we reinstate the practice in ways that are relevant for current listeners and players?

The voice and violin have always shared an intimate connection. Violin treatises from the late-18th and early-19th centuries consistently encourage violinists to imitate vocal techniques. My thesis explores this relationship via the music of Franz Schubert (1797-1828), who revolutionised Lieder and used vocal techniques in his instrumental writing. Many fundamental vocal expressive devices, including portamento, have been lost in “modern” and “historically-informed” (HIP) singing and violin playing. My thesis aims to (1) understand the historical appropriateness of portamento in Schubert’s violin music and how different types of portamento work, (2) examine why the technique was lost, and (3) explore ways of reigniting it in today's musical aesthetic. I first analysed relevant written sources and early vocal and violin recordings, finding clear evidence of frequent and varied vocal and violin portamento use, clear links in portamento use between early-recorded singing and violin playing, and consistency between early-recorded portamenti and written sources from Schubert’s time. To understand why portamento was lost, I examined the wider phenomenon of style change in the 20th century and found that both recording technology and general 20th-century aesthetic changes encouraged “cleanness” and “repeatability” in music, thereby eradicating spontaneous and unique expressive devices like portamento. Finally, I researched innate emotional responses to music and portamento’s importance as an engaging communicative tool, and undertook my own artistic experimentation in early-19th-century music, collaborating with and surveying leading vocal and string 19th-century HIP practitioners to explore ways of making portamento expressive and relevant to modern musical practice and appreciation.
The use of Bel Canto singing in the Italian opera of the XVIII century
Authors: Mariana Andrade Pimenta
Published: September 2024

Name: Mariana Andrade Pimenta
Main Subject: Early Music Singing
Research Coach: Inês de Avena Braga
Title of Research: The technical principles of Bel Canto in the 18th and 19th centuries:
an experimental case study on dynamic range
Research Question: How did the vocal exercises from Bel Canto singing influence my
singing technique, especially in the dynamic range associated with pitch?
Summary of Results:
The format chosen by the author for this investigation was the Research Paper, as this
study required an investment on knowledge about Bel Canto singing technique and the
application of the latest into her singing practice, which resulted into a deep reflection
and reached new conclusions. The focus of the practical sessions of the author was on her
dynamic range. The purpose was to increase flexibility in her dynamic range in the
different registers of the voice. The research went through the following process: (1) an
audio recording of G. F. Händel aria: “Se Pietà di me non senti”, from the opera Giulio
Cesare; (2) in this same phase of the research, she used the software Voice Profiler 5.1 to
record her Voice Range Profile (VRP), the same piece and the vowel /a/, throughout the
vocal registers, exploring the complete dynamic range of her voice; (3) after three months
of practicing specific exercises designed to train the dynamic range, the same recordings
were made and also a comparison with the first ones. The results indicated that the
training had an impact: An increase of flexibility in realizing Messa di Voce was verified
in the author’s middle vocal register. This impact did not happen in the highest vocal
register, where technical differences were not detected by the VRP recording. The latest
result is also applicable in the Händel aria. This method has proved to be beneficial in the
middle section of the author’s vocal range. The appliance of this method is a work in
process, which the author believes that it should bring more beneficial results; it offered
the author a much bigger awareness of the breathing system, which resulted in a better
quality Messa di Voce. The knowledge gained from the sources from the 18th and 19th
centuries, guided the practical study in this investigation. In future studies, the author
wishes to further research Italian vocal technique and use this important knowledge of
historical information by transferring it to her singing practice. The outcome of the
present study is an interesting interdisciplinary fusion between Old Italian vocal
pedagogy of Bel canto singing and advanced vocal technology.
Biography:
Mariana Pimenta is a soprano born in Madeira Island, Portugal. She graduated in
Classical singing in Aveiro, Portugal in 2011 and started her specialization in Early
Music Singing at the Royal Conservatoire of The Hague in 2012. As a performer Mariana
has been performing as a soloist and in ensemble singing, in some countries, as The
Netherlands, Portugal, Italy and Ecuador.
Referential Networks, Composing and the "Outside World"
Authors: Patrick van Deurzen
Published: September 2024

Name: Patrick van Deurzen
Main subject: Theory of Music
Research coach: Marcel Cobussen
Title of research: Referential Networks, Composing and the “Outside World”

Research question:
How does a new composition relate to the existing body of (art)works: the “outside world”?

Summary of results:
One aspect of composing is making countless connections, consciously and unconsciously, to other works. Of these countless connections, those created consciously form what I call a Referential Network. The works to which these connections are made, form the “Outside World”. In this research, I describe three of my compositions as three different Referential Networks. I analyse the compositions and show how the chosen references influence the compositional process and outcome. Performers (and listeners) also use references to access a composition. To understand this, I look at how we can understand a text and what the relation of author and observer is to a text. In relation to this, I have asked various performers for feedback to see to what extent my Referential Networks are noticed and if they play a role in interpreting them. To put my composing and this research in a historical context, I look at certain aspects of European composed art music after World War II to show two different views on tradition and the past. My concluding remarks include conclusions about the artistic result, i.e. the compositions, the performer's perspective, and some philosophical implications.

Biography
Patrick van Deurzen is a Dutch Composer and teaches Music Theory, Instrumentation and Arranging at the Royal Conservatoire of The Hague and the Rotterdam Conservatoire of Music.
What is Music Theater?
Authors: Claudia Hansen
Published: September 2024

Name: Claudia Hansen
Main Subject: T.I.M.E.
Research Coaches: Ines van der Scheer and Arnold Marinissen
Title of Research: What is Music Theater? (A definition by a staging musician.)
Research Question:
What is the difference between Music Theater – the modern performance art form and sub-genre of Music Theater – and other hybrid art forms that include musical and theatrical elements grouped under the hypernym ‘Music Theater’? And, is it possible to construct a definition for Music Theater?
Research Process: I used the word ‘music theater’ to describe the hypernym and the word ‘Music Theater’ to describe the subgenre. First, I researched the history and the evolution of the tendencies in Music Theater as hypernym genre and made a historical overview from the beginning of Music Theater up until the emergence of the subgenre ‘Music Theater’. I focused on the development of Music Theater as a subgenre.
In order to find out what the essence of Music Theater is, I analyzed the three major components of Music Theater. I made an overview of challenges that a creator faces in Music Theater and proposed several solutions, which are based on reasoning and existing performances. I tried to see as many performances as possible, which in the widest sense could be considered to be Music Theater, in order to get a wide overview of present day streams and chose six performances that in my opinion are perfect examples to illustrate my concept of Music Theater, and analyzed the various components of these works (such as music, visuals and text) in detail. Finally, I worked towards a new definition of Music Theater.
Summary of Results: Music Theater is a heterogeneous but symbiotic performance genre, which is constructed with a multitude of art forms. The name might suggest that the main focus lies on music and theater. However, any existing art form can be included. The art forms can be divided into three major categories called components: music, theater and visuals. Each art form is equally important as Music Theater is based on the structural equality of voices. Music Theater is constructed by first distilling four innate languages out of the art forms and then applying them to either the same art form or inducing them into another art form: musical language, verbal language, body language and visual language. Each language element has a valuable existence of its own and
is an autonomous element of the performance that adds a particular atmosphere to the whole picture. The languages are either layered in the performance or the aspects of the performance, such as the protagonists (human or material) or the art forms themselves. Music Theater is a performance genre that rather focuses on the impact that it has on the audience than on the compositional art forms. It is outcome-based and not medium-based. This creates space for each audience member to have a completely personal experience and interpretation of the Music Theater performance.
Innovative Practice of Enhancing Musical Perceptions
Authors: Noppakorn Auesirinucroch
Published: September 2024

The human sensory system is complex and enigmatic but yet, attractive. Why are we continuously applying expressional words from another sensory modality and understanding it without any suspicion? In classical music, usage of the term dolce (sweet) to specify particular musical tones is frequently applied despite the word initially used to express a character of specific taste, which seems unrelated to music. This curiosity affects the researcher to explores a specific sensorial phenomenon, a crossmodal correspondence.

The study's objectives are to comprehend and utilise the topic of crossmodal correspondences to design multisensory performance with an emphasis on sound-taste associations. This exposition contains scientific reviews on crossmodal correspondences, interviews with a neurologist, and personal experience at a fine dining restaurant; additionally, the related subject, synaesthesia. Lastly, a review on the process of creating a flavour musical piece for solo guitar in collaboration with a prominent Thai composer, Piyawat Louilarpprasert, has been elaborated.
A discourse on the basset horn between 1770 -1850 in Vienna and German-speaking countries
Authors: angelica meza
Published: September 2024

The basset horn is part of the clarinet family and its history begins in the late 18th century. It had at least seventy years lasting period of popularity in Germany and Austria but also in Bohemian countries, and England among other countries. Around 1850 to 1855 the basset horn began to disappear. This is the time period in the history of the basset horn this thesis explores.
After an introduction, the beginning chapter will concentrate on different treatises or instructions written for this instrument like Albrechtsberger, Koch, Fröhlich or Mahon, bein compared to the main one, Backofen ’s Klarinett-Anweisung.
Next, historical basset horn makers in Austria and other German-speaking countries will be listed and discussed.
The fourth chapter deals with famous basset horn players of this era and tries to line up as many details known about them as possible. Also, the phenomenon of the basset clarinet as another additional low single-reed instrument will be investigated.
A special focus lies in the following chapter: Mozart’s contribution to the repertoire of the basset horn. This complete list of his works highlights the role of the basset horn and also Mozart’s relationship with the famous player Anton Stadler. A detailed look on his Concerto in G (KV 621b) follows.
At last but not least, a general overview of works including the basset horn will be presented.
The thesis will finish with a conclusion to show what role the basset horn players had in the music world between 1770-1850 in Austria and other German-speaking countries.
La pratica degli affetti - The practice of affections
Authors: Elisa De Toffol
Published: September 2024

Research question: How the relationship between seconda prattica (Claudio Monteverdi) and poetica del gesto (Luciano Berio) can be absorbed in a singing study process and which are the practical results/vocal consequences?

Abstract:
This research wants to investigate through a personal vocal approach the nature of the connection between music and text in Claudio Monteverdi’s and Luciano Berio’s compositions. It started with my personal wish as a singer to be able to express feelings behind words in such a way that the relation between both becomes more clear. I found in the connection between these two composers the perfect ground to build this vocal study path which I documented with recordings. This vocal path has proven to be full of inspiration and stimuli: on one side the open, honest and modern full of love language of Monteverdi, which shapes the harmony according to the meaning of the text (pone l’armonia serva all’orazione). On the other side the inspiring, rich, creative and fascinating writing of Luciano Berio that with his poetics of the gesture seems to reveal in a direct and elegant way a world of infinite possibilities of colorful combinations between musical sounds and words. This research exposition, is divided in four main chapters. The first one is an introduction to Monteverdi and his seconda prattica in which the doctrine of affections is exposed with a special focus at the Lamento d'Arianna along with my research about vocal interpretation. The second chapter describes the musical context in Italy at the beginning of the 20th-century observing how the new composers looked back at the past and in particular at Monteverdi and his contemporaries; in the third chapter Luciano Berio's poetics of gesture will be exposed and it will be observed how some of his composition refer to Monteverdi's seconda prattica. A final chapter will show, with a video recording, my vocal research during the approach to their music.
Help! A Talent! The Student-Teacher Relationship in Higher Music Education
Authors: Paul Deneer  , Gerda van Zelm
Published: September 2024

Faculty research at the Royal Conservatoire The Hague focuses on a wide range of topics relevant to the artistic practice of its teaching staff, to the artistic develop- ment of its students and to the world of musical practice at large. Areas covered include informed performance practice, creative (artistic) research, instrument building, educational research, and music theory.
One strand within the faculty research programme is directed towards the under- standing and the enhancement of the student-teacher relationship in higher music education. Two investigations within that strand – ‘Making Music: Being Heard
and Seen’ by Paul Deneer, and ‘The Teacher-Student Relationship in One-to-One Teaching’ by Gerda van Zelm – were performed in close collaboration. This publica- tion brings together the outcomes of both research projects, including an appendix ‘Reciprocity: The Two Studies Combined’, which offers conclusions and recommen- dations to further enhance the student-teacher relationship in conservatoires.
Help! A Talent! documents and communicates knowledge, understanding and practical recommendations, based on accumulated experiences, theoretical insights and data collection. Its empirical base is the practice of teaching and learning at the Royal Conservatoire in The Hague. The relevance of the findings, however, reaches beyond the confines of this institute. Other conservatoires and music departments might benefit from the insights and suggestions offered. Research into the student- teacher relationship in higher music education is gaining more and more attention lately. This publication is both a contribution to this emerging research field and an invitation to further research.
Help! A Talent! is part of Royal Conservatoire Publications. With this series the Royal Conservatoire aspires to contribute insights and experiences, embedded in its higher music education culture and embodied in the professionals who study and work here. With the publication of Help! A Talent! we support the dissemination of knowledge and understanding, but we also show our commitment to research and our readiness to be in front of the development. In doing so the Conservatoire ma- nifests awareness that today’s higher music education is in constant need to refine and attune its programme to an ever-changing world.
Effects of visual instructions in one-on-one violin lessons
Authors: Mauro Smorto
Published: September 2024

Starting from my personal teaching experience, I have been studying the effect of visual instructions on my violin pupils.

With a detailed analysis of the interactions between students and teacher and the help of 36 observation sheets, I could finally see the effects of enhancing visuals on student’s musical learning.

All conclusions were drawn after taking into account specific studies mentioned in the theoretical framework and with respect to the observations made by three external experts.

This research found further evidence of the link between visualization and critical thinking as well.
Listening to Messiaen’s colourful hands
Authors: Arjen Berends
Published: September 2024

Name: Arjen Berends
Main subject: Master Theory of Music
Supervisor: Dr. Bert Mooiman

Title of Research: Listening to Messiaen's colourful hands

Subtitle: Analysing harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ.

Research question: How to analyse harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ?

Abstract

Olivier Messiaen (1908-1992), one of the most famous French composers of the 20th century, was also known to be a great organist and improviser, as organist of Église de la Sainte-Trinité in Paris for over 60 years. His huge oratorio La Transfiguration de Notre Seigneur Jésus-Christ, composed 1965-1969, includes two entirely homorhythmic movements entitled ‘Choral’. As a listener, I am fascinated by Messiaen's extraordinary approach to harmony. The aim of this research is, therefore, to attempt to understand how best to analyse Messiaen's unique harmonic language.
Many approaches to analysing Messiaen’s music are vertically orientated, including his own way of describing his use of harmony. He himself never discussed the horizontal aspects of his music. Because of his coloured hearing synaesthesia (son-couleur), Messiaen's analyses are particularly special in their manner of addressing the colours of certain chords. A colour analysis by Messiaen therefore may give the listener some insight in the way Messiaen might have perceived his music. This research includes videos with the music and paintings of the colour analyses by Messiaen and two other musicians with synaesthesia of one of the chorales, specially made for this research.
Considering Messiaen’s own lack of emphasis on horizontal aspects of his music, is it possible to understand Messiaen’s music from a horizontal perspective as well? Since the two chorales are homophonic and homorhythmic, the bass and soprano are the most important voices. These parts can be perceived clearly, but the attention of the listener is also caught by other aspects such as the complexity of the chords. It is difficult to determine the precise voice leading of the inner parts because it is ‘blurred’ by the varied orchestration, but by way of harmonic reductions of the chorales, Messiaen’s horizontal compositional techniques can be clarified. This research includes a harmonisation of a melody by Messiaen in the style of the chorales in La Transfiguration.

Biography

Arjen Berends teaches music theory and arranging at the conservatories of The Hague and Utrecht. He graduated in music education at the Utrecht Conservatory, where he also studied classical piano with Henk Ekkel and Martyn van den Hoek. At the Royal Conservatoire of The Hague he completed his studies in music theory with Paul Scheepers, Arie Boers, Diderik Wagenaar, and Ineke Kien. He is répétiteur of Toonkunstkoor Amsterdam conducted by Boudewijn Jansen; he has previously worked with choral conductors such as Louis Buskens, Iassen Raykov and Béni Csillag.
The Share Price Behavior of the IPO Surrounding the Expiration of the Lockup Period. Evidence from IPOs with No Analyst Positive Recommendations
Authors: Md Thani Azlan , Abdul Fatah Muhammad Mukhlis , Shaharudin Shazali bin , Mustafa Mohd Ariff , Mohd Razali Mohd Waliuddin
Published: September 2024

This study investigates the share price performance of the IPOs surrounding the expiration of the lockup period in the Malaysian stock market. The study explores whether the IPOs without analysts’ positive recommendations give a significant positive share price performance in situations of the negative effect of the expiration of the lockup period. The IPOs sample of  281 companies was taken from the period of January 2000 to December 2014. The study applied event study methodology to investigate the performance of the IPO share price. The study found that the IPOs without analysts’ positive recommendations gave an insignificant positive share price performance in the event window of (-10, +10) surrounding the expiration of the lockup period. Whilst, the longer event window (-30, +30) shows a significant positive share price performance surrounding the expiration of the lock-up period
Thermal and mechanical analysis of wheel rim in Formula 1 vehicles
Authors: Kepekci Haydar , Agca Mehmet , Komatina Mirko
Published: September 2024

The wheel rim is a metal or alloy component that holds the tire and connects it to the vehicle. The wheel rims of Formula 1 cars are exposed to thermal stresses during the race and frequent braking at high speeds. In addition to thermal resistance, wheel rims must possess high mechanical durability. Therefore, material selection is crucial, along with the designs of the wheel rims. In the production of wheel rims for Formula 1 vehicles, magnesium, aluminum, and carbon fiber wheel rims are commonly used. Each of these materials has its advantages and limitations. Optimization processes in Formula 1 technology aim to reduce mass while increasing mechanical and thermal properties. Therefore, alloys used in wheel rim production are continuously evolving. In this study, deformation, stress, and temperature values were investigated using the CF) method by exposing Mg AZ80, Al 6061-T6, and carbon fiber to conditions of 300?C temperature, 1 MPa pressure, and 300 km/h speed. Turbulence modelling was carried out using the k-? method in numerical analyses, which utilized a mesh file consisting of approximately 2 million grids. As a result, the highest deformation in mechanical pressure analyses was obtained using Mg AZ80 material. In contrast, carbon fiber achieved the lowest deformation value in the analysis. Regarding thermal results, the lowest temperature value of 282.75?C was obtained from the wheel rim made of carbon fiber, whereas with the use of Mg AZ80 material, this value reached up to 292.03?C. Considering these values, it was concluded that carbon fiber is the most suitable wheel rim material for Formula 1 race cars.
Diffuse Pain Revealing Clinically Unapparent Subcutaneous Sarcoidosis
Authors: Marien Chiara , Kamgang Semeu Prochore
Published: September 2024

Abstract is missing (Short communication)
Media Pop Up Book Berbasis Mind Mapping pada Materi Perubahan Wujud Benda Kelas IV di Sekolah Dasar
Authors: Enung Nurhayati  , Desak Putu Parmiti
Published: September 2024

Pendidikan dasar memerlukan metode yang kreatif untuk membantu siswa memahami materi abstrak seperti perubahan wujud benda. Diperlukan media yang inovatif dan menarik untuk membantu siswa memahami materi. Tujuan penelitian ini ialah untuk menghasilkan sebuah media buku pop up  berbasis mind mapping pada materi perubahan wujud benda kelas IV Sekolah Dasar. Penelitian ini menggunakan model ADDIE (Analysis, Design, Development, Implementation, Evaluation). Subjek uji coba penelitian ini adalah 2 dosen ahli materi dan media, 1 guru serta 20 siswa kelas IV SD. Metode penelitian yang digunakan ialah Penelitian dan Pengembangan (Research and Development). Metode pengumpulan data dilakukan dengan observasi, wawancara serta kuisioner atau angket. Hasil dari uji ahli materi diperoleh skor 96% dengan kualifikasi sangat baik dan ahli media diperoleh 94,5% dengan kualifikasi sangat baik. Hasil uji kepraktisan melalui respon guru kelas IV SD Negeri 3 Penarukan diperoleh presentase 100% dengan kualifikasi sangat praktis, respon siswa perorangan memperoleh 98% dengan kualifikasi sangat praktis serta uji coba kelompok kecil diperoleh 94,2% dengan kualifikasi sangat praktis. Implikasi penelitian ini diharapkan dapat menjadi contoh media inovatif yang dapat diadopsi oleh pendidik dalam berbagai topik pembelajaran. Berdasarkan hasil penelitian, media pop up book berbasis mind mapping dinyatakan valid dan praktis digunakan dalam pembelajaran.
E-LKPD sebagai Bahan Ajar Pembelajaran Berpendekatan Problem Learning dalam Muatan IPAS Sekolah Dasar
Authors: Shafa Ayu Pratama  , Alexander Hamonangan Simamora
Published: September 2024

Penelitian dilakukan berdasarkan belum maksimalnya penggunaan bahan ajar berbasis elektronik khususnya terhadap ketersedian E-LKPD yang bisa membantu proses pembelajaran siswa. Penelitian ini memiliki tujuan dalam mengembangkan E-LKPD berpendekatan problem based learning  untuk meningkatkan hasil belajar mata pelajaran IPAS siswa kelas 5 Sekolah Dasar. Penelitian ini mengembangkan bahan ajar E-LKPD dengan materi Bumiku Sayang, Bumiku Malang dengan menggunakan model pengembangan ADDIE. Penelitian ini memiliki tiga subjek, 1 ahli isi materi pembelajaran, 1 ahli desain pembelajaran, 1 ahli media pembelajaran. Subjek uji coba produk dalam penelitian ini teridi dari 3 siswa kelas VI untuk uji perorangan dan 9 siswa kelas VI untuk uji kelompok kecil.  Pengumpulan data menggunakan Metode wawancara, observasi, kuisioner, dan tes. Penelitian ini menggunakan teknik analisis data kualitatif dan kuantitatif. Hasil penelitian menunjukkan bahwa menurut ahli isi, desain, media, individu, serta kelompok kecil masing-masing memperoleh skor 98%, 96%, 98%, 94,66%, dan 87,77%, masing-masing pada kualifikasi sangat baik dan baik. Hasil uji efektivitas pengembangan E-LKPD berpendekatan problem based learning terdapat perbedaan hasil belajar yang signifikan antara sebelum mempergunakan E-LKPD dan setelah menggunakan E-LKPD yang ditunjukan dengan rata-rata hasil belajar pretest 50,82 sedangkan posttest 79,96. Penelitian ini berimplikasi pada bahan ajar E-LKPD yang mampu meningkatkan hasil belajar siswa dengan komponen-komponen yang menarik serta memperdalam makna belajar dan membuat siswa mendapatkan pengalaman belajar yang menarik dan menyenangkan.
Contemporary Approaches to Qur'anic Hermeneutics
Authors: Sanusi Lafiagi Haruna
Published: September 2024

The problem in this study focuses on the significant changes in Qur'ānic hermeneutics in the modern era, where traditional approaches are often considered inadequate in addressing contemporary issues. This discrepancy creates a need for a more contextualized and inclusive approach to interpretation. This study aims to analyze the transformation of Qur'ānic hermeneutics and offer a more contextual approach without ignoring traditional values. The research used a descriptive qualitative method with a literature review design. The research subjects comprised 15 Muslim scholars and scholars involved in contemporary Qur'anic interpretation. Data were collected through document analysis and in-depth interviews, using an interview guide as an instrument. Data analysis was conducted through content and thematic analysis approaches. The results showed that the contemporary hermeneutic approach is more adaptive to modern social and cultural changes, enriching a more inclusive and contextual interpretation methodology. This study concludes that the transformation of Qur'anic hermeneutics offers interpretations more relevant to the challenges of the times. The implication of this research shows the need for a flexible hermeneutical method to support Muslims' understanding in the modern context.
Digital forensics in the context of digitalisation of modern society
Authors: Baranyak Volodymyr
Published: September 2024

The author substantiates the relevance of digital forensics in the context of digitalisation of modern society, notes the active use of digital technologies in solving various types of illegal activities in the field of computer information, and defines the concepts of “digital trace” and “digital forensics”. The author emphasises the need to develop new knowledge and developments in forensic techniques, standards and principles for evaluating and verifying collected evidence (digital traces), to carry out mandatory standardisation when working with digital information, and to consider and develop appropriate methodology for training specialists in the field of digital forensics. Attention is focused on ethical, legal and privacy issues related to the collection and use of digital data during an investigation, confidentiality and protection of personal information of persons not involved in a criminal offence, compliance of the collection and use of digital data during an investigation with certain legal norms and standards (obtaining court orders for evidence collection, requirements for information storage, observance of the rights and freedoms of persons under investigation), ensuring an appropriate level of protection, storage and transmission of personal information and restricting access to it only on certain grounds. The role of forensics in improving and increasing the effectiveness of the fight against modern crime, including war and cybercrime, through the active use of digital technologies is emphasised.
International experience in the application of agreements in criminal proceedings
Authors: Kantsir Volodymyr , Koval Mariia
Published: September 2024

Further study of the institution of “agreements in criminal proceedings” is appropriate taking into account three main factors: analysis of historical experience, generalization of the practice of applying current legislation and study of foreign experience: criminal procedural legislation and the practice of its application. The institution of criminal proceedings based on agreements is a successful “borrowing” of the legislative experience of other states and belongs to special judicial procedures. Perceived positively by society, as the possibility of an agreement between the suspect or the accused and the prosecutor or the victim provided by law has become a common alternative way of resolving criminal legal conflicts. In the legislation of the European Union, the procedures for making a court decision on the basis of a plea agreement are not completely identical to the practice in the legislation of the United States: the initiative of the parties in resolving the issues of prosecution is transformed by the impossibility of changing the accusation by agreement, and the “passive position” of the court in deciding the procedure for resolving the criminal case proceedings is its limited activity. The special procedure for passing a court decision on the basis of a plea agreement has a procedural legal nature, similar to continental conciliation procedures: they are based on the consent of the parties, but are not related to the conclusion of the agreement by the parties as a process of negotiations regarding its terms, formalization of the agreements reached in a certain way. The subject of agreements is agreement with the charges presented, or the punishment proposed by the prosecutor, or the simplification of the court procedure for consideration of criminal proceedings. Under the influence of the European procedural culture and practice, the agreement in the US legislation on the recognition of guilt acquires new characteristics: the court often shows wide boundaries for consideration (discretion) in imposing punishment; takes an active part in the discussion of the terms of the conclusion of the agreement by the parties; as a result of the prosecutor’s unlimited powers to make decisions regarding the conclusion of the agreement, the latter becomes similar not to a bilateral agreement between the accused and the prosecutor after adversarial negotiations, but to a unilateral determination by the prosecutor of the degree of guilt of the accused and the appropriate punishment for him.