A. GENERAL
1. Artistic research, why?
Introduction – Eureopean guidelines on the integration of research in higher artistic education
The integration of research into the arts is the result of European guidelines (Bologna), which state that all master diplomas within higher education are equal. To align all diplomas, it is therefore necessary to introduce research into the curriculum. Research within the Arts, as part of the master examination, means that the artistic performance can be seen as the result of artistic research. This research is conducted before as well as during the realisation of the artistic performance. The basic idea of a musical education programme is to produce conscious, well-informed, critical musicians who are in touch with a broad cultural context and are able to work with intuitive, emotional and spiritual contents and integrate these contents into the realisation of a work of art. Artistic research at the Koninklijk Conservatorium Brussel concentrates on the following aspects: - the acquisition of knowledge and skill - the ability to handle intuitive, emotional and spiritual contents - the integration of these elements in varying proportions, which results in the realisation of a work of art that positions itself in a wider social context.
2. Artistic research, what?
All research –within, about or through the Arts – is conducted in three stages. For the research report within the Arts, it is necessary to illustrate and formulate the first two stages of the research.
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- The research question
- The research trajectory
- The research result
a. The research question
The research question within artistic research is an artistic problem regarding the research process and the final artistic result. For performing artists, one of the fundamental questions is: “How can I make sure my performance is well-founded and embedded in the cultural landscape?” For creating artists de research question is: “How can I make sure that my creation is well-founded and embedded in the cultural landscape?”
b. The research process
Unlike science, art thrives on the unexpected, the surprising, the non-systematical. Therefore, the development of a systemic research method is irrelevant for the arts, nobody is interested in sterile, so-called „academic‟ art. The research method in the arts could be described as an individual and intuitive search for a coherent, artistic result. After you have formulated a clear research question, you need to systematically search for relevant sources. Master students should be able to find and incorporate the most relevant sources –i.e. those sources that underpin your interpretation of the recital/work of art. Which sources you consult will depend on you research question. As a master student, you need to prepare a recital/ work of art and tackle all the artistic, organizational, psychological, fysical, and time-management problems you will encounter. The preparation of the recital/work of art, the research process, is essentially driven by the sources that have been consulted, such as concerts, recordings, interviews, analyses, literature study… The research process also includes an interaction between the anticipated research result (i.e. the recital/work of art) and the artistic inspiration and impulses of the moment. Every recital/work of art is a test of your research process. To validate this process as proper research, it needs to be made explicit in a written research report. This can be supported by other media such as cds, video, etc… You will be asked to defend this report orally in an interview with the jury. It is important that the student can reflect on and communicate his or her artistic assumptions, the choices and the objectives which will be judged by the jury. The coherence between the research process, the final recital and the interview is crucial assessment by the jury.
c. The research result
The research result is the realisation of the work of art itself (the recital, the composition, the fugue, the chorale etc)
3. The master examination
The master examination consist of two components:
- A written research report and oral assessment: a report containing the research question and the research process
- A practical test or recital(s): the research result
The research report is a description of the research question and the research process with mention of the used sources. It contains all the experiences, findings and conclusions of the research process and describes the evolution in the preparations for the recital/work of art step by step. The written research report is further explored orally during the interview (15 minutes) with the jury. This interview will take place after the final recital and is not open to the public. When editing the written research report, you should consider how you will clarify orally during the interview what you have written down. The written report and oral assessment count for 20% of the total marks. The better you prepare yourself, the better your marks for the recital/work of art (80% of total marks) will be! The recital will be recorded, the interview is not. All written documents as well as the recording will be kept as substantiation of the master examination.
4. General structure and content of the writing research report
The written research report consist of three parts:
Part 1: The research question and explanation
Part 2: Description of the research process
Part 3: List of relevant sources
Part 1. Research question and explanation
a. The research question: what will your research topic be?
The research question or premise is simply asking yourself “What is the problem?” or “What will I be researching?” The research question will be different for each field of study:
Music theory/Music writing:
“How can I make sure that my creation, i.e. fugue, chorale or analysis, is well-founded and embedded in the cultural landscape?”
(Jazz) Composition:
“How can I make sure that my composition is well-founded and embedded in the cultural landscape?”
Direction, Instrument/Voice, Chamber music and Jazz/Light music:
The programme of the recital “How can I make sure my performance, i.e. the recital, is well-founded and embedded in the cultural landscape?”
The correct notation of your programme or portfolio data:
First name Last name, (date), titel, key, opus number or other indication (date) Number of movements.
Example:
Wolfgang Amadeus Mozart (1756-1791), concerto in C, voor piano en orkest, nr. 8, KV 246 (1776)
Allegro aperto
Andante
Tempo di Minuetto
b. Explain the choice of your research topic What was the reason you chose this particular work for your recital and in what context?
As a performing musician, you will of course choose pieces that you like for your final recital or as a creative artist you will create a work of art that is 'you'. But there has to be more to it. Undoubtedly there are also objective and rational motives involved. What artistic identity do you want to show the jury? Maybe the work you have chosen is perfect to show your technical or skills? Or perhaps a particular piece is in lign with another one you have already inserted in your programme or you need a certain piece to have a varied and pleasant recital? Is the piece valuable for your artistic development? Try also to put the work you have chosen into a broader context. What can it mean to the artistic world in general? Maybe the piece is unknown? Or you want to give it a new interpretation? Does this recital deserve a place in the contemporary artistic scene? In other words: try formulating your personal motivation and situate your recital/work of art in a broader, cultural context.
Part 2. Description of the research process
This part contains a global description of the research process that culminates in your recital/fugue/chorale/composition. The evolution of the process is the most important factor. It means you need to be able to show that you can find relevant sources for you research and that you can handle the content in a critical way. You will also need to explain how the artistic choices you made have influenced your result. The coherence between this description and the recital is important.
The final objective is not scientific knowledge in itself, such as biographical knowledge or analyses of certain pieces. The idea is to discuss relevant information you will extract from them. The preparation of the recital/portfolio is a very personal process, everyone will accentuate different aspects. The preparation of an artistic performance consists of several distinct facets and will be approached and described differently every time. Your research contains several angles with one main objective: your musical development and maturity. How have the pieces you have chosen evolved? And why? The following aspect need further consideration: The nature of your performance is the basis and main focal point of your approach. This implies well-founded ideas on artistic performance practice, pace, crescendos, underlying emotion, your changed vision throughout the study process. Technical difficulties you need to overcome before you can reach a good performance. Maybe the composition did not take difficult modulations, fingering, grips into account? Are there certain techniques you have had to master separately and how did you do this? A third aspect could be physical problems. Maybe your study time was reduced for physical reasons? Or did you have to change your posture/embouchure? Etc You could even go further and discuss possible psychological problems. Did you suffer from stage fright, and did you overcome this anxiety? Mind, the facets mentioned above are general guidelines, if irrelevant they do not all need to be discussed and they are not exhaustive either. If you have a different angle you would like to discuss, just ask if it is feasible. All the layers of your research need to be coherent with your recital and be underpinned by your sources.
Part 3: Sources
It is necessary to mention the sources you use because your research trajectory need to be traceable. This is important for various reasons. First of all it enables the jury to picture the artistic process that has led to the work of art or performance: how are the sources interpreted? Secondly, it is important to respect the intellectual property of authors. And finally, references to sources you have used, such as historical documents books, articles, recordings, workshops, concerts etc can be of interest to other performers, composers, theoretics, musicologists, melomaniacs and others interested in the same artistic process. The way to mention the sources is subject to convention. It is important that all identifying details of the source are mentioned. Different formats exist, and it is not important which format you choose, as long as it is consistent. Below you will find a simple and clear way to mention your sources, based on the principles of the Music Library Association (US):
A book: AUTHOR, P. S., title of the book, Place, editor, 2009, number of pages.
An article: AUTHOR, P.S. & A. ASSISTENT, The title of the article in The title of the book or magazine, Volume 14 n° 6 or Place: Editor, 2009, pp.57-81.
Cds, Dvds and other multimedia: COMPOSER, P.S, Title of the CD, [performed by], A. Performer, Place, Label, 2010, Cd-number. Example: Mozart, Wolfgang Amadeus, Don Giovanni, Libretto by Lorenzo da Ponte, [performed by] Eugene and Herbert Perry, Dominique Labelle [et al.], Arnold-Schönberg-Choir, Wiener Symphoniker, Craig Smith [conductor], Peter Sellars [director]. London, Decca, cop. 1991, 071 4199. 2 videos + booklet.
Internet sources: mention de author, title, URL (Uniform Resource Locator) and access date:
Koninklijk Conservatorium Brussel, HYPERLINK "http://www.kcb.be/pages_bib_nl/frw/home.htm"http://www.kcb.be/pages_bib_nl/frw/home.htm, accessed 15 July 2008.
Concerts: COMPONIST, P. S., Titel, performed by A. Performer, City, concert hall/organisation, date.
Example: Brussels, Koninklijk Conservatorium, 2. November 1976
5. Examination criteria of the recital/work of art and the written and oral research report
The jury will answer the following question in their report:
1. The programme as well as the performance are based on thorough and methodical artistic research. The used sources are of a sound level, comprehensive and contain relevant information (also on international level).
2. The student is able to reflect on and communicate his or her artistic basic assumptions, choices and objectives. Research, artistic performance and interview are coherent and sound.
- Specific competences by field of study:
- Instrument: stage presence, technical skill, artistic expression, knowledge of styles and instrument-specific competences (e.g. knowledge of voice types for singers)
- Theory and music writing: technical skill and insight, knowledge of styles, originality, artistic expression and awareness of quality
- Composition: technical skill, personal language, originality, knowledge of styles, artistic expression
- Direction: technical skill, knowledge of styles, artistic expression, knowledge of the scores, contact with the orchestra
- Jazz: stage presence, technical skill, artistic expression, knowledge of styles, group integration, quality and originality of improvisation
6. Promotor and timing
The preparation of your recital/work of art and the research report (written and oral) will be mentored by the teacher of your main subject, you will discuss the timing of the research process with him/her. If you need any help by teachers of other subjects such as music history, analysis, music writing and harmony, do not hesitate to ask them. The incorporation of the material you have found, however, will be done in concurrence with the teacher of your main subject. Seven copies of the written research report will need to be handed in at the student administration 3 weeks before the final recital at the latest. If possible, please also provide an electronic copy via email to ivan.verheyen@ehb.be.
B. The master examination by field of study
1. Music writing/theory
Music Writing
Part 1 An example of a valid research question is: “How can I achieve a personal artistic realization of a fugue?”
Part 2 Consists of the research report and a portfolio with critical comments (years work: two school fugues and one free fugue)
Some guidelines and suggestions concerning the research report:
On specific aspects such as:
- subject: compulsory subject, existing subject (own choice, why), own subject (how has this come into being)
- vocal or instrumental fugue – why
- mutation according to common methods or deviant
- number of parts (two-three-four-five-six voiced) – why this choice
- personal vision on the subject through own countersubject and codetta
On the general structure and form:
- structural components/different key sections, synthesis, proportion, syntax
- why this form: elaboration according to with an academic model (school fugue)
elaboration according to an existing model (which work/composer)
elaboration according to own concept (which works were useful/inspiring/illustrative)
- addition of a personal touch
- explanation of specific aspects of each separate outer movement
Expositions: how many expositions – number of entries per exposition – choice of type (tessitura, variation, musical expression) – choice of key – order of entries – countersubjects – various subject forms (inversion, diminution, augmentation) – application of stretti
Divertimenti/Transitions: choice of each element (where does it come from) – mutual combination and creative incorporation of elements – single, double or triple counterpoint – positioning of the elements (symmetrical or according to the procedure of the school fugue) – which circle of fifths or other modulation scheme
Stretti: structure of each stretto exposition – diverse subject forms (inversion, diminution, augmentation) – “real stretto”
Dominant/Tonic pedal: characteristics and personal elaboration
On the stylistic concept
arguments for using stylistic concepts versus general notions of stylistic concepts
On polyphonic writing techniques
explanation of the contrapuntal writing/linearity
- specific problem definition of double and triple counterpoint
- partwriting in function of independence/equality of the various voices
Music Theory
Part 1 An example of a valid research question is: “How can I achieve a personal artistic realization of a contrapuntal chorale?”
Part 2 Consists of the research report and a portfolio with critical comments (two contrapuntal chorales and the analytic studies of Analytic Counterpoint).
Some guidelines and suggestions concerning the research report:
1. Own work
- Chorale: compulsory chorale, existing chorale (explain choice)
- origins chorale melody: history
- personal vision on each chorale sentence : own decorative theme and secondary themes (harmony, rhythmic and/or melodic characteristics, expression, variation)
On harmonization:
- diverse harmonic interpretations of each chorale sentence: why this harmonization (timbre, variation, expression)
On the general structure and form
- structural components/different key sections, synthesis, proportion, syntax
- why this form?
elaboration in accordance with an existing model (which work/composer) addition of personal touch
- explanation of specific aspects of each separate outer movement
expositions: choice of key – order of entries – voice use (fugal structure, tessitura, variation, musical expression) – various theme forms (inversion, diminution, raising)- contrapuntal process (various combinations, stretti)
cadences: different types – which, why according to a model from literature – which work or composer, which own elaboration
transitions: which modulation scheme – choice of elements – mutual combination and creative incorporation of elements
dominant/tonic pedal: characteristics and personal elaboration on the stylistic concept motives for using stylistic concepts versus general notions of stylistic concepts on polyphonic writing techniques
- explanation of the contrapuntal writing/linearity
- application of diverse polyphonic writing techniques
- partwriting in function of independence/equality of the various voices
2. analytic works – commenting on examples from literature
- compulsory work or own choice of work (explain choice)
- setting of work within music-historical context and evolution
- setting of work within its style period
typical style characteristics of period and/or composer
specification of contrapuntal language: modal, tonal, posttonal
- diverse contrapuntal structures/show and illustrate elements
- see remarks under 1. own work for information on method
Composition
Part 1 Research question: how to achieve a personal composition?
Part 2 Consists of a portfolio and the repertoire for the master examination, with a critical reflection. This reflection will demonstrate the improvements to the process of each composition and how these improvements influence later work.
Recordings are therefore of great value to evaluate the evolution of the composition process. The research report contains mainly the final examination, and should contain the following elements:
- justification of the choices of the instrumentation
- reasons for the choice of language, concept and form
- theoretical sources that were used to create the composition
- masterpieces that inspired the composition
Orchestral instruments / Conducting
Part 1 Consists of the complete programme of the recital(s) with a short explanation on the choice and order of the compositions. The research question to be answered is: “Which artistic form do I want my exam program to take?”
Part 2 The research report:
Possible research questions are:
- which source of inspiration/models have been useful?
- which kind of problems was I confronted with?
- what choices did I have to make?
- which courses/master classes did I take?
- which repetition or coaching did take part in?
- which concerts or performances did I go to?
- which CDs and what literature did I study or listen to?
- what concerts/ auditions did I play as preparation for the recital(s)
- which fundamental technical problems did I have to solve (sound, fingering technique, articulation, dynamic, tempo, intonation, rhythm) and how did I do this?
- In what does my interpretation differ from others? (personal artistic interpretation in tempo, articulation, phrasing, dynamics), on what basis did I make these choices? (traditional, own artistic intuition, music-historical setting, knowledge of performance practice, own musicological research or that of others)- which manuscript, which old or modern edition was my starting point, why this choice?
- can we speak of a transcription? If so: what is the original, who made the transcription? what are the consequences for the performance?
- if applicable, how was the collaboration with the pianist-accompanist?
Historical Instruments
- why did you choose this particular instrument?
- why did you choose this particular accompanying instrument?
- if the instrument is basso continuo: with or without the amplification of cello, viola da gamba or bassoon and why?
- why did you choose this particular tuning?
Voice
- Knowledge of orchestration/basso continuo and how do you interact with these in your performance?
- Knowledge of the original text (poem as published, book on which the libretto is based etc.)
- Setting of song/aria in context of the complete work (opera, oratorio, cycle) ?
- For which type of voice was it written originally?
- Why did you choose this character from that opera?
- Elaboration of body language, movements, clothes, or even make-up
- Specific elements of countertenor repertoire
Chamber Music
Full attention will be given to group dynamics and teamwork.
Remarks:
- If the candidate considers it to be useful, he/she can add to Part 2 a musicological, cultural, sociological… context as a preface. If these auxiliary sciences are used, the methodology of these sciences will have to be taken into account. Please consult teachers of music history and cultural sciences if you consider this.
- If the candidate considers it to be useful, he/she can add an analysis to Part 2. Please consult the teachers of music writing, composition and analysis if you consider this.
- The research report and interview relate to the complete programme of the recital(s). It is possible, however, that the candidate chooses to focus on a deeper analysis of one particular piece, without having to do so for the complete programme.
- The preparation is directed at a specialised jury. The evaluation is carried out by „peers‟. There is no need to explain common concepts.
- Each master examination is unique. If two students happen to play exactly the same programme, their master examination will still be different as this is not a musicological approach to the programme, but a focus on the artistic approach. This will be different for each performer.
- Complementary to the research report, a cd, dvd or other non-textual information can be added.
Jazz Instrument / Voice
Part 1 consists of the complete programme of the recital(s) with a short explanation on the choice and order of the compositions. The research question to be answered is: “ How can I come to a personal artistic realization based on original recordings?”
Part 2 consists of a portfolio and a research report. This is the explicit explanation of the artistic process that has led to the artistic examination performance. Used sources and the critical way in which they have been used in the artistic process are discussed here. This process, as examined in the subject „heuristics of jazz‟ which is a part of the main subject, has five stages:
a. Transcription of four jazz solos
b. Preparation of the jazz solos for publication
c. Performance on the first examination in unison with the original recording
d. Music-historical analysis (melodic form, thematic form, rhythmic form, harmonic, contextual…)
e. Assimilation in function of personal artistic realization
The stages a to d need to be discussed in the portfolio. The artistic process that has led to the artistic realization of the examination programme needs to be explained explicitly in the research report.
Possible research questions are:
- which source of inspiration/models have been useful?
- which kind of problems was I confronted with?
- what choices did I have to make?
- which courses/master classes did I take?
- which repetition or coaching did take part in?
- which concerts or performances did I go to?
- which CDs and what literature did I study or listen to?
- In what does my interpretation differ from others? (personal artistic interpretation in tempo, articulation, phrasing, dynamics), on what basis did I make these choices? (traditional, own artistic intuition, music-historical setting, knowledge of performance practice, own musicological research or that of others)
Jazz Composition / Arrangement
Part 1 consists of the complete programme of the recital(s) with a short explanation on the choice and order of the compositions. The research question to be answered is: “ How can I come to a personal artistic realization based on original recordings?”
Part 2 consists of a portfolio and a research report. This is the explicit explanation of the artistic process that has led to the artistic examination performance. Used sources and the critical way in which they have been used in the artistic process are discussed here. This process, as examined in the subject ‘heuristics of jazz’ which is a part of the main subject, has four stages:
a. Transcription of four jazz compositions/arrangements
b. Preparation for publication
c. Music-historical analysis (melodic form, thematic form, rhythmic form, harmonic, contextual…)
d. Assimilation in function of personal artistic realization
The stages a to c need to be discussed in the portfolio. The artistic process that has led to the artistic realization of the examination programme needs to be explained explicitly in the research report.
Possible research questions are:
- which source of inspiration/models have been useful?
- which kind of problems was I confronted with?
- what choices did I have to make?
- which courses/master classes did I take?
- which repetition or coaching did take part in?
- which concerts or performances did I go to?
- which CDs and what literature did I study or listen to?
- In what does my interpretation differ from others? On what basis did I make my choices?