Jazz Master Research Presentations – Livestreamed from Concert Hall Wyck
Join us as our Jazz Master students present their final research projects live Concert Hall Wyck – and online via YouTube!
Each session includes a 30-minute presentation followed by a 15-minute Q&A. You’re invited to join the discussion via the YouTube chat.
May 13
10:30 – 11:00 Master Research Presentation Patrick Britton - Madness and Music: Understanding Erik Satie and Cecil Taylor through the work of Louis Sass and Iain McGilchrist
11:00 – 11:15 Q & A
Link: Patrick Britton
ABSTRACT:
The purpose of this research is to firstly explore the potential relationship between modernist philosophy, artwork, 20th century music, and schizophrenia, inspired by the work of Louis Sass. The second aspect is an exploration of the potential application/relationship between symptoms of schizophrenia and compositional in music. This paper will present a review of schizophrenia, a list of symptoms, some insights opposing popular stereotypes, and an in-depth exploration of the psychology of persons with schizophrenia for readers unacquainted. A selection of artists, philosophers, and authors of the [post-]modernist era will then be discussed as examples of the presence of symptoms/thought structures of schizophrenia present in culture. This paper will then settle some mischaracterisations of jazz and schizophrenia found in articles online – followed by an in-depth look at Erik Satie’s art and Vexations, as well as Cecil Taylor’s approach to music. Lastly, I will examine own compositions in relation to what has been previously discussed about schizophrenia, and search for, if possible, potential semiotic relationships between compositional tools and schizophrenia.
13:00 – 13:30 Master Research Presentation Davids Morozs-Bejers - Exploring the Interplay of Philosophy and Contemporary Jazz Music
Shaping Artistic Expression and Creative Process
13:30 – 13:45 Q & A
Link: Davids Morozs-Bejers
ABSTRACT:
This thesis explores the intersection of philosophy and contemporary jazz composition through the lens of authenticity, ideology, and existential reflection. Rooted in a practice-based artistic methodology, it investigates the philosophical dimensions embedded within the process of creating original compositions, drawing inspiration from thinkers such as Martin Heidegger, Jean-Paul Sartre, Slavoj Žižek, Theodor Adorno, and Rainer Maria Rilke.
Central to the research is the question: “Do we really know what we are doing?”, a reflection on the tension between artistic action and intellectual understanding. Sub-questions delve into whether music creates its own meaning or merely shapes perception, whether it can reveal truth or reinforce illusion, how authenticity is navigated in modern culture, and whether we shape culture or are shaped by it.
Through the analysis of six original compositions: Wie man lebt?, Love is a Beautiful Catastrophe, Aufgehen, Zwei Einsamkeiten, Trotz Allem, and No More Words. The thesis integrates musical analysis with philosophical inquiry. The compositions embody existential uncertainty, emotional paradoxes, and ideological critique, utilizing jazz harmonies, chromatic shifts, and lyrical structures to reflect complex philosophical themes.
The study also applies Hegelian dialectics as a compositional framework and engages with the commodification of music, the illusion of choice in digital culture, and the ideological ambiguity of pop phenomena such as Rammstein and Gangnam Style. Authenticity is examined not as a fixed state but as a continuous process of self-discovery amidst external pressures.
Ultimately, the thesis argues that music is both a language of the soul and a philosophical tool—a space where personal truth can emerge through sound. Rather than offering final answers, it proposes music as an open-ended journey toward meaning, inviting both creator and listener to participate in the ongoing search for authenticity in art and life.
Tue, May 27 | ROM 17
10:30 – 11:00 Master Research Presentation Aleksandrs (Sacha) Mariničevs - Structured Approach to Introducing Open Strings in Tonal Jazz Improvisation
11:00 – 11:15 Q & A
Link: Aleksandrs Mariničevs
ABSTRACT:
I’ve become interested in creative application of open strings quite early in my guitar practice and tried to apply them whenever I had opportunity to. However, I always felt that I’m lacking a certain overview of the options I have and whenever I tried to integrate them in my playing on a deeper level I lacked understanding what I’m doing. This research is an attempt to give somewhat of a structured view to the applications of open strings.
Through coming up with different strict rulesets concepts and exercises I’m trying to create a logical progression in which I would approach open strings and integrate them into my musical vocabulary.
After 2 extensive cycles with different approaches, I’ve made some conclusions and found certain things that work well. Further research is needed to fully confirm those, but the process has already been very helpful for my own development.
As part of the research I have created many examples (exercises) of different unique voicings as well as 2 jazz standard arrangements, 1 film score arrangement and an original tune inspired by these concepts.
13:00 – 13:30 Master Research Presentation Tizaan Alphonso - Finding Your Own Sound
13:30 – 13:45 Q & A
Link: Tizaan Alphonso
ABSTRACT:
This research, titled Finding Your Own Sound, explores how one can develop a unique and personal artistic identity by combining elements from Soul, Funk, RnB, and Jazz into accessible yet complex compositions. The research originates from a personal artistic journey, driven by the ambition to move beyond genre boundaries and find a distinctive musical voice.
The methodology combined literature review, analysis of influential works by artists such as Esperanza Spalding, Cory Henry, Quincy Jones, and Michael Mayo, alongside qualitative interviews with professional musicians, and a practical workshop titled The Art of Groove: Finding Your Own Sound. The final and most significant step involved the detailed harmonic, rhythmic, and stylistic analysis of three of my own original compositions from the EP Take it or Leave it (2024): Need Em Blues, Do The Math, and Take it or Leave it, including peer and audience feedback collected during concerts and workshops.
The results show that achieving a balance between complexity and accessibility is possible when carefully combining the harmonic richness of Jazz, the groove and rhythmic focus of Funk, the emotional depth of Soul, and the vocal phrasing typical of RnB. The reflections gathered confirm that the blending of genres not only creates artistic uniqueness but also enhances communicative power with audiences.
Despite challenges, such as time constraints, visa-related limitations, and the sheer complexity of genre analysis, this research ultimately provided valuable insights and actionable methods for developing a recognizable and personal musical identity — answering the main question: How can one find their own sound?
Wed, May 28 | ROM 17
10:30 – 11:00 Master Research Presentation Moritz Schippers - Nocturnal Musings
Analyzing and Recontextualizing the Intricate Piano Harmonies of Marc Copland on the Album Night Whispers
11:00 – 11:15 Q & A
Link: Moritz Schippers
ABSTRACT:
This research project aims to map out the core elements of Marc Copland’s harmonic expression on the album Night Whispers and from where they hail. Furthermore, it explores how to incorporate these elements into one’s own music in a creative way, steering away from the original application in an acoustic piano trio towards keyboard sounds and ensemble writing. To achieve these goals, a detailed analysis of sources ranging from recordings of Copland and the jazz piano masters to interviews with Copland and his contemporaries is employed. Additionally, a closer look at the theoretical background provides an understanding of the make-up of Copland’s concepts.
For the background analysis, an exploratory research design is employed, as scholarly material on Copland is rare. The creative process of this research, formed through various interrelated aspects, can be characterized by the iterative cyclic web described by Smith and Dean.
The notion of improvised linear movement playing an overarching role in Copland’s music is a recurring theme in the research. However, isolating and recombining more concrete harmonic events can lead to an idiomatic representation of Copland’s sound.
With careful usage, the harmonic elements found can be reapplied to many contexts and prove to be a springboard from which to launch new creative expression.
Using just one of these elements as the nucleus for a new composition can spark inspiration and lead to new, creative pathways that carry the personalized sound of the individual composer in the forefront.
13:00 – 13:30 Master Research Presentation Ray Hijink - Alexander Scriabin's Approach to Composition - How the extramusical shaped Scriabin's musical approach and how it can shape our musical approach
13:30 – 13:45 Q & A
Link: Ray Hijink
ABSTRACT:
Lead sheets are commonly used in today’s music. Only melody and chord symbols are notated. I find this, in my pianistic view as a composer, very limiting. A listener is perceiving a composition in its entirety. All individual parts and these parts working together can make a composition attractive to the ear. A substantial amount of repertoire written for solo piano, can be found in classical music. All the previously mentioning leads me to analyze a classical composer. The goal for this research is to find inspiration in classical music, however, not necessarily compose in this style. I’ve chosen a composer who wrote mainly for solo piano, has a deep understanding of what came before him, experiments with complex harmonies and atonal music, and above all has an emotional aspect that resonates with me. My personal favorite composer: Alexander Scriabin.
As I’m not fully classically trained, there is some preparatory studies that I did before diving into Scriabin works. This research starts with learning about classical composing in general. I mostly used Schoenberg’s Fundamentals of Musical Composition. As I went into my research it came clear to me that there is an extramusical layer in Scriabin’s works. The structure for this research is as followed.
How do we analyze piano works?
How did the extramusical shape Scriabin’s musical approach?
How can the understanding of Scriabin’s influences shape our own compositional approach?
To make the research as accessible for everyone I’ve decided to format it in a blog. In this way it’s easy to access the compositional tools at any moment. I personally use this blog as a guide while composing. And I hope others find this helpful as well.
Tue, June 3 | ROM 17
10:30 – 11:00 Master Research Presentation John Maeng - Exploring Melodic Composition Techniques
11:00 – 11:15 Q & A
Link: John Maeng
ABSTRACT:
This study showed that techniques like Cantus Firmus, Chromatic Inversion, Alphabetic Junction, and Morse Code can help make new melodies. Especially when it’s hard to start composing, these techniques help by following simple rules and creating unexpected melodies. They positively affected the composition process, especially when there was no inspiration because they allowed me to develop melodies quickly.
To understand how composers use specific techniques, I first tried them to get a feel of it. Then, I looked at music by classical, jazz, and contemporary musicians who used these techniques in their compositions. I saw how each musician changed the techniques to fit their style. From this, I learned I can mix and adjust these techniques to create something unique in my music.
This study explains how the techniques work and how they can be changed to show different possibilities. I hope this research helps musicians who, like me, used to rely only on inspiration and wait for it to come. I also hope that by using these techniques, they can modify their own versions and discover new approaches I hadn’t thought of before.
13:00 – 13:30 Master Research Presentation Samuel Forster - Imitate, Assimilate and Innovate
Practice-led Research on Wes Montgomery’s Album Smokin’ at the Half Note with the Wynton Kelly Trio
13:30 – 13:45 Q & A
Link: Samuel Forster
ABSTRACT:
The aim of this research through a practice-led approach is to follow the imitation, assimilation and innovation process from Clarke Terry (O’Donnell, 2025) and apply it to Wes Montgomery’s 2005 rerelease of ‘Smokin’ At The Half Note With The Wynton Kelly Trio.’ Jazz has long been an aural tradition learnt through copying records. As a result, the lineage of the music can be traced by looking at who each musician copied. Each innovative musician first had to imitate their mentor before developing their distinct style. As institutions for jazz education have developed this approach has been somewhat overlooked and there is very little academic research on the learning process. This paper will examine the imitation, assimilation and innovation process through the transcription, analysis, imitation, assimilation and innovation of eight solos from jazz guitarist Wes Montgomery. Each step will be documented through video journaling and written reflections. Through the transcription analysis of Wes Montgomery, insight is sought into what musical ideas Montgomery uses that are idiomatic to his style. Through the imitation of the performance and the assimilation of Montgomery’s music, the goal is that I will begin to place myself into the large lineage that follows Montgomery. Although this process is one that takes many years, it is hoped that this research will illuminate the path for the coming years and demystify the process for others who wish to do the same.
15:30 – 16:00 Master Research Presentation Seonghee (Stella) Lee - Analysis of Instruments That Can Be Performed in a Duo with a Pianist and Correlation of How It Can Be Related to the Pianist's Individual Execution
16:00 – 16:15 Q & A
Link: Stella Lee
ABSTRACT:
This study explores the musical interaction, technical skills, interpretation, and role changes of performers in jazz piano-centered duo performances. Also referred to as a "duet," a duo is a small jazz ensemble consisting of two musicians, as opposed to larger ensembles like trios, quartets, or quintets. A jazz duo is more than just a performance by two musicians; it is one of the most intimate and dense forms of performance, where the individuality, interpretation, and interactions of each performer are directly reflected in the music. In the absence of a rhythm section or other parts, the two performers are solely focused on each other’s playing, collectively creating the music. In such a limited setting, interaction and improvisational communication become crucial elements, requiring a deep sensory exchange and trust between the musicians.
In duo performances, key elements such as musical dialogue, tonal balance, dynamic control, rhythm, and harmonic interaction play a significant role. Recognizing the limitations imposed by my relatively small hands, especially in solo and duo contexts, I have turned this into a focal point for developing adaptive techniques. By identifying my performance weaknesses and working to transform them into strengths, I aim to develop my abilities as a performer on a deeper level.
Additionally, by analyzing actual duo performances, I aim to compare and observe various musical elements, expanding my musical thinking by viewing music from multiple perspectives. Based on this analysis, through personal experimentation and practice, I will focus on the aesthetic qualities and practical strategies of jazz duo performances, aiming for substantial growth as a performer and exploring the application of these insights in future duo performances.