Bass Players Research Articles

An Analysis of Double Bass Vibrato

The purpose of this study was to investigate the rates, widths, and pitches of university double bass players’ vibrato in relation to pitch height, fingers used, and tempo. Forty ( N = 40) undergraduate and graduate double bass players performed excerpts in first, fourth, and thumb positions. The overall mean vibrato rate and width was 5.17 Hz and 19 cents. Analyses indicated that university double bassists employed faster vibrato rates and increased width as they performed in progressively higher registers. The third and fourth fingers vibrated the fastest, but the second finger produced the largest width. Musical examples played with a fast tempo were both faster and wider (5.35 Hz, 20 cents) than musical examples played with a slow tempo (4.94 Hz, 19 cents). Participants vibrated almost equally above and below the in-tune pitch—overall mean pitches of vibrated and non-vibrated tones varied by 1 cent. Music educators may use these results to create more consistent descriptions of double bass vibrato and, potentially, more efficient methods for teaching vibrato.

Agency, Social Organization, and the Musical Practices of Jazz Bass Players in Australia

The democratic and agentic social meanings of jazz and improvisation have been widely understood in relation to US history; however, performing jazz musicians’ everyday experiences cannot necessarily be understood in the same way. Performing in jazz ensembles is a complicated experience, one in which musical roles are negotiated, restricted, or liberated, sometimes in the course of performance as a form of improvisation and at other times in the rehearsal work that surrounds such events. As such, the everyday experience of a musician’s career can significantly affect the social encoding of appropriate musical performance practices associated with the instrument and its role in the ensemble. Drawing on ethnographic research conducted with jazz double bass players in Australia, this article uses this global location as a case study to explore the social expectations that affect the musical practices of bass players when working as accompanists. The article examines this side-person role, its benefits, pitfalls, and practical realities, suggesting that the relationship between the musical practices, ensemble hierarchies, and social meanings of jazz and improvisation is contingent on context. I argue that what governs the way the bass players in this case study perform is a duality of economic imperative and creative desire.

CHARACTERISTICS OF HEARING THINGS ON MUSIC PLAYERS AT GPT BAITHANI DENPASAR

Background: Noise Induced Hearing Loss (NIHL) is hearing loss due to exposure to loud enough noise for a long period of time. The deafness characteristic of noise-induced hearing loss is that cochlear sensorineural deafness that cannot be treated. Playing music is one of the important risk factors that can lead to noise-induced hearing loss among musicians. Musicians in the church regularly play music for every worship event at the church. Therefore, researchers want to know the threshold of hearing among musicians at GPT Baithani Denpasar.
 Methods: This study is a descriptive study using a cross sectional design, by taking primary data from history taking, physical examination and audiometric examination. Samples were taken by means of total sampling. Data analysis was carried out using the SPSS 24 program and the research results were presented in the form of tables and narratives which were then described descriptively to describe the characteristics of the subjects and research variables.
 Result: This study involved 18 samples, all male (100%). The age range of music players is between 18-40 years, and they have been playing music for more than 5 years. Music players consist of 5 instruments, namely three keyboards (16.7%), six bass players (33.3%), four guitars (22.2%), four drums (22.2%), and one violin (5.5%). The incidence of NIHL found one musician with a duration of practice seven times per week (5.6%), one musician with a six times per week (5.6%), and one musician four times per week (5, 6%).
 Conclusion: There is a mild degree of hearing loss as many as three music players (16.7%). One music player has interference in the left ear, one music player has interference in the right ear, and one music player has interference in both ears
 Keyword: Noice Induce Hearing Loss (NIHL), music

P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities

Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in double bass didn’t exhaust itself. After many years of active work in the symphony genre, P. Hindemith again turned to it as a solo instrument in the Sonata for Double Bass and Piano – the peak of the evolution of this instrument in his music. However, the formation of the sound image of the solo double bass in the composer’s was gradual since the 1920s. The Eight Pieces for Double Bass Solo, which were an important step on this path, despite being intended for home music, laid not only the foundations of a sound image of the double bass, but also the aesthetic basis of the instrumental theater.

The German Bow in Tango Music

This artistic research compares French and German bow techniques in Tango music. I have been playing for a couple of years with a German bow when I play classical repertoire, and a French bow when I play tango. Considering that Tango has changed and added many things throughout its history, I wanted to investigate why the tradition of playing with a French bow is still extremely strong. So that is why the main question of this work is how to approach Tango music for double bass using a German bow technique? To answer this question I have been studying the method "The bass in tango" published by Tango sin fin, that approaches all of the elements from the perspective of the French bow. However, I have studied this using the German bow technique. I have found that you can play Tango with both techniques, but you cannot follow the same instructions to find the same results. This is mainly because of the anatomy of the bow. Additionally, because there is not a strong tradition outside of Argentina of typical orchestras or soloists that play beyond Piazzolla the tradition of playing with a French bow is still strong. After finishing this research, I would like to continue working on this subject through a new repertoire in a personal search to improve my performance as a tango player and then share this knowledge playing concerts or teaching with other double bass players.

Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith

Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

BENTUK PENYAJIAN KESENIAN KASIDAH REBANA DALAM ACARA PESTA PERKAWINAN DI JORONG SAROHA TAMIANG KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT

AbstractThis research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be presented in a wedding party.The presentation form of Kasidah Rebana in the wedding party now has undergone many changes towards a more modern direction in accordance with the times. This can be seen from the sound system and formations, which neatly arranged by the group on stage, provided by the committee. Based on the composition, the rhythm pattern played is in accordance to the rhythmic musical instrument as well as the keyboard melody combined with chord harmonization and sound distribution. The vocalist sings the song according to the structure of the song's form and the expression according to the song's verse. These are combined to produce a beautiful tambourine blend.Based on the results of the study, to be more creative is an advice the author gives to the group. Song references, music compositions and costumes can be differently arranged, for instance. Thus, it is more interesting and more demanded by the community. The form of a Kasidah Rebana presentation is a mixed ensemble played by 12 players consisting of two vocalists, two tambourine players, two rhythm players, two bass players, three ketipung players, and one keyboard player.Keywords: form of presentation, kasidah rebana, wedding party

Jazz from Detroit by Mark Stryker

Book Reviews 187 Nyenhuis and the authors have done a great service to future generations of Hope College students and supporters. They have provided a progress report on the place of Hope College as it seeks to live up to its ideals in the twenty-first century. In a time when some institutions of higher education seem to be struggling, this effort recounts how Hope has navigated previous troubled waters to arrive at its current condition. The telling of these stories and compiling this information for the 150th anniversary will inspire future generations of students and supporters to continue to support Hope and help it live up to it ideals. Maintaining a thriving institution of higher education is no small task and this treasure trove of stories and information may help Hope College thrive into its next fifty years. David Zwart Grand Valley State University Mark Stryker. Jazz from Detroit. Ann Arbor: University of Michigan Press, 2019. Pp. 342. Appendices. Illustrations. Index. Cloth: $39.95. “That’s what we do in Detroit. We make cars and we make jazz musicians.” These words, spoken by bassist and educator Rodney Whitaker (p. 294), are the concluding remarks to Mark Stryker’s excellent new book, Jazz from Detroit, which highlights the important role that both the city of Detroit and its jazz musicians have played in shaping this great American music. Long known as a hotbed for jazz from its earliest days, Detroit is known for the many leading jazz musicians who were either born and raised there, or spent their formative years honing their craft in the city, and the book tells these stories. Detroit, with its large and vibrant African American community, has always taken pride in the musical and cultural contributions of its artists. The bulk of attention is focused on the musicians who made their mark during the “Golden Age” of 1940-60 who were playing the modern jazz of the day—bebop and hard bop being at its core. Perhaps no other city has produced a greater number of leading voices in the music. One need only look at the lineage of bass players— Paul Chambers, Doug Watkins, Ron Carter, Robert Hurst, Rodney Whitaker, Ralphe Armstrong and Marion Hayden, or pianists including Barry Harris, Tommy Flanagan and Hank Jones—to recognize the depth of talent that has come from Detroit. 188 The Michigan Historical Review Stryker briefly profiles thirty musicians and several cooperative groups from the 1940s to the present. A pattern emerges in the presentation of information where personal stories about the musicians and their music, often based on interviews and conversations the author had with each of them, give way to some biographical information, and conclude with his reflections on important recordings or performances. His writing is captivating and weaves easily between anecdotes, quotes from the artists, and personal stories. Flowing with adjectives, his descriptions of the musical style of each musician bring life to the music in a fresh and unique manner. The chapters on saxophonist Joe Henderson and drummer Elvin Jones are highlights for this reader, as I found myself being drawn to the unique approaches of these two giants of the music through Stryker’s beautifully crafted use of language. Each chapter tells a story and connects the artist to the city in a meaningful way. A recurring theme of mentorship and civic pride runs its course throughout the book. Many of the musicians received formal training in schools, including Cass Tech High School and Wayne State University, but the perpetuation of the music was, and continues to be, the result of musicians encouraging one another, sharing ideas, and modeling the passion and vitality of Detroit jazz for each succeeding generation. Whether the reader is a devoted or novice fan of jazz, Mark Stryker knows Detroit—its music, musicians, and people—and with Jazz from Detroit, he introduces a wider audience to one of the city’s greatest treasures. Bill Sears Interlochen Center for the Arts Gerald Van Dusen. Detroit’s Birwood Wall: Hatred and Healing in the West Eight Mile Community. Charleston, SC: The History Press, 2019. Pp.192. Bibliography. Illustrations. Index. Paper: $21.99. When a book evokes memories as Gerald...

Pain in the spine and upper limbs among double bass players

Aim of the study: The aim of this study was to analyse pain occurring in double bass players within the upper limb and spine. Materials and methods: Two groups were compared depending on the length of time the instrument was played and the anatomical structures that were subjected to the greatest loads were considered. A group of 50 musicians of different ages from 17 to 31 years old was included in the study. In order to obtain data on the frequency, location and nature of pain, a self-prepared questionnaire was used in electronic form. The survey was designed on the basis of available questionnaires used to study the diseases of instrumentalist musicians (Standardized Nordic questionnaires for the analysis of musculoskeletal symptoms and Evaluation of Performing Artist). Respondents answered questions not only about pain, but also factors that can significantly affect their course. The analysis of lifestyle or level of awareness in the field of occupational hazards and prevention was included in 30 open-ended and closed questions. Results: The results indicate a high percentage of double bass players suffering from pain. The most common pain in the surveyed double bass players it turned out to be pain in the lumbo-sacral segment, shoulder girdle, wrist and hand. The duration of the game had a negative impact on the severity of pain symptoms, which were often accompanied by other symptoms such as pain radiation, loss of concentration, or difficulties in making precise movements. Conclusions: It can be concluded that music work is subject to certain occupational risk and affects on the health of the musicians.

Performing Hanne Darboven's Opus 17a and long duration minimalist music

Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.

Variation in occupational exposure associated with musculoskeletal complaints: a cross-sectional study among professional bassists

BackgroundVariation in occupational exposure is assumed to have a protective effect against the development of musculoskeletal complaints (MSC), but this common assumption is not strongly supported by the literature. Among musicians, who have a high prevalence of MSC, many play more than one type of instrument (multi-instrumentalism) for many hours a day. Since multi-instrumentalism implies greater variation in ergonomic load of specific musculoskeletal areas than mono-instrumentalism, musicians are a suitable study population to test whether the above assumption is true.PurposeTo investigate in a sample of professional bass players whether multi-instrumentalists are less likely to have MSC than mono-instrumentalists.MethodsParticipants were 141 professional and professional student double bassists and bass guitarists. Demographic, MSC and exposure characteristics were collected online with self-constructed and existing questionnaires. Logistic regression analysis was used to test the association between multi- versus mono-instrumentalism and MSC, adjusted for confounders.ResultsThe prevalence of having MSC in the neck, back, right shoulder area and both wrist areas did not differ significantly between the two groups. Further analysis revealed that the likelihood of having MSC in the left shoulder area was higher in multi-instrumentalists compared to mono-instrumentalists (Odds ratio 0.30, 95% CI 0.119–0.753, p = 0.010).ConclusionIn this sample of professional bass players, no protective effect of multi-instrumentalism against MSC was found. Multi-instrumentalism was associated with a higher prevalence of MSC in the left shoulder. This result challenges theoretical and clinical assumptions in occupational and pain medicine.

Double Bass Home Recordings

Name: João Pedro Almeida Lucas Main Subject: Classical Double Bass Research Supervisor: Margaret Urquhart Title of Research: Double bass homemade recordings Research Question: How to get the pure sound of the double bass in a homemade recording? Summary of Results: Often, musicians are required to send out a recording for a competition, an audition or simply for self-promotion. Unfortunately, not everybody can afford a studio and qualified technicians to have a good final result. However, nowadays, there is low budget equipment (microphones, sound cards, hand recorders, among others) that, when used in a proper way, can provide good results. Being fascinated by the recording and studio worlds, I began to take interest in this particular matter. During the past year and a half, I have focused on recording bass players, with different approaches to the instrument and repertoire. There are some factors to take into consideration regarding my experiences: each player was using their own instrument; the recordings were made in different environments (except the ones used for comparison); the same mic settings were used, in order to make a more precise comparison between two different instruments; and all the recordings were made in solo context, with no other instruments involved. The focus was only on capturing the sound (without editing). In conclusion, I believe that a double bass recording can improve significantly even with low cost equipment, when used in a proper way. My main goal with this research was to gather my experiences and recommendations into an accessible guide for double bass home recordings. Biography: João Pedro Almeida Lucas began his double bass studies in 2006 with Romeu Santos at EPABI (Professional Music School of Beira Interior), Covilhã, Portugal. In 2011, João was invited by his current teacher, Quirijn van Regteren Altena to become his student at the Koninklijk Conservatorium. On 2013, João Participated in “KarrKamp”, a summer camp with the world leading soloist Gary Karr in Victoria, Canada. He is a member of Ciconia Consort Orkest, a string orchestra in The Hague; Salad Ensemble, improvised music project, in Portugal; João is a regular guest in The Residentie BachOrkest and in the Rietveld Ensemble.

A salary bass: a study of bassists’ earnings in the Royal Swedish Opera, 1799–1980

ABSTRACTThe number of occupations which have hardly altered at all, thus not suffering from Schumpeterian ‘creative destruction’, is very restricted. However, one such profession is the contrabassist's. Classical music is still largely produced in the same way as when it was first performed. There is very little productivity change in the actual production of music from bygone times. This, too, is a phenomenon rare in society at large and in the economy in particular. In this study I test Baumol's Cost Disease with the Swedish Hovkapellet bass players as my focus. The disease occurs when salary increases in jobs that have seen no increase of labour are accepted. Have musicians such as bass players seen a stagnating salary development compared to professions in industries which have actually seen labour productivity growth? This, together with other related issues, is discussed based on longitudinal salary data for the Hovkapellet musicians and similar data from Copenhagen and Paris. All data are primary data collected from the orchestra archives. The data indeed verify the Baumol Cost Disease hypothesis. The open question discussed is whether that is an actual problem or not.

No association between posture and musculoskeletal complaints in a professional bassist sample.

Professional musicians receive little attention in pain medicine despite reports of high prevalence of musculoskeletal complaints. This study aims to investigate the association between work-related postures and musculoskeletal complaints of professional bass players. Participants were 141 professional and professional student double bassists and bass guitarists. Data about self-reported functioning, general and mental health status, location and intensity of musculoskeletal complaints and psychosocial distress were collected online with self constructed and existing questionnaires. Logistic regression analyses were performed to analyse associations between work-related postural stress (including type of instrument and accompanying specific exposures) and physical complains, adjusted for potential confounders. Logistic regression analyses revealed no association between complaints and the playing position of the left shoulder area in double bassists (p=0.30), the right wrist area in the bass guitarists (p=0.70), the right wrist area for the German versus French bowing style (p=0.59). All three hypotheses were rejected. This study shows that in this sample of professional bass players' long-lasting exposures to postural stress were not associated with musculoskeletal complaints. This challenges a dominant model in pain medicine to focus on ergonomic postures.

You Have Bass Players! Now, What?

You Have Bass Players! Now, What?

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

Name: Shanti Nachtergaele Main Subject: Violone Research Coach: Anna Scott Title of Research: Examination of Mid-Nineteenth Century Double Bass Playing Based on A. Müller and F.C. Franke’s Discourse in the Neue Zeitschrift für Musik, 1848 – 1851: With a discussion of the relevance of historical techniques to modern conventional and historically informed (‘HIP’) performance practices Research Questions: • Should historical double bass techniques be incorporated into historically informed performance (‘HIP’) practices today, and how can historical techniques be used to enhance modern performances? • Who was F.C. Franke, what insights can he and August Müller provide about the state of double bass playing c. 1850, and which of their ideas can be applied by double bassists today? • Can Müller’s and Franke’s contrasting ideas be combined, and what benefits does this integration offer to both ‘HIP’ and mainstream modern performers? Summary of Results: In the period 1849 - 1851, a collection of articles by A. Müller and F.C. Franke appeared in the Neue Zeitschrift für Musik, which discussed various aspects of double bass playing. The two double bassists agreed on some points, including that the double bass has a very important role in the orchestra, that there was a lack of good double bass players at the time, and the general characteristics of a good instrument; but they debated other subjects, such as playing stance, left hand technique, bow technique, the components of daily practice, and the common practice of simplifying double bass parts. Their discussion on these topics has implications for historically informed performance, especially in regards to the performance of orchestral works. During my presentation I will briefly discuss the historical background of my research, including biographical information, the state of double bass playing in the mid-nineteenth century. Using recorded audio and video examples and live demonstrations, I will then discuss the practical components of this artistic research: Franke’s and Müller’s opposing fingering methods, and Müller’s suggested modifications of the double bass parts of Beethoven's symphonies. Biography: Shanti Nachtergaele grew up in California (USA), and holds a Bachelor of Music degree in Double Bass Performance from Shenandoah Conservatory, where she studied with Donovan Stokes. She currently studies historic double bass and 8’ violone with Maggie Urquhart, and is interested in exploring historical perspectives of bass pedagogy and technique. Her research won the student division of the 2014 International Society of Bassists Research Competition, and she has been invited to present at the ISB’s 2015 convention.

How Do You Swing a Quarter Note? An Analysis of the Great Walking Bassists of the 1950s and 60s.

Name: Steven Willem Zwanink Main Subject: Jazz Double Bass Research Coach: Patrick Schenkius Title of Research: How do you Swing a Quarter Note? An Analysis of the Great Walking Bassists of the 1950s and 60s. Research Question: In theory, a bass player's walking quarter notes should not swing, as they are not syncopated like eighth notes are for example; syncopation being a necessary condition of what it is to swing, in that it allows for the long-short lilt that people identify with swing music. In practice however, it is evident that certain bassists are able to create a swing feeling, through a highly complex, and often idiosyncratic approach to quarter note placement within the 'big beat,' as well as to sound production and articulation. By using sonic visualization software such as Audacity, my goal is to shed light on the unique and often highly mysterious properties behind swinging bass lines: are there strategies in common between swinging bassists, or does each performer swing in their own inimitable way; do swinging bass lines rely on a temporal tension between bassist and drummer; and to what extent are the timbral properties of an instrument and the attack with which a string is engaged relevant? Research Process: My research process involves four phases: Firstly, selecting contrasting examples of swinging bass players from the 1950s and 1960s; secondly, studying selected examples using Audacity, creating a visual data set that will then be used to examine what the similarities and differences are between each bassist's approach to swinging quarter notes; thirdly, examining whether the push and pull of swinging quarter notes results from either tension or synchronicity between a bassist and a drummer, as well as what effect the tonal shape of the quarter notes the bassist plays, as related to timbre and attack, have on swing feel; and fourthly, examining my own instincts with regards to the spectrum and parameters of the various swinging quarter notes of each bassist studied. Summary of Results: I have recently discovered in my own playing, that regardless of which drummer with whom I am playing, that my time feel needs to remain strong and unchangeable by what it is they are doing. This allows me to swing immediately and consistently on my own, or with whomever I am playing, provided the drummer is competent. All of this together answers my initial questions of: Do swinging bass lines rely on a temporal tension between bassist and drummer? No. Can the bassist swing his quarter notes all on his own? Yes. To what extent are the timbral properties of an instrument and the attack with which a string is engaged relevant? Extremely. In undertaking this study I have had the opportunity to think critically about a major parameter of jazz bass performance that is highly ephemeral and rarely quantified, though at the end of this project I now realize that that major parameter, while reliant on time, is actually sound and articulation.

Singers take center stage! Personality traits and stereotypes of popular musicians

Despite some evidence that performing musicians tend to have distinct personality characteristics, there is little understanding of how specific positions in bands might be correlated with certain traits. Moreover, there is the possibility that such correlations are exaggerated via stereotypic social perception. In an online sample of popular musicians (including 87 bassists, 48 drummers, 115 guitarists, and 30 vocalists), we evaluated (a) differences in self-reported personality characteristics along the Big Five dimensions; and (b) perceptions of each kind of musician in terms of social category membership (e.g., “What are guitar players like?”). Singers were significantly more extraverted than bassists, and more open to experience than drummers. Whereas there were few differences among other musicians in self-reported personality, the various categories evinced stereotypes that were moderated by participants’ own positions in the band. For example, bass players were generally seen as the most agreeable band members, but this was especially true in the eyes of the bassists themselves. Results are interpreted with reference to biases associated with social categorization and group membership.

Biomechanical Research on Bowed String Musicians: A Scoping Study

Performing arts biomechanics is concerned with quantifying the musculoskeletal demands of artistic tasks. The growing body of related research has prompted this scoping study, solely focused on quantitative research, to summarize the state of the science, identify knowledge gaps, and identify opportunities for future research. To identify, summarize, and categorize quantitative research on the biomechanics of violin, viola, cello, and double bass players, using scoping study methodology. Established scoping study methodology was used to identify and categorize existing research. We identified 74 articles for review. Of these, 34 met our scoping study criteria and were included in this study. Twenty-one of the 34 articles that met the scoping criteria were published since 2000. Investigations using electromyography (16 studies) and kinematics (15 studies) comprise the bulk of the research. Two studies employed force transducers for data collection. Violinists were the most frequently studied musicians (22 studies) and double bass players were the least (1 study). Fewer than half of the studies used solely professional musicians as their subjects (13 studies). This scoping study confirmed that quantitative biomechanical research into bowed string musicians has been performed with increasing frequency and that there are voids in the research, particularly in investigating mechanisms of injury and protective strategies. Currently, arts biomechanics research is largely descriptive in nature. There are few studies that investigate protective strategies, although it is expected that the field will progress to incorporate this type of research.

Pathways to Becoming a Church Musician

This article is the second in our series on dimensions of the social world of church musicians. For the current analysis of how people first become church musicians, we draw on data from in-depth interviews with 47 church musicians conducted by the three authors. The respondents ranged in age from 18 to 71 years (mean age 43.8 years). There were 19 women and 28 men interviewed. Keyboard players, vocalists, guitarists (acoustic and electric), bass players, drummers, a flautist, and a choir director were interviewed. Results indicate the importance of both early and ongoing socialization in the process of becoming a church musician. Our respondents took a variety of pathways to becoming church musicians, including having parents who were church musicians, regularly attending church services during childhood, and receiving early musical and/or vocal training. Our results also indicate the functioning of three enabling mechanisms—being authority directed, volunteering, and being recruited/invited—that determine the likelihood of an individual becoming a church musician as a child, as an adolescent, or as an adult.