Studien syftar till att utifrån hermeneutiskt perspektiv, utforska hur tre kontrabasister har kommit fram till just sitt sätt att tekniskt ta sig an instrumentet samt vilken funktion dessa kontrabasister anser att deras teknik har. Studiens datamaterial består av kvalitativa samtalsintervjuer med tre professionella kontrabasister som arbetar inom ett flertal genrer. I resultatavsnittet beskrivs respektive respondents tekniska förhållningsätt till kontrabasen utifrån tre tematiska metaforer: En stabil grund, En stor verktygslåda och Ett personligt sound. Det framkommer att respondenterna i varierande grad har studerat olika kontrabaskolor och att de använder sig av skilda metoder för fingersättningar. I det avslutande diskussionskapitlet lyfts studiens resultat till diskussion i förhållande till litteratur och tidigare forskning. I metoddiskussionen tas min förförståelse upp utifrån ett hermeneutiskt perspektiv. / The study aims to explore how three double bassists have reached their own ways of technical take on the instrument as well as what function these double bass players believe that their technique has. The study's theoretical premises consist of the hermeneutic interpretation. The study's data set consists of qualitative interviews with three professional double bass players with distribution across multiple genres. The results section describes each respondent's technical attitude to the double bass on three thematic metaphors. It reveals that the respondents in varying degrees have been studying various double bass methods and use different methods for fingerings. In the concluding discussion the results of the study is discussed in relation to literature and previous research. The methodological discussion is my pre-understanding from a hermeneutic perspective.

Characterization of smallmouth bass (Micropterus dolomieu) interaction with native species assemblages, especially salmonids, in lakes throughout BC is prerequisite to identification of high-risk systems warranting on-going monitoring. Therefore this project addresses the following issues: How does smallmouth bass (SMB) trophic profile overlap with native species and does it vary across time and space? Schoener’s index of dietary overlap was not significant between SMB and rainbow trout (Oncorhynchus mykiss; α=0.406, 0.257), or cutthroat trout (Oncorhynchus clarkia; α=0.145, 0.29). Prey fish levels (Ei =35.4%) and the total energetic density (14.91±4.74J/g) of the cutthroat trout diet from Weston Lake (SMB free) were significantly higher compared to the diet of cutthroat trout from Cusheon Lake (Ei =3.3% and 7.69±1.93J/g) where non-native SMB have been introduced. Within the Vancouver Island study lakes, gut-content analysis revealed available signal crayfish serve as an important prey resource in the SMB diet (Ei =34%). What capacity do SMB have to take advantage of seasonal pulses of forage? SMB displayed the ability to rapidly (within 24hrs.) alter their diet and consumption levels (4.7 times higher) to maximize on pulses of rainbow trout fry following a stocking event. SMB did not spatially overlap with spring peaks in salmonid fry runs in the Okanagan lakes, as water temperature remained around the 10°C threshold when SMB are not yet active. Kokanee (Oncorhynchus nerka) fry did however make up Ei =83% of the yellow perch (Perca flavescens) diet. SMB are thriving in locations suspected to be on the limit for their environmental suitability through increased size at age for SMB in the Cariboo region in order to adapt to a longer (by 62 days) winter starvation period. SMB are a generalist predator able to adapt and thrive in very different systems; high vs. low productivity, few or many fish species, crayfish or no crayfish. The likely impacts of this in BC could include shifts in the diet of other fish species and increased costs associated with only stocking larger catchable sized trout in lakes containing non-native SMB. Policy recommendations based on our findings are that SMB introductions into systems that have rainbow/cutthroat trout are likely to cause the highest impacts on our native fisheries in BC if the systems are; highly productive, contain a high diversity of small bodied fish and invertebrate species, lack signal crayfish and large lakes with predominant littoral zones and complex shorelines. / Graduate / 0793 / 0329 / 0792 / mbeck@uvic.ca

Master of Music (Performance) / Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo. The bass line is a parallel stream to the solo that energises and colours the music.

Master of Music (Performance) / Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo. The bass line is a parallel stream to the solo that energises and colours the music.

Thesis(M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references.

Thesis--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 79-93).

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 58-68).

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1993. / Vita. Abstract. Includes bibliographical references (leaves 109-117). Also available via the Internet.

Thesis (M.Sc.) - Carleton University, 2008. / Includes bibliographical references (p. 81-104). Also available in electronic format on the Internet.

Thesis (M.S.)--University of North Carolina Wilmington, 2008 / Title from PDF title page (viewed May 26, 2009) Includes bibliographical references (p. 31-33)