Syftet med denna studie är att följa min inlärningsprocess av Serge Koussevitzkyskontrabaskonsert op. 3. Genom studien har jag kommit fram till olika övningsmetoder som kan tillämpas på Koussevitzky baskonserten som intonationsproblem samt tekniska svårigheter man stöter på under inlärningsprocessen. Med hjälp av videoanalys och loggbok dokumenteras processen. Flera förbättringsområden identifieras såsom övningsstruktur, fingersättningar, lägesväxlingar och stråkföring. I studien presenteras olika övningsstrategier i musikalisk gestaltning och lösningar på specifika tekniska hinder / The purpose of this study is to follow my learning process of Serge Koussevitzky's Double Bass Concerto op. 3. Through the study, I have come up with different practice methods that can be applied to the Koussevitzky bass concerto as intonation problems as well as technical difficulties encountered during the learning process. With the help of video analytics and logbook, the process is documented. Several areas for improvement are identified, such as practice structure, fingering, position shifts and stringing. The study presents different practice strategies in musical performance and solutions to specific technical obstacles.

Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924-1949, had, throughout his career, a reputation as a champion of modern music. The anticipation of his arrival in Boston in 1924 sparked a great deal of public debate about his reported modernism which the critics reflected and contributed to. This thesis analyzes the critical reaction, preserved in scrapbooks of newspaper clippings at Symphony Hall, Boston, to Koussevitzky's programming of contemporary music during his first five years with the BSO.