In this thesis I have explored the double bass as a lead instrument in a jazz trio setting by learning, rehearsing and performing melodies. The purpose was to explore the double bass’ melodic potential by approaching the instrument not as a comping instrument but as a lead instrument. My aim was to find different approaches to playing melody on the double bass; find ways to make the melody accessible for me when improvising; examine how the group can support the double bass as a soloist; examine what happens to the music when the bass plays lead; examine how a focus on melody can affect my comping. I studied different melodies and adapted them to the double bass using different techniques. I also created exercises to incorporate the melody of a song into my improvisation. My work was presented as a concert with most of the songs’ melodies played by me. Amongst other things, I found that having the double bass play the melody can lead to a more dynamic performance since the group must be careful not to overpower the bass.

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The first part of the paper states the problem of the double bass not being incorporated into the chamber music program at many universities and the resulting lack of skills that can only be developed through this discipline. The double bass is trying to catch up with the other string instruments as it has been historically ignored, misunderstood and not as developed musically and technically. The historical background and current state of research are being examined to understand why this problem occurred in the first place, noting the vast amount of chamber music repertoire that is unknown and identifying some important but underperformed works. Further the pedagogical benefits of playing chamber music are discussed in order to realize the vital importance of integrating the double bass into the curriculum at major universities. Specific examples from the four major style periods are discussed in detail to show the benefits of studying this repertoire. Finally an implementation process is suggested to help change the current state of chamber music neglect as it pertains to the double bass.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-25T15:24:15Z No. of bitstreams: 2 Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-25T15:24:44Z (GMT) No. of bitstreams: 2 Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-25T15:24:44Z (GMT). No. of bitstreams: 2 Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music. / Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.

This creative project was a musical composition constructed upon the "in series" principle of interval connection which entailed the systematic linkage of all melodic and harmonic materials through rigorously maintaining the configuration of intervals inherent in the original statement. The piece, a septet entitled A Solo Symphony, is an extended four movement composition. The score, and a recording made at the University Composers Exchange Fourteenth Annual Festival held at Ball State University in 1965, is located in the appendix which supplements a paper describing the compositional process. / School of Music

The music of Marin Marais, a major figure among the French Baroque bass viol composer-performers, is seldom played today. His compositions which are artistically and historically significant, should be available to instrumentalists of this century. Marais published five volumes of bass viol compositions. Seven movements were transcribed from the Second Suite of Marais' first volume. The first chapter is an introduction to Marais; the second chapter pertains to the bass viol and its styles of performance, and the final chapter illustrates the editing required for the transcription. The problems encountered were those of adapting the melodic, harmonic, and contrapuntal styles of the seven-stringed bass viol to the double bass which is normally monophonous. Melodic elements were unchanged, chords were simplified, and contrapuntal lines were retained by giving the second voice to the continuo bass.

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