This thesis provides a psychological insight of the protagonist in Patrick Süskind’s monodrama Der Kontrabass in order to reveal his suffering from a contemporarily increasing psychical disease. This mental illness is called “borderline personality disorder” (BPD). One theory concerning the causes of this disease locates its roots in societal changes. Therefore, the contemporary society is even labelled as “borderline-era” in Kreisman’s and Straus’ book I Hate You – Don’t Leave Me (1989). In terms of definition, I will explain the eight distinctive criteria, out oh which five have to be applicable on the respective person. This psychological work makes up one part of the theoretical basis for my interpretation and shows the up-to-datedness of the protagonist’s problems. Besides this approach, I will also refer to some of Sigmund Freud’s psychoanalytical theories, because the protagonist himself utters allusions to the oedipal complex and the human drives. In this respect, I will give a short summary of Freud’s descriptions of the relevant concepts. Here, the role of the instrument will be appreciated, as well, since the contrabass player refers to it as he would refer to an other human being. Thus, I will briefly point out the different ways, in which the contrabass is personificated by its owner. However, not only these aspects are interesting in order to achieve a convincing interpretation of the protagonist’s character. Therefore, the formal aspects of this play will be considered as well, since they contribute to the creation of its overall mood. This mood reflects the inner disruption of the tragicomic protagonist, since it is ambivalent as well. Concluding the interpretation, the different possibilities concerning the open ending will be discussed. Afterwards, I will give a short summary of my results and finish my thesis with suggestions for further research on Süskind’s Der Kontrabass.

This thesis provides a psychological insight of the protagonist in Patrick Süskind’s monodrama Der Kontrabass in order to reveal his suffering from a contemporarily increasing psychical disease. This mental illness is called “borderline personality disorder” (BPD). One theory concerning the causes of this disease locates its roots in societal changes. Therefore, the contemporary society is even labelled as “borderline-era” in Kreisman’s and Straus’ book I Hate You – Don’t Leave Me (1989). In terms of definition, I will explain the eight distinctive criteria, out oh which five have to be applicable on the respective person. This psychological work makes up one part of the theoretical basis for my interpretation and shows the up-to-datedness of the protagonist’s problems. Besides this approach, I will also refer to some of Sigmund Freud’s psychoanalytical theories, because the protagonist himself utters allusions to the oedipal complex and the human drives. In this respect, I will give a short summary of Freud’s descriptions of the relevant concepts. Here, the role of the instrument will be appreciated, as well, since the contrabass player refers to it as he would refer to an other human being. Thus, I will briefly point out the different ways, in which the contrabass is personificated by its owner. However, not only these aspects are interesting in order to achieve a convincing interpretation of the protagonist’s character. Therefore, the formal aspects of this play will be considered as well, since they contribute to the creation of its overall mood. This mood reflects the inner disruption of the tragicomic protagonist, since it is ambivalent as well. Concluding the interpretation, the different possibilities concerning the open ending will be discussed. Afterwards, I will give a short summary of my results and finish my thesis with suggestions for further research on Süskind’s Der Kontrabass.

The purpose of this study was to research and demonstrate various techniques that a double bassist may utilize when performing an unaccompanied solo in a jazz setting. This study primarily focused on pizzicato (plucked) styles and sought to maximize the polyphonic potential of the double bass, which has traditionally been considered a homophonic instrument. This study provides a written, organized approach that illustrates recorded examples and augments private instruction for the double bass. This study offers a vocabulary of techniques comprising chords and intervals that allow the double bassist to accompany oneself. It uses an intervallic approach to determining practical ways of voicing chords and accompanying melodic statements. Specific songs from the standard repertoire were chosen to demonstrate self-accompaniment techniques in the contexts of melodic and harmonic movement. Recorded examples are provided that show how specific bassists successfully used certain techniques in the context of songs. Bassists that were examined include Ray Brown, Niels-Henning Orsted Pedersen, Dave Holland, Charlie Hayden, Ron Carter, Edgar Meyer, Lynn Seaton, and David Friesen.