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dc.contributor.advisorStern, Jamesen_US
dc.contributor.advisorBarber, Richarden_US
dc.contributor.authorMorgan, Cassidy Andrewen_US
dc.date.accessioned2016-06-22T05:56:13Z
dc.date.available2016-06-22T05:56:13Z
dc.date.issued2016en_US
dc.identifierhttps://doi.org/10.13016/M20Z09
dc.identifier.urihttp://hdl.handle.net/1903/18276
dc.description.abstractThe role of the double bass in Vienna during the eighteenth century evolved significantly between 1760 and 1812. During these years, Viennese composers began to view the double bass less as an accompanimental instrument and more as a solo voice. Despite the abundance of music written for the double bass during this time, few of these compositions are regularly performed today. This dissertation serves three purposes. I explore how learning eighteenth-century Viennese compositions in the original tuning can influence modern performances of these works. Secondly, I document the arrangement of a lesser-know work for the modern tuned bass using the manuscript as the source material. Finally, by performing a variety of eighteenth-century bass works, I bring this music to the public's attention. The research for this dissertation has been presented in two forms. The recitals present both solo and chamber works from eighteenth-century Vienna. The repertoire for the three recitals was chosen so that each recital addresses one of the three purposes mentioned above. The research paper presents performance practices of the eighteenth century, challenges the modern double bassist faces when playing this literature, as well as a look into how to arrange one of these works for the modern tuned double bass. The three recitals were performed on the campus of the University of Maryland in the Leah M. Smith Hall, Gildenhorn Recital Hall and the Ulrich Recital Hall, respectively. Recordings of all three recitals can be found in the Digital Repository at the University of Maryland (DRUM).en_US
dc.language.isoenen_US
dc.rightsNOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.
dc.titleEXPLORING VIENNESE TUNING AND ITS BENEFITS FOR THE MODERN DOUBLE BASSISTen_US
dc.typeDissertationen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentMusicen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledcontrabassen_US
dc.subject.pquncontrolledDouble bassen_US
dc.subject.pquncontrolledperformance practiceen_US
dc.subject.pquncontrolledspergeren_US
dc.subject.pquncontrolledviennaen_US
dc.subject.pquncontrolledvioloneen_US


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