Yorke Complete Bottesini for Double Bass and Piano

Bertram Turetsky; Giovanni Bottesini; Rodney Slatford; David Walter; David Koblitz; Alain Abbott

doi:10.2307/897609

Un Petit Recueil; For Double Bass Trio

Notes ◽

10.2307/898270 ◽

1985 ◽

Vol 42 (1) ◽

pp. 157

Author(s):

Bertram Turetzky ◽

Angel Pena

Keyword(s):

Double Bass

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Biomechanical Research on Bowed String Musicians: A Scoping Study

Medical Problems of Performing Artists ◽

10.21091/mppa.2013.4042 ◽

2013 ◽

Vol 28 (4) ◽

pp. 212-218 ◽

Cited By ~ 6

Author(s):

Leila K Kelleher ◽

Kody R Campbell ◽

James P Dickey

Keyword(s):

Performing Arts ◽

Quantitative Research ◽

Double Bass ◽

Future Research ◽

Professional Musicians ◽

Scoping Study ◽

Study Results ◽

Study Methodology ◽

Protective Strategies ◽

State Of The Science

Performing arts biomechanics is concerned with quantifying the musculoskeletal demands of artistic tasks. The growing body of related research has prompted this scoping study, solely focused on quantitative research, to summarize the state of the science, identify knowledge gaps, and identify opportunities for future research. OBJECTIVES: To identify, summarize, and categorize quantitative research on the biomechanics of violin, viola, cello, and double bass players, using scoping study methodology. METHODS: Established scoping study methodology was used to identify and categorize existing research. We identified 74 articles for review. Of these, 34 met our scoping study criteria and were included in this study. RESULTS: Twenty-one of the 34 articles that met the scoping criteria were published since 2000. Investigations using electromyography (16 studies) and kinematics (15 studies) comprise the bulk of the research. Two studies employed force transducers for data collection. Violinists were the most frequently studied musicians (22 studies) and double bass players were the least (1 study). Fewer than half of the studies used solely professional musicians as their subjects (13 studies). CONCLUSIONS: This scoping study confirmed that quantitative biomechanical research into bowed string musicians has been performed with increasing frequency and that there are voids in the research, particularly in investigating mechanisms of injury and protective strategies. Currently, arts biomechanics research is largely descriptive in nature. There are few studies that investigate protective strategies, although it is expected that the field will progress to incorporate this type of research.

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What's New for Double Bass

American String Teacher ◽

10.1177/000313137402400413 ◽

1974 ◽

Vol 24 (4) ◽

pp. 26-29

Keyword(s):

Double Bass

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Recent Additions to the Double Bass Literature Part I

American String Teacher ◽

10.1177/000313137202200432 ◽

1972 ◽

Vol 22 (4) ◽

pp. 35-35

Author(s):

Lucas Drew

Keyword(s):

Double Bass

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The Third Programme and Hans Pfitzner

Tempo ◽

10.1017/s0040298200051019 ◽

1953 ◽

pp. 19-20

Author(s):

Donald Mitchell

Keyword(s):

Double Bass ◽

The Other ◽

The Third ◽

Representative Selection ◽

The Right ◽

Selection Of ◽

A Performance

One of the brightest of the Third Programme's recent efforts was the presentation of a little festival of Pfitzner's music. “Little,” perhaps, may be not quite the right word for however short a series of programmes which included the whole of Palestrina (1912–1915), but it must be remembered that Pfitzner wrote four other operas besides this celebrated chef-d'oeuvre—Der arme Heinrich (1891–93), Die Rose vom Liebesgarten (1897–1900), Das Christelflein (1906, revised 1917), and Das Herz (1930–31). The B.B.C. gave us no glimpse of these other operas, although round about Christmas of each year one of their regional orchestras undertakes the overture to Das Christelflein as an appropriately seasonal piece. For this festival occasion, the B.B.C, in addition to Palestrina, threw in a song recital and a performance of Pfitzner's last chamber work, the Sextet (Op. 55/1945) for piano, violin, viola, cello, double-bass and clarinet. These two latter items may have been well-intentioned choices, but, notwithstanding, they were extremely ill chosen. The Third Programme—as, alas, so often—was either wrongly advised, or simply did not have any (skilled) advice to call upon. For instance, the six songs, ably performed by Mary Jarred, belonged to Pfitzner's earliest period—the latest “Lied”" was Sonst (Op. 15, no. 4), composed in 1904, and most of the other songs were written in the 1880's or 90's. But Pfitzner's output of “Lieder” extends to the 1930's and up to Op. 41—and his maturest and best songs are to be found in the years which the B.B.C. did not remotely approach! Incidentally, no opus numbers were printed in the Radio Times or announced over the air, so that as far as the uninformed listener was concerned he was hearing a “representative” selection of Pfitzner's “Lieder”; in fact, of course, he was hearing nothing of the kind.

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