This dissertation documents and analyzes my learning strategies for preparing performanceinterpretations of three significant 21st century works that feature the double bass in prominent
musical roles. In discussions of each work, I address how I strategized my learning methods given
the unique challenges of each contemporary composition, and further explain how these methods
depart from traditional methods of western musical training. In Richard Barrett’s new work for
solo double bass, splinter (2021), I discuss how I strategized the deciphering of complex rhythmic
notation with multiple methods of rhythmic translation. In Rebecca Saunders’ Fury II (2009) for
solo contrabass and ensemble, I discuss how I approached the learning process with a practice of
physical choreography. In Aaron Cassidy’s Self Portrait, Three Times, Standing (15.3.1991–
20.3.1991) (2019) for mixed ensemble quartet, I discuss how I learned Cassidy’s music with a
process of instrumental reconception.