UC San Diego

This dissertation examines transcribed and contemporary repertoire in the double bass performance literature. In the first chapter, I focus on how transcription works and can enrich double bass repertoire. For me, the transcriptions are the best vehicle with which to examine virtuosity and creativity along with creative contemporary works for the instrument. In the second chapter, I discuss and analyze works of the Italian composer Franco Donatoni and his non-metric notated solo bass piece, Lem. Lem requires a method of analyzing and absorbing the music that demands a new kind of commitment and interpretive translation. In this chapter, I share my interpretation of various metrical variations, and give practice suggestions for preparing to perform this work. For a double bass player, he/she would endeavor to develop recitals which embrace repertoire of all dimensions.