Please use this identifier to cite or link to this item:
|Title:||An investigation of the background, influences and performance practices of five Sydney based jazz double bassists|
|Publisher:||University of Sydney.|
Sydney Conservatorium of Music.
|Abstract:||ABSTRACT The bass player occupies a unique position in a modern jazz ensemble. Originally an orchestral instrument the double bass has evolved to become one of the most significant and important voices in jazz. The role of the bassist is a fundamental one that acts as an essential reference point in the music making process. The aim of this study is to establish how performance and learning practices for professional jazz double bassists have evolved and which methods successful jazz bassists cite as influential. Through a series of interviews with five of Sydney’s most respected and experienced jazz double bassists; this research will seek to assess the importance of specific types of study undertaken by individual bass players and the impact of that study on their future development and success as a professional musician. As well as learning and performance practice methodology, this research will observe and document the day-to-day process that professional jazz bassists adhere to in their personal practice. It will also document the major influences of each player as well as each individual’s personal history on their instrument and provide an historical folio on each artist. Although there are countless numbers of jazz bass method books and courses freely available; very little has been written on how individual players learn the art of jazz bass and how they process all the information available. The age range of the participants are from between 24 and 56 years old and so represents a significant cross generational representation of jazz bassists working professionally in Sydney, Australia in 2013. The information produced by this study should clearly show which methods are employed by high level bassists as well as define what are the essential fundamentals of learning and maintaining the art of jazz double bass. It also presents the substantial contribution to Australian jazz double bass performance practice each participant has made.|
|Rights and Permissions:||The author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.|
|Type of Work:||Masters Thesis|
|Type of Publication:||Master of Music M.Mus.|
|Appears in Collections:||Sydney Digital Theses (Open Access)|
This work is protected by Copyright. All rights reserved. Access to this work is provided for the purposes of personal research and study. Except where permitted under the Copyright Act 1968, this work must not be copied or communicated to others without the express permission of the copyright owner. Use the persistent URI in this record to enable others to access this work.
|SID 410016129 Brendan Clarke MMus(Performance) Thesis Final.pdf||Thesis||2.15 MB||Adobe PDF||View/Open|
Items in Sydney eScholarship Repository are protected by copyright, with all rights reserved, unless otherwise indicated.