Journal articles: 'Repertoire for double bass'

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Ritchie, William, and Patrick Neher. "An Expanded Sampling of Double Bass Repertoire." American String Teacher 43, no. 4 (November 1993): 75–79. http://dx.doi.org/10.1177/000313139304300432.

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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 251–59. http://dx.doi.org/10.31648/pw.5985.

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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.

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Vogel, S. N., and M. Fenton. "Toll-like receptor 4 signalling: new perspectives on a complex signal-transduction problem." Biochemical Society Transactions 31, no. 3 (June 1, 2003): 664–68. http://dx.doi.org/10.1042/bst0310664.

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We previously reported that Toll-like receptor-2 (TLR2) agonists induce expression of a more limited repertoire of pro-inflammatory genes than TLR4 agonists. Murine macrophages stimulated with the TLR4 agonist, Escherichia coli lipopolysaccharide, induced signal transducer and activator of transcription 1 (‘STAT1’) tyrosine phosphorylation that was secondary to the autocrine/paracrine action of interferon (IFN)-β, an immediate early gene. In contrast, TLR2 agonists failed to activate IFN-β gene expression. TLR4-induced IFN-β mRNA was found to be MyD88- and PKR (double-stranded RNA-dependent protein kinase)-independent, but TIRAP (Toll/interleukin-1 receptor domain-containing adapter protein)/Mal (MyD88-adapter-like)-dependent. In the present paper, we outline the recent controversy over the role of TIRAP/Mal in TLR2 and TLR4 signalling in the context of the current molecular tools used for such studies. Collectively, our findings provide the first mechanistic basis for differential patterns of gene expression activated by TLR4 and TLR2 agonists.

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KUMYSHEVA, L. Ch, and Z. A. KUCHUKOVA. "WOMEN-DZHIGITS OR GENDER DIMENSION OF FAUSAT BALKAROVA’S POETRY." Kavkazologiya, no. 1 (2021): 208–27. http://dx.doi.org/10.31143/2542-212x-2021-1-208-227.

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On the basis of lyric and epic works, the authors of the article investigate the specific features of the gender picture of the world of the classic of Kabardian literature Fousat Balkarova. The structuring of the holistic material into 5 interrelated sections allows the authors to consistently, close-up consider the thematic, personal, linguistic, chronological and conflict-prone aspects of the poetess' ethnogender consciousness. The historically conditioned process of transformation of social constructs «masculine» and «feminine» of the Adyghe patriarchal society under the pressure of factors of civilization and modernization is shown. The analysis made it possible to reveal in the poetry of F. Balkarova and identify the ontological metacode «woman-dzhigit», marking the dominance of masculine traits in the image of a new, self-sufficient woman of the post-war years. The article also examines a complex of issues related to the accelerated pace of life, the «double repertoire» of women, gender asymmetry, the conflict of two generations, artistic ethnography.

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Alves, D. R., A. Gaudion, J. E. Bean, P. Perez Esteban, T. C. Arnot, D. R. Harper, W. Kot, L. H. Hansen, M. C. Enright, and A. Tobias A. Jenkins. "Combined Use of Bacteriophage K and a Novel Bacteriophage To Reduce Staphylococcus aureus Biofilm Formation." Applied and Environmental Microbiology 80, no. 21 (August 22, 2014): 6694–703. http://dx.doi.org/10.1128/aem.01789-14.

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ABSTRACTBiofilms are major causes of impairment of wound healing and patient morbidity. One of the most common and aggressive wound pathogens isStaphylococcus aureus, displaying a large repertoire of virulence factors and commonly reduced susceptibility to antibiotics, such as the spread of methicillin-resistantS. aureus(MRSA). Bacteriophages are obligate parasites of bacteria. They multiply intracellularly and lyse their bacterial host, releasing their progeny. We isolated a novel phage, DRA88, which has a broad host range amongS. aureusbacteria. Morphologically, the phage belongs to theMyoviridaefamily and comprises a large double-stranded DNA (dsDNA) genome of 141,907 bp. DRA88 was mixed with phage K to produce a high-titer mixture that showed strong lytic activity against a wide range ofS. aureusisolates, including representatives of the major international MRSA clones and coagulase-negativeStaphylococcus. Its efficacy was assessed both in planktonic cultures and when treating established biofilms produced by three different biofilm-producingS. aureusisolates. A significant reduction of biofilm biomass over 48 h of treatment was recorded in all cases. The phage mixture may form the basis of an effective treatment for infections caused byS. aureusbiofilms.

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Bray, Trevor. "Double Bass." Musical Times 126, no. 1704 (February 1985): 102. http://dx.doi.org/10.2307/963485.

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Yang, Haitang, Feng Yao, Thomas M. Marti, Ralph A. Schmid, and Ren-Wang Peng. "Beyond DNA Repair: DNA-PKcs in Tumor Metastasis, Metabolism and Immunity." Cancers 12, no. 11 (November 16, 2020): 3389. http://dx.doi.org/10.3390/cancers12113389.

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The DNA-dependent protein kinase catalytic subunit (DNA-PKcs) is a key component of the DNA-PK complex that has a well-characterized function in the non-homologous end-joining repair of DNA double-strand breaks. Since its identification, a large body of evidence has demonstrated that DNA-PKcs is frequently overexpressed in cancer, plays a critical role in tumor development and progression, and is associated with poor prognosis of cancer patients. Intriguingly, recent studies have suggested novel functions beyond the canonical role of DNA-PKcs, which has transformed the paradigm of DNA-PKcs in tumorigenesis and has reinvigorated the interest to target DNA-PKcs for cancer treatment. In this review, we update recent advances in DNA-PKcs, in particular the emerging roles in tumor metastasis, metabolic dysregulation, and immune escape. We further discuss the possible molecular basis that underpins the pleiotropism of DNA-PKcs in cancer. Finally, we outline the biomarkers that may predict the therapeutic response to DNA-PKcs inhibitor therapy. Understanding the functional repertoire of DNA-PKcs will provide mechanistic insights of DNA-PKcs in malignancy and, more importantly, may revolutionize the design and utility of DNA-PKcs-based precision cancer therapy.

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Morrison, Philip. "Double Bass Redoubled." Scientific American 278, no. 5 (May 1998): 109–11. http://dx.doi.org/10.1038/scientificamerican0598-109.

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Slatford, Rodney. "Virtuoso Double Bass." Musical Times 127, no. 1720 (August 1986): 446. http://dx.doi.org/10.2307/965171.

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Stoops, Anthony, and Charlene Dell. "Double Bassics: Teaching Double Bass for the Non-Bass Teacher." American String Teacher 61, no. 3 (August 2011): 30–34. http://dx.doi.org/10.1177/000313131106100306.

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Moreau, Hervé, Gwenael Piganeau, Yves Desdevises, Richard Cooke, Evelyne Derelle, and Nigel Grimsley. "Marine Prasinovirus Genomes Show Low Evolutionary Divergence and Acquisition of Protein Metabolism Genes by Horizontal Gene Transfer." Journal of Virology 84, no. 24 (September 22, 2010): 12555–63. http://dx.doi.org/10.1128/jvi.01123-10.

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ABSTRACT Although marine picophytoplankton are at the base of the global food chain, accounting for half of the planetary primary production, they are outnumbered 10 to 1 and are largely controlled by hugely diverse populations of viruses. Eukaryotic microalgae form a ubiquitous and particularly dynamic fraction of such plankton, with environmental clone libraries from coastal regions sometimes being dominated by one or more of the three genera Bathycoccus, Micromonas, and Ostreococcus (class Prasinophyceae). The complete sequences of two double-stranded (dsDNA) Bathycoccus, one dsDNA Micromonas, and one new dsDNA Ostreococcus virus genomes are described. Genome comparison of these giant viruses revealed a high degree of conservation, both for orthologous genes and for synteny, except for one 36-kb inversion in the Ostreococcus lucimarinus virus and two very large predicted proteins in Bathycoccus prasinos viruses. These viruses encode a gene repertoire of certain amino acid biosynthesis pathways never previously observed in viruses that are likely to have been acquired from lateral gene transfer from their host or from bacteria. Pairwise comparisons of whole genomes using all coding sequences with homologous counterparts, either between viruses or between their corresponding hosts, revealed that the evolutionary divergences between viruses are lower than those between their hosts, suggesting either multiple recent host transfers or lower viral evolution rates.

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Candéias, S., K. Muegge, and S. K. Durum. "Junctional diversity in signal joints from T cell receptor beta and delta loci via terminal deoxynucleotidyl transferase and exonucleolytic activity." Journal of Experimental Medicine 184, no. 5 (November 1, 1996): 1919–26. http://dx.doi.org/10.1084/jem.184.5.1919.

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The site-specific V(D)J recombination reaction necessary to assemble the genes coding for immunoglobulin (Ig) and T cell receptor (TCR) variable regions is initiated by a precise double strand cut at the border of the recombination signals flanking the genes. Extensive processing of the coding ends before their ligation accounts for most of the Ig and TCR repertoire diversity. This processing includes both base additions to and loss from the coding ends. On the other hand, it has generally been thought that signal ends are not modified before they are fused, and that signal joints consist of a perfect head-to-head ligation of the recombination signals. In this study, we analyzed signal joints created during the rearrangement of different TCR-beta and TCR-delta genes in thymocytes. We show that a significant fraction (up to 24%) of these signal joints exhibits junctional diversity. This diversity results from N nucleotide additions for TCR-beta signal joints, and from N additions and exonucleolytic digestion for TCR-delta joints. Altogether, our findings suggest that: (a) signal ends can undergo some of the same modifications as coding ends, (b) inversional rearrangement generates more diversity than deletional events, and (c) fine differences exist in the recombinase/DNA complexes formed at each rearranging locus.

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Politikos, Ioannis, Haesook Kim, Sarah Nikiforow, Anoma Nellore, Lequn Li, Sean McDonough, Robert J. Soiffer, et al. "Reconstitution Of EBV-Specific Immunity In Adult Recipients Of Double Cord Blood Transplantation Depends On SCF and IL-7 Levels and Maintenance Of a Diverse TCR Repertoire." Blood 122, no. 21 (November 15, 2013): 3302. http://dx.doi.org/10.1182/blood.v122.21.3302.3302.

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Abstract Umbilical cord blood (UCB) is an alternative source of hematopoietic stem cells (HSC) for allogeneic HSC transplantation but reconstitution of T cell immunity remains problematic even with double UCB transplantation (dUCBT). This is related to the small T cell numbers of the UCB graft, the naïve nature of these T cells and often the use of ATG as part of the conditioning regimen. Consequently, UCBT recipients are susceptible to viral infections that require intact T cell immunity for their containment. Epstein Barr virus (EBV) is a gammaherpes virus that is transmitted orally. EBV initially replicates in a lytic cycle in the epithelium of the oropharynx and then establishes a latent state in memory B cells. Reactivation of EBV from latent to lytic cycle is mediated by physiologic stress of the memory B cell pool and by defects in antiviral T cell immunity, and can cause aggressive lymphomas known as post transplant lymphoproliferative disorder (PTLD) in immunocompromised hosts. The specific immunological correlates of EBV reactivation in adult UCBT recipients have not been examined. In the present study we attempted to distinguish immune reconstitution profiles in UCBT recipients who developed EBV viremia from those who did not, in order to better understand the immune profile of UCBT recipients who control gammaherpes virus reactivation. Thirty-one patients with hematologic malignancies received dUCBT with melphalan, fludarabine, ATG conditioning and tacrolimus plus sirolimus for GvHD prophylaxis. EBV viral load was determined on a weekly basis after dUCBT. Immunophenotype of peripheral blood lymphocytes, serum cytokine levels and T cell receptor excision circle analysis (TREC) values, were examined prior to and at 1, 2, 3, 6 and 12 months after UCBT and were compared between EBV viremic and non-viremic patients using the Wilcoxon-rank sum test. During the first 12 months after dUCBT, 14 of 31 (45%) patients developed EBV viremia and four (13%) developed PTLD. At one month after dUCBT, patients who developed EBV viremia displayed higher numbers of CD19+ B cell numbers (p=0.04) and CD4+CD25+ T regulatory cells (p=0.03) compared with patients who never became viremic. Surprisingly, development of EBV viremia correlated with increased numbers of CD3+ (p=0.04), CD4+ (p=0.015) and CD8+ (p=0.021) T cells. This finding was counterintuitive, as one might expect better quantitative peripheral T cell reconstitution in patients with recovering immunity and no EBV reactivation. One mechanism of impaired immune reconstitution after UCBT is skewing towards a late effector memory T cell phenotype, a stage in which T cells are incapable of mounting protective immune responses. We examined whether development of EBV viremia was associated with altered naïve versus memory T cell distribution. We determined that patients who developed EBV reactivation had higher numbers of memory cell subsets (CD4+CD45RO+, p=0.0023; CD8+CD45RO+, p=0.019) at two months after dUCBT. Neither development nor control of EBV viremia correlated with TREC recovery, which occurred after the time period of EBV viremia. We were unable to identify EBV-specific T cells in any patient group due to the very low T cell numbers during the time of viremia. However, analysis of repertoire diversity by deep-sequencing on PCR-amplified CDR3 regions of the TCRb gene using the ImmunoSEQ assay showed a more diverse TCR repertoire, as determined by higher entropy (p=0.03) and lower clonality (p=0.03), among patients who did not develop EBV reactivation, compared with those who developed EBV viremia and PTLD. Assessment of serum levels of SCF (a c-kit ligand), IL-7, thrombomodulin, VEGF and angiopoetin-1 showed that patients without EBV viremia had significantly higher levels of SCF (p=0.0001) and IL-7 (p=0.05), at 1 and 2 months after dUCBT, compared with patients who developed EBV reactivation and PTLD. SCF-mediated signaling via c-kit is integral to the homing and longevity of uncommitted hematopoietic stem cells whereas IL-7 is a critical factor for survival and homeostasis of naïve T cells. Together our findings suggest that control of EBV reactivation after dUCBT might be linked to the support of naïve T cell homeostasis, which enables maintenance of a diverse TCR repertoire. Disclosures: No relevant conflicts of interest to declare.

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Barthélémy, Philippe, Stephen J. Lee, and Mark Grinstaff. "Supramolecular assemblies with DNA* (Special Topic Article)." Pure and Applied Chemistry 77, no. 12 (January 1, 2005): 2133–48. http://dx.doi.org/10.1351/pac200577122133.

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Information storage in chemical and biological systems involves recognition processes occurring at the molecular and macromolecular level. The implementation of a "code" can consist of multiple noncovalent interactions, which include hydrogen bonds, π-stacking, hydrophobic interactions, and appropriate molecular and supramolecular architectures. With the double-helical DNA structure stabilized by Watson-Crick hydrogen bond base-pairing and aryl π-π stacking interactions, nature provides to scientists an example of one of the most sophisticated supramolecular systems. Molecular organization using these types of processes has become a very powerful strategy for the construction of well-defined nanostructures. Self-assemblies using noncovalent interactions have been designed to build fibers, membranes, two-dimensional monolayers, hydro, organo gels, etc. This paper highlights the research presented at the workshop entitled DNA Supramolecular Assemblies, which was held in Avignon, France on 5-6 May 2004. In this article, we first focus on the recent progress achieved in the design of supramolecular self-assemblies that mimic the molecular recognition functionalities found with nucleic acids. Second, we present several synthetic-DNA supramolecular assemblies currently developed to transport nucleic acids into cells. The marriage of supramolecular chemistry with nucleic acids as illustrated through examples in this article will open new avenues for designing artificial molecular devices and expand the current repertoire of supramolecular assemblies available.

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Hurst, Lawrence. "The Double Bass Spiccato." American String Teacher 64, no. 4 (November 2014): 34–36. http://dx.doi.org/10.1177/000313131406400406.

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Morelli, Michael J. "Clarity on the Double Bass." American String Teacher 39, no. 2 (May 1989): 59–60. http://dx.doi.org/10.1177/000313138903900220.

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Prokisch, Jorg. "Double chamber bass reflex box." Journal of the Acoustical Society of America 102, no. 3 (September 1997): 1277. http://dx.doi.org/10.1121/1.419986.

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Robinson, Paul. "Double Bass and Electric Bass Guitar: The Twain Shall Meet." American String Teacher 40, no. 4 (November 1990): 86–90. http://dx.doi.org/10.1177/000313139004000430.

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Saye, John W., Jada Kohlmeier, James B. Howell, Theresa M. McCormick, Robert C. Jones, and Thomas A. Brush. "Scaffolded lesson study." Social Studies Research and Practice 12, no. 1 (May 23, 2017): 95–112. http://dx.doi.org/10.1108/ssrp-03-2017-0008.

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Purpose The purpose of this paper is to investigate the effects of scaffolded lesson study on the content knowledge, conceptions of curriculum, and classroom practice of 22 elementary and secondary history teachers in four school districts. Design/methodology/approach Teachers, teacher educators, and historians collaborated to design and test research lessons grounded in a theory-based framework for problem-based historical inquiry (PBHI) practice. The authors sought to support consonance between the reform ideas of the formal, professional development, curriculum, and the curriculum as enacted in participants’ classrooms. Findings Project participation was associated with significant gains in content knowledge and the conceptualization and implementation of more challenging instruction consistent with the PBHI model and the standards of authentic intellectual work (AIW). Mean AIW instruction scores for research lessons were more than double the scores for participants’ non-lesson study lessons and indicated noteworthy progress in integrating the formal and enacted curricula. Evidence suggested that many teachers developed more nuanced understandings of historical phenomena, gained greater appreciation for the importance of authentic purpose in motivating student engagement in challenging learning, and began to reconsider what is required to facilitate complex learning and to refine their repertoire of learning strategies. Originality/value Evidence from the first year of this project offers hope for the potential of collaborative communities of practice to facilitate a shared professional knowledge base of wise practice that brings the formal, intended, and enacted curriculum into greater alignment. These results also emphasize the evolutionary process of conceptual change.

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20

Baines, Francis. "The Five String Fretted Double-Bass." Galpin Society Journal 41 (October 1988): 107. http://dx.doi.org/10.2307/842715.

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Deak, Jon, Ronald Caltabiano, Bertram Turetzky, Barney Childs, Donald Erb, Tom Johnson, and Bertram Turetzky. "Ellington Sonata for Solo Double Bass." Notes 46, no. 1 (September 1989): 237. http://dx.doi.org/10.2307/940784.

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22

Segerman, Ephraim. "Mysteries of the early double bass." Early Music XXVII, no. 4 (November 1999): 660–62. http://dx.doi.org/10.1093/earlyj/xxvii.4.660.

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23

Horner, Christopher. "Double Bass Parts: Challenges and Opportunities." American String Teacher 69, no. 4 (October 23, 2019): 33–39. http://dx.doi.org/10.1177/0003131319871450.

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Clevinger, Martin R. "Rigidly constructed portable electric double bass." Journal of the Acoustical Society of America 82, no. 5 (November 1987): 1863–64. http://dx.doi.org/10.1121/1.395728.

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Baker, Wilbur R. "An Analysis of Vocal Jazz Repertoire by Three Selected Publishing Companies." Update: Applications of Research in Music Education 30, no. 1 (August 26, 2011): 54–63. http://dx.doi.org/10.1177/8755123311418625.

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The purpose of this study was to analyze SATB (soprano, alto, tenor, bass) vocal jazz octavos ( N = 150) from three publishers in an effort to (a) identify the most prolific arrangers/composers, (b) cite improvisation opportunities, (c) document publisher improvisation markings, (d) indicate repeated titles, (e) identify most popular styles, and (f) investigate instrumental accompaniment combinations. Results revealed that the most prolific composers were Kirby Shaw, Steve Zegree, and Darmon Meader. Less than one fourth (22.6%) of the charts included improvisation opportunities for singers with transcribed notation ( n = 18) or instructions ( n = 16). Swing and Ballad styles were more prevalent than Latin and Contemporary. Categories for instrumental accompaniments included none/a cappella ( n = 31), bass ( n = 1), piano ( n = 39), combo ( n = 48), and augmented combo ( n = 32). Further results and discussion are included.

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Chanphanitpornkit, Tanatchaya, and Tammy S. Yi. "All About that Bass, No Treble: Shapeshifting from Violin to Double Bass." American String Teacher 71, no. 3 (August 2021): 33–38. http://dx.doi.org/10.1177/00031313211024541.

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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.

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Turetzky, Bertram, and Angel Pena. "Un Petit Recueil; For Double Bass Trio." Notes 42, no. 1 (September 1985): 157. http://dx.doi.org/10.2307/898270.

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Brun, Paul. "A New History [of the] Double Bass." American String Teacher 51, no. 1 (February 2001): 66–70. http://dx.doi.org/10.1177/000313130105100110.

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Hansen, Eric. "Double Bass and the French Bow Grip." American String Teacher 60, no. 1 (February 2010): 30–32. http://dx.doi.org/10.1177/000313131006000105.

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31

Aaron, Jeffrey. "The State of Teaching the Double Bass." American String Teacher 46, no. 4 (November 1996): 59–60. http://dx.doi.org/10.1177/000313139604600415.

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32

Cross, Samuel, and Roger Ruggeri. "A New Technique for the Double Bass?" American String Teacher 36, no. 2 (May 1986): 63–65. http://dx.doi.org/10.1177/000313138603600223.

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Ruggeri, Roger. "Double Bass Forum: Questing for an Instrument." American String Teacher 36, no. 4 (November 1986): 47. http://dx.doi.org/10.1177/000313138603600426.

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Olson, Peter. "Double Bass Position Systems: Acoustic and Electric." American String Teacher 42, no. 4 (November 1992): 97–98. http://dx.doi.org/10.1177/000313139204200436.

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Larson, Miriam. "Double Bass Blues by Andrea J. Loney." Bulletin of the Center for Children's Books 73, no. 2 (2019): 75. http://dx.doi.org/10.1353/bcc.2019.0673.

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Liu, Jing, Galina Glazko, and Arcady Mushegian. "Protein repertoire of double-stranded DNA bacteriophages." Virus Research 117, no. 1 (April 2006): 68–80. http://dx.doi.org/10.1016/j.virusres.2006.01.015.

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Barroso, Carolina, Pedro Carvalho, Carla Carvalho, Nuno Santarém, José F. M. Gonçalves, Pedro N. S. Rodrigues, and João V. Neves. "The Diverse Piscidin Repertoire of the European Sea Bass (Dicentrarchus labrax): Molecular Characterization and Antimicrobial Activities." International Journal of Molecular Sciences 21, no. 13 (June 29, 2020): 4613. http://dx.doi.org/10.3390/ijms21134613.

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Fish rely on their innate immune responses to cope with the challenging aquatic environment, with antimicrobial peptides (AMPs) being one of the first line of defenses. Piscidins are a group of fish specific AMPs isolated in several species. However, in the European sea bass (Dicentrarchus labrax), the piscidin family remains poorly understood. We identified six different piscidins in sea bass, performed an in-depth molecular characterization and evaluated their antimicrobial activities against several bacterial and parasitic pathogens. Sea bass piscidins present variable amino acid sequences and antimicrobial activities, and can be divided in different sub groups: group 1, formed by piscidins 1 and 4; group 2, constituted by piscidins 2 and 5, and group 3, formed by piscidins 6 and 7. Additionally, we demonstrate that piscidins 1 to 5 possess a broad effect on multiple microorganisms, including mammalian parasites, while piscidins 6 and 7 have poor antibacterial and antiparasitic activities. These results raise questions on the functions of these peptides, particularly piscidins 6 and 7. Considering their limited antimicrobial activity, these piscidins might have other functional roles, but further studies are necessary to better understand what roles might those be.

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Guettler, Knut. "Electromyography and Muscle Activities in Double Bass Playing." Music Perception 9, no. 3 (1992): 303–9. http://dx.doi.org/10.2307/40285554.

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Two electromyography (EMG) experiments related to double bass playing are described. By means of surface electrodes and synchronous recordings of finger movements on the string, it is shown in the first experiment that the production of vibrato is associated with pulsating contractions of two back muscles, the teres minor and the teres major. A failure in the coordination of the activity of these muscles was observed in a student having problems in producing a proper vibrato. The second experiment demonstrates clear effects of a small change in the holding of the instrument on muscular stress in the left and right trapezius muscles. These changes were revealed by the occurrence of different degrees of muscular force developed during playing. The pedagogical implications of these findings are discussed.

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Booker, Adam. "Double Bass Techniques of the Early Jazz Era." Jazz Perspectives 11, no. 3 (September 2, 2018): 265–82. http://dx.doi.org/10.1080/17494060.2019.1701063.

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Thibeault, Matthew. "The Vibrato Rate of Professional Double Bass Players." American String Teacher 47, no. 1 (February 1997): 71–73. http://dx.doi.org/10.1177/000313139704700113.

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Ruggeri, Roger. "Double Bass Forum: Toward an Understanding of Movement." American String Teacher 35, no. 2 (May 1985): 52–53. http://dx.doi.org/10.1177/000313138503500220.

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Kantorski, Vincent J. "Book Review: A History of the Double Bass." American String Teacher 40, no. 4 (November 1990): 91–92. http://dx.doi.org/10.1177/000313139004000431.

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Mits, Oksana. "Pedagogical system of piano technique evolution in the works of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 119–31. http://dx.doi.org/10.34064/khnum1-52.08.

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Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Technical sketches” op. 97. The arsenal of techniques used in these works is rich and diverse, which emphasizes the artistic advantages of these compositions. The value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist is defined, since the pedagogical works of the composer can still serve as a good help for middle and high school students of music schools and colleges. The purpose of the article is to reveal the value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The study of M. M. Moszkowski’s piano etudes became a significant contribution to the development of West-European art of the second half of the 19th and early 20th centuries. The analysis of etudes allowed highlighting a free choice of figurative and stylistic priorities, tendency towards small size, focus on a certain type of technique, expressiveness of technically virtuoso tasks, use of simple forms, artistic diversity, prevelance of light mood and moving pace. These piano exercises are clearly presented as an integral part of Moszkowski’s pedagogical method, as well as the specifics of the author’s performance style. Moszkowski’s etudes are a kind of bridge between virtuosity skills and bright images, they help not only improve the technique but also develop student’s musicality. Undoubtedly, this approach provides a solid foundation in all areas of piano performance. Moszkowski’s etudes are less difficult to study, they have technical value that can be quickly acquired, but at the same time they are sustainable and program. Sometimes Moszkowski treats the etude genre very freely: as a substitute for another genre (Two miniatures op 67) as part of the dilogy cycle (Caprice-etude and Improvisation op. 70) and others. These works are little used in modern performing practice. At the same time, they represent a very interesting material that clearly reflects the distinctiveness of musical language of late romantic pianists, to which Moszkowski belonged. Conclusions. Special attention should be paid to the composter’s great contribution to the enrichment of the instructive piano repertoire. Unfortunately, pedagogically orientated works are not so often performed in today’s educational practice. Only 15 virtuoso etudes from op. 72. are widely used. It would be very useful for young musicians to get acquainted with numerous etudes of the composer, since they are of unquestionable interest from the viewpoint of the development of both technical skills and figurative thinking of students. This publication is intended to attract the attention of teachers and performers to wider mastering of piano etudes by M. Moszkowski, which would greatly enrich modern piano repertoire. Unfortunately, many piano compositions of the composer, which were created with a pedagogical purpose, are not used widely enough in educational practice today. Many of them are aimed at the development of elementary piano skills necessary for the development of a young performer: five-finger position, scale sequences, and chords. They are very important, that is why they are described in easy etudes, systematizing the basic forms of virtuosity. Such compositions of Moszkowski take the performer from the basics to the tasks of the highest virtuoso difficulty. His pedagogical system allows us to gradually and systematically improve pianism. The piece must be learnt in a certain sequence: mastering the musical text; playing in the tempo specified by the composer; analysis of the content of the work. Indeed, the performer should be able to divide the work into certain stages, especially if it concerns etudes – to strive for the maximum clear statement of the technical task, excluding anything that could hinder its accomplishment.

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Brown, Andrew W. "An acoustical study on double bass bridge height adjusters." Journal of the Acoustical Society of America 109, no. 5 (May 2001): 2484. http://dx.doi.org/10.1121/1.4744832.

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Braun, Joel. "An Overview of Pedagogical Materials for the Double Bass." American String Teacher 70, no. 3 (August 2020): 27–32. http://dx.doi.org/10.1177/0003131320933222.

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Lage, Guilherme Menezes, Fausto Borém, Maurílio Nunes Vieira, and João Pardal Barreiros. "Visual and Tactile Information in Double Bass Intonation Control." Motor Control 11, no. 2 (April 2007): 151–65. http://dx.doi.org/10.1123/mcj.11.2.151.

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Lin, Yao, and Pramote Danpradit. "Double Bass Workbook for Children Focusing on Critical Thinking." Gagasan Pendidikan Indonesia 2, no. 1 (June 30, 2021): 27. http://dx.doi.org/10.30870/gpi.v2i1.10452.

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Drakeford, Richard, Michael Glinka, Friedrich Cerha, Eric Hudes, William Mathias, Arvo Part, and Henri Pousseur. "Sextet for Two Violins, Viola, Cello, Double Bass and Piano." Musical Times 134, no. 1801 (March 1993): 141. http://dx.doi.org/10.2307/1193860.

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Turetzky, Bertram, and Alan Bush. "Meditation and Scherzo, op. 93; For Double Bass and Piano." Notes 42, no. 1 (September 1985): 156. http://dx.doi.org/10.2307/898269.

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Smith, Carolyn J., and Peter Maxwell Davies. "Strathclyde Concerto No. 7 for Double Bass and Orchestra [1992]." Notes 53, no. 2 (December 1996): 624. http://dx.doi.org/10.2307/900162.

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Journal articles on the topic 'Repertoire for double bass'

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