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An Analysis of Double Bass Vibrato: Rates, Widths, and Pitches As Influenced by Pitch Height, Fingers Used, and Tempo James Paul Mick

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An Analysis of Double Bass Vibrato: Rates, Widths, and Pitches As Influenced by Pitch Height, Fingers Used, and Tempo James Paul Mick Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Analysis of Double Bass Vibrato: Rates, Widths, and Pitches as Influenced by Pitch Height, Fingers Used, and Tempo James Paul Mick Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANALYSIS OF DOUBLE BASS VIBRATO: RATES, WIDTHS, AND PITCHES AS INFLUENCED BY PITCH HEIGHT, FINGERS USED, AND TEMPO By JAMES PAUL MICK A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2012 James Mick defended this dissertation on March 13, 2012. The members of the supervisory committee were: Alice-Ann Darrow Professor Directing Dissertation Melanie Punter University Representative John Geringer Committee Member Steven Kelly Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii I dedicate this dissertation to Dr. Michael Allen. iii ACKNOWLEDGEMENTS I would like to extend my sincerest appreciation to Alice-Ann Darrow, my major professor. I honestly do not know how I would have finished if not for your continued guidance, encouragement, and dedication. Thank you for taking me as your fourth (!) doctoral student this year, and for providing the parameters that have helped me grow as a researcher, student, teacher, and person. To each of my other committee members: thank you, thank you, and thank you. Your help and guidance throughout my tenure at FSU has been invaluable. Dr. Geringer, your research classes paved the way for me to undertake this dissertation topic, and I wish I knew how to express my appreciation for your guidance after my first year of classes. Dr. Kelly, my committee would not be complete without you. I appreciate your time, feedback, expertise, and kindness of heart for joining my committee. Prof. Punter, your acceptance of me as an “honorary” student was crucial in my continued growth as both a performer and teacher. Thank you for providing a performance perspective throughout this process and for laying the groundwork for my lecture recital. It would have been impossible to collect data without the help of the following professors who graciously opened their double bass studios to my study: Harry Jacobson, Tod Leavitt, Melanie Punter, James VanDemark, and Nicholas Walker. Finally, I would like to thank my family for instilling in me the work ethic and dedication needed to complete such a massive undertaking; David Pope, my friend and colleague whose support, dedication, and loyalty was crucial to my continued growth as a teacher and person, especially after our first year of classes; Ed Kawakami, for your laughter and place to sleep when in town; Dr. Jimenez, for your musical inspiration, laughter, and open-door policy; Dr. Madsen, for your teaching inspiration and for making it possible for me to attend FSU; Lauren Smith, for patiently answering all of my questions; Keith Kaiser, for your mentorship and belief in me; and most importantly, Dr. Michael Allen, the only string pedagogue I have had as a teacher. iv TABLE OF CONTENTS List of Tables ............................................................................................................................... viii List of Figures................................................................................................................................ ix Abstract............................................................................................................................................x 1. INTRODUCTION...................................................................................................................1 Functions of String Vibrato.....................................................................................................1 Characteristics of String Vibrato.............................................................................................2 Historical Perspectives of String Vibrato................................................................................3 Need for the Study...................................................................................................................5 Purpose Statement ...................................................................................................................7 2. REVIEW OF LITERATURE..................................................................................................8 Development and Pedagogical Evolution of the Double Bass................................................8 Double Bass Instrument Development ..........................................................................9 Double Bass Pedagogical Evolution............................................................................10 String Instrument Vibrato Mechanics ...................................................................................13 Double Bass (and Cello) Vibrato.................................................................................13 Violin and Viola Vibrato .............................................................................................15 Double Bass Vibrato Teaching Methods...............................................................................16 String Instrument Vibrato......................................................................................................18 Vibrato Rate.................................................................................................................18 Pedagogical Views..............................................................................................18 Empirical Research .............................................................................................19 Perception Research............................................................................................20 Vibrato Width ..............................................................................................................20 Pedagogical Views..............................................................................................20 Empirical Research .............................................................................................21 Perception Research............................................................................................23 Effect of Individual Fingers on Vibrato Rate and Width.............................................23 Pedagogical Views..............................................................................................23 Empirical Research .............................................................................................24 Effect of Pitch Height (Register) on Vibrato Rate and Width.....................................25 Pedagogical Views..............................................................................................25 Empirical Research .............................................................................................26 Effect of Tempo on Vibrato Rate and Width...............................................................27 Pedagogical Views..............................................................................................27 Empirical Research .............................................................................................28 v Pitch Center..................................................................................................................28 Pedagogical Views..............................................................................................28 Empirical Research .............................................................................................29 Perception Research............................................................................................31 Rationale and Research Questions ........................................................................................31 3. METHOD..............................................................................................................................33 Participants ............................................................................................................................33 Musical Stimuli .....................................................................................................................34 Procedure...............................................................................................................................35 4. RESULTS..............................................................................................................................39 Data Analysis.........................................................................................................................39 Reliability ..............................................................................................................................41 Analysis Results ....................................................................................................................41 Research Question #1: Totals ......................................................................................41 Rate .....................................................................................................................42 Width...................................................................................................................44
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