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dc.contributor.advisorCarroll, Mark Stephen-
dc.contributor.advisorHancock, Bruce-
dc.contributor.authorDowdall, Peter Robert-
dc.description.abstractThe thesis explores the critical impact of technology on the bass, and the extent to which that has fundamentally influenced the course of jazz. It does so according to a three-tiered framework involving technologies that are intrinsic to the instrument, including its eventual electrification; technologies extrinsic to the bass, most notably evolving recording technologies; and an evaluation of the ways in which the implementation of these technologies has transformed jazz as an art form. Topics include: the impact of organological changes brought about by the transition from tuba to string bass and the adoption of the electric bass; audio technology’s role in the presentation of the jazz bassist’s performance; and the influence of technical developments in the recording studio on the advancement of jazz bass style. The study also considers the challenges facing the bassist as a result of the increasing power of the recording engineer. Finally, it assesses the ways in which emerging technologies might threaten the security of the bassist within the jazz ensemble. Among the conclusions drawn is that the technological empowerment of the bassist is largely responsible for the innovations of jazz’s more celebrated soloists. In this regard the study describes the stylistic evolution of jazz from the bass player’s perspective – that is, from the musical foundation up. A clear and valid link emerges between the emancipation of the bass in jazz and the role of technology in delivering its full potential.en
dc.subjectrecording digital audioen
dc.subjectstring bassen
dc.subjectelectric bassen
dc.titleThe impact of technology on the role and function of the bass in jazzen
dc.contributor.schoolElder Conservatorium of Musicen
dc.provenanceCopyright material removed from digital thesis. See print copy in University of Adelaide Library for full text.en
dc.provenanceThis electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at:
dc.description.dissertationThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2012.en
Appears in Collections:Research Theses

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