Barry Lieberman & Friends present Catalin Rotaru, double bass March 15, 2015

Concert Program

Double bass and electric bass: the case study of John Patitucci

The electric bass and double bass are two different instruments sharing a common function: they link harmony with rhythm, especially when talking about jazz music. The capacity of a bassist to fully support an ensemble is something that can be achieved individually playing electric or double bass. However there are some bassists who, despite of the technical differences between these two instruments, choose to play both. Some of these performers are true masters using and switching electric and double bass according to the different musical settings. It is possible to define similarities and differences between the electric and double bass, but is it viable to use similar approaches too? In order to investigate this field, I focus my research on one exemplar player who combines all the qualities needed to both play electric than double bass: John Patitucci, an inspiration for bassists of all generations and a musician who synthesizes all the fundamental characteristics of an ideal bass player. This dissertation is inspired by Patitucci’s example and by the urge to fill a gap in the specialized literature concerning the history and application of different left and right hand techniques on the electric and double bass. The main purpose of this study is to create the backbone of a bass program for teaching both instruments using John Patitucci as example. His technical approach on both instruments and his soloing vocabulary are points of departure of this dissertation. I begin my study with the historical origins of Patitucci’s techniques ending with the development of exercises created in order to teach his techniques and vocabulary to those who aspire to play electric and double bass; RESUMO: Baixo elétrico e contrabaixo, dois instrumentos distintos que partilham uma função comum: a possibilidade de produzir um conjunto de notas capazes de interligar uma grelha harmonia a uma base rítmica, criando uma coesão estética e musical, sobretudo na música jazz. A capacidade de um baixista de conseguir alcançar de forma eficiente esta ligação como sólido suporte para um “ensemble” musical está na base de uma sua eventual afirmação profissional. Há músicos que apesar das diferencias técnicas entre estes dois instrumentos, decidiram tocar ambos; alguns deles conseguiram destacarse, usando e trocando o baixo elétrico e o contrabaixo para servir melhor diferentes situações musicais. O contrabaixo e baixo elétrico têm características em comum mas ao mesmo tempo diferem por apresentar algumas diferenças técnica substanciais; será por isso possível abordar, explorar e aprender ambos utilizando uma mesma base metodológica? Com o intuito de explorar esta possibilidade direcionei a minha pesquisa para o estudo de um músico que no curso da sua longa carreira consegui grande destaque em quanto baixista elétrico e contrabaixista. John Patitucci é a síntese desta tipologia de músico, sendo uma fonte de inspiração para baixistas de todas as gerações. Esta dissertação é inspirada no seu exemplo e no desejo de colmatar o vazio presente na literatura musical comum aos dois instrumentos sobre a história e aplicação das técnicas da mão esquerda e direita. O foco principal é a criação de uma base sólida para o futuro desenvolvimento de um programa de ensino comum para o baixo eléctrico e o contrabaixo, utilizando o vocabulário técnico e improvisativo de Patitucci como ponto de partida. A dissertação aborda as origens históricas das técnicas utilizadas por Patitucci desenvolvendo, numa fase sucessiva, exercícios criados com a função de ensinar as suas técnicas aos que desejarem aprofundar a prática do baixo elétrico e do contrabaixo.

Ted Botsford double bass with Marissa Winship and Megan McElroy, piano November 13, 2016

Concert Program

Kammersymphonie, für 15 Solo-Instrumente op. 9. [music] /

For flute, oboe, English horn, 2 clarinets, bass clarinet, bassoon, double bassoon, 2 horns, 2 violins, viola, violoncello, and double bass.

Le carnaval des animaux, grande fantaisie zoologique.

Suite for 2 pianos, 2 violins, viola, violoncello, double bass, flute (& piccolo) clarinet, glockenspiel & xylophone.

Abolition of (-)-CGP 12177-evoked cardiostimulation in double beta(1)/beta(2)-adrenoceptor knockout mice. Obligatory role of beta(1)-adrenoceptors for putative beta 4-adrenoceptor pharmacology

Some beta (1)- and beta (2)-adrenoceptor-blocking agents, such as (-)-CGP 12177, cause cardiostimulant effects at concentrations considerably higher than those that antagonise the effects of catecholamines. The cardiostimulant effects of these non-conventional partial agonists are relatively resistant to blockade by (-)-propranolol and have been proposed to be mediated through putative beta (4)-adrenoceptors or through atypical states of either beta (1)- or beta (2)-adrenoceptors. We investigated the effects of (-)-CGP 12177 on sinoatrial rate and left atrial contractile force as well as the ventricular binding of (-)-[H-3]CGP 12177 in tissues from wild-type, beta (2)-adrenoceptor knockout and beta (1)/beta (2)-adrenoceptor double knockout mice. The cardiostimulant effects of (-)-CGP 12177 were present in wildtype and beta (2)-adrenoceptor knockout mice but were absent in beta (1)/beta (2)-adrenoceptor double knockout mice. Thus, the presence of beta (1)-adrenoceptors is obligatory for the cardiostimulant effects of (-)-CGP 12177. It appears therefore that an atypical state of the beta (1)-adrenoceptor contributes to the mediation of the cardiostimulant effects induced by non-conventional partial agonists. Ventricular beta (1)- and beta (2)-adrenoceptors, labelled in wild-type with a K(D)similar to0.5 nmol/l (similar to 16 fmol/mg protein), were absent in beta (1)/beta (2)-adrenoceptor double knockout mice. However, a high density binding site (similar to 154-391 fmol/mg protein) that did not saturate completely (K(D)similar to 80-200 nM) was labelled by (-)-[H-3]CGP 12177 in the three groups of mice, being distinct from beta (1)- and beta (2)-adrenoceptors, as well as from the site mediating the agonist effects of(-)-CGP 12177.

La Steinquerque, sonate en si♭ pour 2 violons et piano avec violoncelle non obligé.

"Éditée d'après le manuscrit de Bibl. Nat. La réalisation de la basse et les nuances ont été ajoutées."

Serenade, in E dur, für Streich-Orchester; praeludium, air, intermezzo, romanze, gavotte ... Op. 25.

Mode of access: Internet.

Sérénade, 2 violons & alto. Op. 12.

Mode of access: Internet.

Oktett, für Streichquintett, Klarinette, Horn und Fagott,

Publisher's no.: Edition Peters Nr. 1849.

SO(2,1)-Invariant Double Integral Transforms and Formulas for the Whittaker Functions

MSC 2010: 33C15, 33C05, 33C45, 65R10, 20C40

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

Couplage entre les régions IIS4S5 et IIIS6 lors de l’activation du canal calcique CaV3.2

Le canal calcique dépendant du voltage de type-T CaV3.2 joue un rôle important dans l’excitabilité neuronale et dans la perception de la douleur. Le canal CaV3.2 partage une grande homologie structurale et fonctionnelle avec les canaux NaV. Ces deux types de canaux sont activés par de faibles dépolarisations membranaires et possèdent des cinétiques de temps d’activation et d’inactivation plus rapides que les canaux CaV de type-L. Les structures cristallines à haute résolution des canaux bactériens NaVAb (Payandeh et al. 2011; Payandeh et al. 2012) et NaVRh (Zhang et al. 2012) suggèrent que l’hélice amphiphile S4S5 du domaine II peut être couplée avec les résidus de l’hélice S6 dans le domaine II ainsi qu’avec des résidus de l’hélice homologue dans le domaine adjacent, soit le domaine III, et ce, durant l’activation du canal. Pour déterminer les résidus fonctionnellement couplés, durant l’activation du canal CaV3.2, une analyse cyclique de doubles mutants a été effectuée par substitution en glycine et alanine des résidus clés entre l’hélice S4S5 du domaine II et le segment S6 des domaines II et III. Les propriétés biophysiques ont été mesurées à l’aide de la technique de « cut-open » sur les ovocytes. Les énergies d’activation ont été mesurées pour 47 mutations ponctuelles et pour 14 paires de mutants. De grandes énergies de couplage (ΔΔGinteract > 2 kcal mol-1) ont été observées pour 3 paires de mutants introduites dans les IIS4S5/IIS6 et IIS4S5/IIIS6. Aucun couplage significatif n’a été observé entre le IIS4S5 et le IVS6. Nos résultats semblent démontrer que les hélices S4S5 et S6 provenant de deux domaines voisins sont couplées durant l’activation du canal calcique de type-T CaV3.2.

Dual modulation of cell survival and cell death by β2-adrenergic signaling in adult mouse cardiac myocytes

The goal of this study was to determine whether β1-adrenergic receptor (AR) and β2-AR differ in regulating cardiomyocyte survival and apoptosis and, if so, to explore underlying mechanisms. One potential mechanism is that cardiac β2-AR can activate both Gs and Gi proteins, whereas cardiac β1-AR couples only to Gs. To avoid complicated crosstalk between β-AR subtypes, we expressed β1-AR or β2-AR individually in adult β1/β2-AR double knockout mouse cardiac myocytes by using adenoviral gene transfer. Stimulation of β1-AR, but not β2-AR, markedly induced myocyte apoptosis, as indicated by increased terminal deoxynucleotidyltransferase-mediated UTP end labeling or Hoechst staining positive cells and DNA fragmentation. In contrast, β2-AR (but not β1-AR) stimulation elevated the activity of Akt, a powerful survival signal; this effect was fully abolished by inhibiting Gi, Gβγ, or phosphoinositide 3 kinase (PI3K) with pertussis toxin, βARK-ct (a peptide inhibitor of Gβγ), or LY294002, respectively. This indicates that β2-AR activates Akt via a Gi-Gβγ-PI3K pathway. More importantly, inhibition of the Gi-Gβγ-PI3K-Akt pathway converts β2-AR signaling from survival to apoptotic. Thus, stimulation of a single class of receptors, β2-ARs, elicits concurrent apoptotic and survival signals in cardiac myocytes. The survival effect appears to predominate and is mediated by the Gi-Gβγ-PI3K-Akt signaling pathway.