{"id":{"repo_id":"lsu-thes","oai_identifier":"oai:repository.lsu.edu:gradschool_dissertations-1242"},"canonical_url":"https://search.dev.ndltd.org/etd/lsu-thes/oai:repository.lsu.edu:gradschool_dissertations-1242","repository":{"repo_id":"lsu-thes","name":"Lousiana State University","base_url":"https://repository.lsu.edu/do/oai/"},"display":{"title":"The transcription for two double basses of selections from Pièces de violes, Quatrème livre, Deuxiême partie: Suitte d'un Goût Etranger by Marin Marais","abstract":"Marin Marais (1656-1728) was one of the most celebrated bass viol composer-performers of the French school from the late seventeenth century to the early eighteenth century. The purpose of this project is to introduce some of his music to double bass players through transcriptions. The monograph starts with an overview on the importance of transcriptions in double bass literature. A historical background of the viol and its relation to the double bass are discussed in the second chapter. The third chapter reviews Marin Marais’s biographical sketch, and some of his most significant compositions. The transcription process of eight selected bass viol pieces from Marais’ Suitte d’un Goût Etranger is shown in Chapter IV. The complete music score of the double bass transcription is presented in Chapter V. The final chapter discusses the French viol performance practice in the baroque period.","abstract_html":"Marin Marais (1656-1728) was one of the most celebrated bass viol composer-performers of the French school from the late seventeenth century to the early eighteenth century. The purpose of this project is to introduce some of his music to double bass players through transcriptions. The monograph starts with an overview on the importance of transcriptions in double bass literature. A historical background of the viol and its relation to the double bass are discussed in the second chapter. The third chapter reviews Marin Marais’s biographical sketch, and some of his most significant compositions. The transcription process of eight selected bass viol pieces from Marais’ Suitte d’un Goût Etranger is shown in Chapter IV. The complete music score of the double bass transcription is presented in Chapter V. The final chapter discusses the French viol performance practice in the baroque period.","abstract_has_math":false,"creators":["Pan, Yong Hao"],"institution":"Music","degree_name":"Doctor of Musical Arts (DMA)","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006-01-01T08:00:00Z","date_published":"2006-01-01T08:00:00Z","updated_at":"2026-07-24T02:57:21Z","subjects":["gamba","viola da gamba","violone","ornament"],"languages":[],"rights":["unrestricted","Release the entire work immediately for access worldwide."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-11092006-164234","https://repository.lsu.edu/gradschool_dissertations/243"],"render_values":[{"text":"etd-11092006-164234","href":null,"code":true},{"text":"https://repository.lsu.edu/gradschool_dissertations/243","href":"https://repository.lsu.edu/gradschool_dissertations/243","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.31390/gradschool_dissertations.243","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Pan, Yong Hao"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2006-11-02"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-05-12T23:08:10Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts (DMA)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["gamba","viola da gamba","violone","ornament"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["unrestricted","Release the entire work immediately for access worldwide."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-11092006-164234","10.31390/gradschool_dissertations.243","https://repository.lsu.edu/gradschool_dissertations/243"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Marin Marais (1656-1728) was one of the most celebrated bass viol composer-performers of the French school from the late seventeenth century to the early eighteenth century. The purpose of this project is to introduce some of his music to double bass players through transcriptions. The monograph starts with an overview on the importance of transcriptions in double bass literature. A historical background of the viol and its relation to the double bass are discussed in the second chapter. The third chapter reviews Marin Marais’s biographical sketch, and some of his most significant compositions. The transcription process of eight selected bass viol pieces from Marais’ Suitte d’un Goût Etranger is shown in Chapter IV. The complete music score of the double bass transcription is presented in Chapter V. The final chapter discusses the French viol performance practice in the baroque period."]},{"key":"dc:title","label":"Title","values":["The transcription for two double basses of selections from Pièces de violes, Quatrème livre, Deuxiême partie: Suitte d'un Goût Etranger by Marin Marais"]}]}],"canonical_facts":{"dc:creator":["Pan, Yong Hao"],"dc:date":["2006-11-02"],"dc:date.available":["2022-05-12T23:08:10Z"],"dc:description.abstract":["Marin Marais (1656-1728) was one of the most celebrated bass viol composer-performers of the French school from the late seventeenth century to the early eighteenth century. The purpose of this project is to introduce some of his music to double bass players through transcriptions. The monograph starts with an overview on the importance of transcriptions in double bass literature. A historical background of the viol and its relation to the double bass are discussed in the second chapter. The third chapter reviews Marin Marais’s biographical sketch, and some of his most significant compositions. The transcription process of eight selected bass viol pieces from Marais’ Suitte d’un Goût Etranger is shown in Chapter IV. The complete music score of the double bass transcription is presented in Chapter V. The final chapter discusses the French viol performance practice in the baroque period."],"dc:identifier":["etd-11092006-164234","10.31390/gradschool_dissertations.243","https://repository.lsu.edu/gradschool_dissertations/243"],"dc:rights":["unrestricted","Release the entire work immediately for access worldwide."],"dc:subject":["gamba","viola da gamba","violone","ornament"],"dc:title":["The transcription for two double basses of selections from Pièces de violes, Quatrème livre, Deuxiême partie: Suitte d'un Goût Etranger by Marin Marais"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Doctor of Musical Arts (DMA)"],"thesis:institution_name":["Music"]},"updated_at":"2026-07-24T02:57:21Z"}