{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85760"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85760","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Francois Rabbath Applied: An Analysis of His Technique for a Successful Performance of Frank Proto's Music","abstract":"This paper analyzes double bassist Francois Rabbath's musical style and instrumental techniques, and the influence and applicability of them in Frank Proto's compositions. Chapter 1 includes biographical information about Rabbath while chapter 2 discusses his general musical style, including some extra musical elements to help determine his particular style. Chapter 3 examines in detail Rabbath's techniques that are major developments in the double bass technique. This chapter provides useful information about Rabbath's style given that these techniques usually serve as compositional tools for his compositions. Chapter 4 examines the collaboration between Rabbath and composer Frank Proto. The latest composition resulting from this collaboration, Nine Variants on Paganini, will be discussed in chapter 5 which culminates with the application of Rabbath's techniques in this composition. The author's intent is that this paper can serve as a pedagogical guide for performers interested in Rabbath and Proto's music.","abstract_html":"This paper analyzes double bassist Francois Rabbath's musical style and instrumental techniques, and the influence and applicability of them in Frank Proto's compositions. Chapter 1 includes biographical information about Rabbath while chapter 2 discusses his general musical style, including some extra musical elements to help determine his particular style. Chapter 3 examines in detail Rabbath's techniques that are major developments in the double bass technique. This chapter provides useful information about Rabbath's style given that these techniques usually serve as compositional tools for his compositions. Chapter 4 examines the collaboration between Rabbath and composer Frank Proto. The latest composition resulting from this collaboration, Nine Variants on Paganini, will be discussed in chapter 5 which culminates with the application of Rabbath's techniques in this composition. The author's intent is that this paper can serve as a pedagogical guide for performers interested in Rabbath and Proto's music.","abstract_has_math":false,"creators":["Machado, Marcos Pereira"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Michael Cameron"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:53:24Z","date_published":"2015-09-25T22:53:24Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3199076"],"render_values":[{"text":"(MiAaPQ)AAI3199076","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85760","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Michael Cameron"]},{"key":"dc:creator","label":"Author","values":["Machado, Marcos Pereira"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:53:24Z","10000-01-01","2005"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"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":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85760","(MiAaPQ)AAI3199076"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This paper analyzes double bassist Francois Rabbath's musical style and instrumental techniques, and the influence and applicability of them in Frank Proto's compositions. Chapter 1 includes biographical information about Rabbath while chapter 2 discusses his general musical style, including some extra musical elements to help determine his particular style. Chapter 3 examines in detail Rabbath's techniques that are major developments in the double bass technique. This chapter provides useful information about Rabbath's style given that these techniques usually serve as compositional tools for his compositions. Chapter 4 examines the collaboration between Rabbath and composer Frank Proto. The latest composition resulting from this collaboration, Nine Variants on Paganini, will be discussed in chapter 5 which culminates with the application of Rabbath's techniques in this composition. The author's intent is that this paper can serve as a pedagogical guide for performers interested in Rabbath and Proto's music.","Made available in DSpace on 2015-09-25T22:53:24Z (GMT). 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Chapter 1 includes biographical information about Rabbath while chapter 2 discusses his general musical style, including some extra musical elements to help determine his particular style. Chapter 3 examines in detail Rabbath's techniques that are major developments in the double bass technique. This chapter provides useful information about Rabbath's style given that these techniques usually serve as compositional tools for his compositions. Chapter 4 examines the collaboration between Rabbath and composer Frank Proto. The latest composition resulting from this collaboration, Nine Variants on Paganini, will be discussed in chapter 5 which culminates with the application of Rabbath's techniques in this composition. The author's intent is that this paper can serve as a pedagogical guide for performers interested in Rabbath and Proto's music.","Made available in DSpace on 2015-09-25T22:53:24Z (GMT). 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