Bibliographic record
Abstract
JEAN-PIERRE ROBERT MULTIPHONICS and AROUND. and Index and bibliography of the video. ( on academia.edu ) : https://www.academia.edu/video/lnenL1 Video presenting these techniques of realization on the double bass. Jean-Pierre ROBERT, Double Bass. Paris, 2014. © JP Robert Duration. 07 :21 DOI : https://doi.org/10.5281/zenodo.10514222 SUMMARY Video examples of realizations, and visual explanations on the double bass, of various Modes of Playing. Already presented in 1995, Ed. Musica Guild, in collaboration with IRCAM, Paris, in the Modes of Playing the Double Bass, a dictionary of sounds. With Schoolarship by French Ministery for Culture. Various : •Complementary Sounds, •Non-pressed Artificial Harmonics, •Multiphonics, •Multiphonics with fingerings of artificial harmonics, and glissandi, find here a technical presentation and visual explanation, in addition to the paper edition. Index: 0 :37 Complementary Sounds 1 :40 Non-pressed Artificial Harmonics 3 :18 Multiphonics on the 4 strings 6 :32 Multiphonics with fingerings of artificial harmonics, and glissandi Bibliography Contemporary double bass and techniques. *Paper edition, ** Internet edition *Irvine Arditti / Robert Platz The techniques of violin playing Ed. Barenreiter. 2013 *Pierre-Yves Artaud, Flûtes au present. Ed. Billaudot *Rodion Azarkhin, Double Bass Leningrad State Institute of Theatre, Music and Cinematography. - Moscow Music, 1978. **Fausto Borém João Paulo Campos Técnicas estendidas do contrabaixo em arranjos crossover. UFMG, Belo Horizonte. 2016. *Paul Brun Histoire des contrebasses à cordes. La flûte de pan, 1982. *Ivan Galamian, Principles of playing and teaching Ed Prentice-Hall. 1962 **Grégoire Carpentier, Approche computationnelle de l’orchestration musicale, Doctorat Université Paris VI, IRCAM, 2008. **Michèle Castellengo Sons multiphoniques aux instruments à vent. Ircam, Rapport de Recherche.1981. Mark Dresser **ARCANA-musicians on music edited by John Zorn "A Personal Pedagogy", Granary Books, New York, 2000. **STRAD, Masterclass, “Double Bass Harmonics” 2008, Vol 119. No. 1422. **STRAD: Masterclass “Introdution to Multiphonics”, published 2009.Orpheus Publications *GUTS- Bass Explorations, Investigations, and Explanations- Kadima Collective, CD/DVD/Booklet, 2010 **Silvio Ferraz de Mello Filho, Identificação do sistema composicional de Tavinho Moura e modelagem computacional de um protótipo gerador de canções tavinianas. Daniel Kientzy, *Sons multiples aux saxophones **Saxologie du potentiel acoustico-expressif des 7 saxophones **Ann Dominique Merlet, Le timbre résultante de la virtuosité d’écriture et de la virtuosité instrumentale chez B. Ferneyhough, Mémoire Paris IV Sorbonne, IRCAM, EHESS, CNRS. 1996 **Paul Nemeth Double bass chamber repertoire, 4000 titles http://paulnemeth.com/basschamber.html **Laurent Potier, La synthèse sonore : outils, methodes, utilisations. Musique, musicologie_et arts de la scène. Université de Rouen, 2010. Jean-Pierre Robert *Modes of Playing the Double Bass, a Dictionary of Sounds Musica Guild. 1995. *ADDENDUM of Modes of Playing the Double Bass, Labelle musique. 2017 **Multiphonics and around. Dur. 7 :22. 2014. **Anne Saliot, Aspect de la contrebasse solitaire, Mémoire,Université Fr. Rabelais, Tours. 1994.. **Alain Seve Etude générative des multiphoniques, des 1/4 de tons,des microintervalles. **Pedro Lopez da Silva, A preparação para performance de livre improvisacao no contrabaixo, Mémoire, Instituto de Artes, San Paolo. 1917 **Haakon Thelin Bowed-string multiphonics analyzed by use of impulse response and the Poisson summation formula. Journal of Acoustical Society of America (JASA), 2012. A New World of Sounds - recent advancements in contemporary double bass techniques. http://haakonthelin.com/multiphonics/ **Knut Guettler, Håkon Thelin, Analysis of Bowed-String Multiphonics. International Congress on Acoustics, Sydney. 2010. **Rita Luzes Torres, A new chemistry of sound:The technique of multiphonics as a compositional element for guitar and amplified guitar. Universidade católica portuguesa, Lisboa. 2015. Departamento de Música da ECA/USP, Congresso ANPPOM. San Paolo, 2022. *Bertram Turetzky The Contemporary Double Bass University of California Press. 1974. by Jean-Pierre Robert , Other writings. • Une contrebasse, un humain, Jean-Pierre Robert. Fnac, 1991. • Modes of Playing the Double Bass, a Dictionary of Sounds. Musica Guild . 1996. • 1 contrebasse - 1 humain, Essai. Fnac, 2008. • Trainings Fnac, 2014. Music created World* or French ** premieres Georges Aperghis * - Récitations 1983 Ana Maria Avram ** - Axe 7. 2005 Philippe Boivin * - Zab ou la Passion selon St Nectaire. 1982 * - 5 Algorithmes Aldo Brizzi * - Barravento. 1999 Dimitri Chostakovitch ** - op 39 Adagio - op 62 Sonnet - op 77 Passacaille - op 87 Suite de 7 préludes 2014 Gualtiero Dazzi * - Contra Suberna. 1998 Brian Ferneyhough ** - Trittico Per G. S. 1979 James Giroudon/Jean-François Estrager* - Unes, voix de basse. 1995 Ramon Gonzalez Arroyo * - De la distance. 1994 Karim Haddad * - Ce qui dort dans l'ombre sacrée. 1996 * - I can only say ... 2000 Pierre-Alain Jaffrenou * - Tentation de l’anachorète. 1995 Pierre Jodlowski * - Vola. 1995 Philippe Laval * - Inox-érable. 1998 Michael Levinas * - Le chant de l'arche. 1999 Martin Matalon * - La rosa profunda. 1992 François Narboni * - Impromptu d'Ohio. 1995 * - Les Animals. 1998 Gérard Pape * - Fleuve du désir. 1994 Franck Pecquet * - Kaleïdosonic. 1984 Horatio Radulescu * - Ys Valley. 1983 * - Incandescence serene. 1983 * - Awakening infinity. 1983 * - Azzuro profondo dello sguardo II 2006 Jacques Rebotier - Brève pour contrebasse. 1990 * - Brève pour Trompette Marine. 1989 Étienne Rollin * - Space Birds. 2006 Kaija Saariaho * - Folia. 1995 Meiczyslaw Weinberg ** - Sonate 2016 Yi Xu * - Tui. 1992 Iannis Zenakis ** - Theraps 1983 ----------------
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.005 | 0.006 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.372 | 0.239 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".