▼ Giovanni Bottesini is commonly considered one of the most outstanding and influential nineteenth-century composers for the double bass. His compositional output expanded the technical and expressive possibilities of his instrument beyond the boundaries expected by both composers and audiences. Nowadays, a large portion of Bottesini’s compositions forms part of the required repertoire in school syllabi, orchestral auditions, solo competitions, and recital programs. Among the traditional interpretations of Bottesini’s music for the double bass there has been a strong reliance on his influence from Italian opera. Although Italian opera played a fundamental role in the musical culture of the nineteenth century, it is also very important to consider other influences that affected Bottesini’s compositional style. Through the study of the musical borrowings present in Bottesini’s output it is possible to expand understanding of his compositional style and the different influences he received from other musical traditions. In this document I propose to reconsider Bottesini’s output by cross-relating his techniques of musical borrowing with those used by other composers and also with the different sources of the musical material that was borrowed. An approach to Bottesini’s output through his musical borrowings will bring forward numerous points of connections within a complex web of artistic interrelations. These newly found interrelations will enrich our interpretation of Bottesini’s music for the double bass and reconsider his influences beyond operatic paraphrases. Advisors/Committee Members: Zierolf, Dr. Robert.

▼ The double bass has the longest history of any of the string instruments that make up the modern symphony orchestra. Reference to large bass viols in writings as well as iconographic evidence point to the fact that the double bass has been in existence since the late fifteenth century. This precedes the emergence of the violin as the predominant bowed string instrument by over one hundred years. Much recent discussion and debate has focused on the double bass and its affiliation with the viol family of instruments as well as the violin family. This thesis traces the history of the double bass back to its beginnings as a member of the Renaissance viol family and follows its development through historical periods in music including the Baroque, Classical, Romantic and the Modern Eras. The goal of this thesis is to show all of the influences on the double bass from both the viol and violin families and to demonstrate how the physical characteristics of the double bass as well as its place in musical literature have changed to meet the demands of different types of music. This paper will trace the physical metamorphosis the double bass has experienced in design and tuning. Included will be discussions of performance practice, the role of the double bass in musical literature, virtuoso performers and composers who have had an impact on the development of the double bass, and the role of the double bass in jazz and genres outside of the classical world. Advisors/Committee Members: Zierolf, Robert.