Aransemen Nada Alto, Tenor, dan Bass Menggunakan Algoritma Genetika by Hendry Setiawan, Windra Swastika, Ossie Leona, Oesman Hendra Kelana

“…When a song will be sung by the choir, the song should be arranged in a division of soprano, alto, tenor, and bass voice parts first. Unfortunately, not everyone has the ability to determine the harmonic notes division. …”
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Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo ! by Fausto Borém

“…Departing from the interaction between three creative musical processes - composing, arranging and playing, in various musical genres (classical song, Broadway musical song, blues, rock, ballad and samba), I discus (1) the refinement of the notation in the score; (2) the heterogeneity of the seven double bass registers; (3) exploring the double bass as a harmonic instrument; (4) exploring the double bass as percussion instrument; (5) the exploration of the text-music binomial (6) the reduction of larger instrumentations (symphony orchestra, chamber groups, blues and rock bands) to smaller groups (duo, trio and quartet with double bass, voice, piano and percussion) and (7) the development of extended techniques on the double bass not documented in the literature.…”
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Sonifying social-ecological change: A wetland laments agricultural transformation by David G. Angeler, Miguel Alvarez-Cobelas, Salvador Sánchez-Carrillo

“…We converted 71-year time series of inundation area and rainfall data from the freshwater marsh Las Tablas de Daimiel into a soprano and bass voice, respectively. We composed "The Lament of Las Tablas de Daimiel," which sings the biophysical disruption of the wetland due to the agricultural transformation. …”
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Voice Assignment in Vocal Quartets Using Deep Learning Models Based on Pitch Salience by Helena Cuesta, Emilia Gómez

“…We also observe a high confusion rate between the alto and tenor voice parts, which commonly have overlapping pitch ranges, while the bass voice has the highest scores in all evaluated scenarios.…”
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“La Voix humaine”: dissecting Luigi Lablache by Sarah Hibberd

“…Its most popular number was the Act II duet for bass voices “Il rival salvar tu dêi”– above all the unison conclusion to the cabaletta “Suoni la tromba”. …”
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