Relevant bibliographies by topics / Alto saxophone

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Alto saxophone'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Alto saxophone"

1

Moore, Keith A. "Constructing alto saxophone multiphonic space." Journal of the Acoustical Society of America 136, no. 4 (October 2014): 2203. http://dx.doi.org/10.1121/1.4899990.

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Cochran, Alfred W., Donald Martino, and Charles Wuorinen. "Concerto for Alto Saxophone and Orchestra." Notes 49, no. 1 (September 1992): 361. http://dx.doi.org/10.2307/897263.

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Wytko, Joseph, Leon Stein, Paul Creston, and Bernhard Heiden. "Sextet for Alto Saxophone and Woodwind Quintet." American Music 3, no. 2 (1985): 249. http://dx.doi.org/10.2307/3051650.

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Cochran, Alfred W., Leslie Bassett, and Chester Biscardi. "Duo Concertante: Five Movements for Alto Saxophone and Piano." Notes 47, no. 1 (September 1990): 223. http://dx.doi.org/10.2307/940565.

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Sweeney-Turner, Steve. "Salonen: Mimo 2; YTA 1-3; Alto Saxophone Concerto; Floof." Musical Times 135, no. 1821 (November 1994): 719. http://dx.doi.org/10.2307/1003207.

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Colinot, Tom, Philippe Guillemain, Christophe Vergez, Jean-Baptiste Doc, and Patrick Sanchez. "Multiple two-step oscillation regimes produced by the alto saxophone." Journal of the Acoustical Society of America 147, no. 4 (April 2020): 2406–13. http://dx.doi.org/10.1121/10.0001109.

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Rosen, Jerome, Brian Fennelly, and William Albright. "Corollary II for Alto Saxophone in E-Flat and Piano (1988)." Notes 48, no. 1 (September 1991): 298. http://dx.doi.org/10.2307/941842.

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Kemp, Connor, and Gary Scavone. "Mechanical, anatomical and modeling techniques for alto saxophone reed evaluation and classification." Wood Science and Technology 54, no. 6 (October 1, 2020): 1677–704. http://dx.doi.org/10.1007/s00226-020-01224-y.

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Piatek, Stephanie, Jürgen Hartmann, Petra Günther, Daniela Adolf, and Egbert J. Seidel. "Influence of Different Instrument Carrying Systems on the Kinematics of the Spine of Saxophonists." Medical Problems of Performing Artists 33, no. 4 (December 1, 2018): 251–57. http://dx.doi.org/10.21091/mppa.2018.4037.

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AIMS: Back strain is a common musculoskeletal complaint affecting musicians, which may be related to unsuitable playing positions causing fatigue and muscle tension. In this study, three saxophone-carrying systems (neck-strap, shoulder-strap, and Saxholder) were examined for their effects on spinal column kinematics. METHODS: The influence of saxophone-carrying systems was investigated in 14 physically healthy alto saxophonists using ultrasound topometry. Additional tests were performed on 1 subject to examine the influence of the different weights of alto, tenor, and baritone saxophones with the three different carrying systems. RESULTS: The clearest difference between two systems (shoulder-strap vs Saxholder) was found in the angle at which the player’s head bows forward while playing (3.35°; 95% CI 0.44, 6.26; p=0.0272). The use of the Saxholder resulted in a physiologically favorable axial position of the head. The head posture to ankle distance showed that the shoulder-strap and Saxholder, compared to the neck-strap, allowed a sagittal straightening and therefore advantageous axially balanced body position, although the differences were not statistically significant. The Saxholder also enabled a stabilization in the frontal section of the shoulders. In additional tests on 1 subject, the coefficient of variation showed that the instruments’ weights had a larger influence on the physiologically favorable balanced body position than the different carrying systems. CONCLUSION: This pilot study was able to show that the technique of sonometric examination (Zebris) is an effective way to investigate the influence of instrument-carrying systems on the kinematics of the spine. The Saxholder may be physiologically advantageous, but further research with a larger sample is needed to verify the findings.
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Kalyn, James. "Six etudes pour deux saxophones altos, and: Six etudes d'audition pour trois saxophones en 2 cahiers, and: Six etudes d'audition pour quatre saxophones en 3 cahiers, and: Jumbled Mirrors [for] Saxophone Quartet, and: Trois esquisses pour quatuor de saxophones, and: Fractions du silence--premier livre (Pierre, neige, eau...) pour quatre saxophones (2 saxophones sopranos, 1 saxophone alto et 1 saxophone tenor), and: Saxophonquartett (1995), and: It's Lovely Once You're In for Saxophone Quartet, and: Kentucky." Notes 61, no. 4 (2005): 1106–12. http://dx.doi.org/10.1353/not.2005.0063.

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Dissertations / Theses on the topic "Alto saxophone"

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Stonaker, Ben Floyd Mobberley James. "Diversions for alto saxophone and orchestra." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Trittin, Brian Lynn. "Annotated bibliography of selected unaccompanied alto saxophone literature." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186269.

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This document annotates 23 unaccompanied alto saxophone compositions, including original works and transcriptions. Selection of these pieces was based on the following criteria: (1) works which are commonly performed, (2) works by major composers, and (3) works which are important in terms of innovative performance techniques. Each annotation provides a synopsis of the composition, biographical information about the composer, pertinent information about the composition (dedication, duration, etc.), discussion about various performance considerations, a brief analysis, and concluding statements about the work including a qualitative assessment. Compositions annotated in the document include: Caprice en forme de valse by Paul Bonneau, Mai/ by Ryo Noda, Sonate by Jeanine Rueff, Suite Francais by Pierre Max Dubois, and the Unaccompanied Cello Suite No. 1 by J. S. Bach arr. Londeix, and arr. Ricker (both editions are discussed). At the conclusion of the document, a bibliography of approximately 300 unaccompanied compositions for the alto saxophone (including commonly performed transcriptions) is listed, providing the title, composer, and publisher (if available).
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Toro-Tóbon, Carlos I. "Fundamental dissonance: concertino for alto saxophone and sinfonietta." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6868.

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Fundamental Dissonance, an original composition scored for alto saxophone and sinfonietta, explores the concept of dissonance not only in the traditional musical sense related to tonality, but as a general principle indispensable for variety and creation. The particular perspective of this concept that can be found in the early work of the Hungarian philosopher, aesthetician, and literary historian Georg Lukács has given a specific direction to my creative process. In one of his first writings, The Theory of the Novel (1914), Lukács presents the idea of dissonance in the following terms: “Every form is the resolution of a fundamental dissonance of existence.” Here Lukács refers to a general conception of form, which includes the artistic context. A couple of texts about Lukács contribute to a thorough understanding of this idea and help to give shape to my interpretation of this sentence. Resolution is the key term in the sentence and mediates between form, what will be created, and dissonance, what needs to be resolved. In this way dissonance is presented as a problem, a question, or what others have also called a knot. It is fundamental because of its previous condition to existence. Without unrest, unity keeps things in a state of equilibrium, inhibiting movement or variety. Instead, disunity, or dissonance, permits change and creation, hence existence. There is a strong link between creation and dissonance. These ideas, and the multiple interpretations of dissonance in the musical context, influenced the original concepts used in Fundamental Dissonance and guided the compositional process. The first, and perhaps more evident manifestation of dissonance is the use of specific intervals as foundations of the musical language in the piece. Uses of the set class (012); with variants (013), (023), or (024) obtained by the expansion of (01); appear not only in the melodic and harmonic aspects but also at the structural level. Some scattered uses of microtonality are also part of this approach. In opposition, and as a reference to its genesis, the “equilibrium before its existence” is represented with unisons, adding contrast and variety to the previous intervals. Contrast is the second element I used to represent Lukács’s idea of dissonance. I have included references to contrasting styles and genres, short passages in tonal chords or short melodic cells with tonal character. These traditionally consonant elements play a contrasting –i.e., dissonant- role because of the general dissonant language in which they have been placed. Other compositional aspects that serve as contrast have to do with the opposition of densities and textures; the highly marked differences between the two main themes; and the use of the alto saxophone, an instrument traditionally not belonging to the sinfonietta, as the soloist. Extramusical elements have been used as general principles in the creative process. The saxophone adopts a role of leadership from the very beginning of the piece, presenting its ideas in a monologue style. Some instruments follow the soloist while others oppose, creating a clash of forces that ultimately generates more dissonance.
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Kallestad, Scott D. "An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/kallestad%5Fscott%5Fd/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).
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Feldkamp, Timothy Lee. "Developing the altissimo register of the soprano, alto, and tenor saxophones /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Miller, Gregory E. "The Saxophone Music of Frederick Fox: An Annotated Bibliography with an Analysis of S.A.X. for Solo Alto Saxophone and Saxophone Quartet." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9751.

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Cain, Joren. "Rediscovering Fernande Decruck's Sonate en ut# pour saxophone alto (ou alto) et orchestre: A Performance Analysis." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28401/.

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French composer Fernande Decruck (1896-1954) composed over forty works for the saxophone, but her music fell into obscurity soon after her death. In recent years, the Sonate en ut# pour saxophone alto (ou alto) et orchestre (1943) has been rediscovered, performed, and recorded by prominent concert saxophonists. This document takes a historical approach by examining Decruck's biography, as well as a theoretical approach to provide a deeper understanding and appreciation of her work through analysis. The first four chapters of this document provide biographical background on Decruck, her career, professional associations, and her husband, Maurice Decruck, saxophonist and music publisher. Additionally, an examination of her saxophone output includes a brief discussion of her compositional development. Fernande Decruck dedicated her sonata to French saxophone virtuoso Marcel Mule, but a version for solo viola also exists. From the discrepancies between the versions, one might infer that portions of the work were composed originally for the viola. There are also two versions of the accompaniment: one for full orchestra and the other for piano. Analysis comprises the bulk of this study. The work is composed in a traditional four-movement setting: a sonata-form opening movement, a slow second movement, a movement entitled "Fileuse" (spinning song), substituting for the traditional scherzo, and a rondo-like finale. The work incorporates trends of Impressionism through its harmonic vocabulary, chordal planing, and pentatonic scales. It also demonstrates a sophisticated application of polytonal techniques in several passages. In addition to analysis of each movement, common interpretive practices are discussed, based upon available commercial recorded performances, and performance suggestions are given. There are several notation errors within the parts, as well as some significant differences between the two accompaniments. These errata and discrepancies between the solo parts are listed and discussed.
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Jenkins, Chester James Jenkins. "A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524180086531008.

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Yun, Yeomin. "The Sound of Saxophone from South Korea:A Performer’s Guide to Young Jo Lee’s Sori No.10 for alto saxophone." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1415631920.

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McElhaney, Carla Budzian. "The saxophone and piano version of Ingolf Dahl's Concerto for alto saxophone : a guide to performance for the collaborative pianist /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Books on the topic "Alto saxophone"

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Frank, Andrew. Alto rhapsody: For alto saxophone. Hillsdale, NY: Mobart Music, 1987.

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Wuorinen, Charles. Saxophone quartet, soprano, alto, tenor, and baritone saxophones. New York: C.F. Peters, 1997.

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Tull, Fisher. Dialogue: For saxophone duet (alto and tenor). San Antonio, Tex: Southern Music Co., 1989.

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Dickson, Amy. The Chester alto saxophone anthology. London: Chester Music, 2017.

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Albright, William. Sonata, alto saxophone and piano. [United States?]: Henmar Press, 1990.

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Haddad, Don. Saxophone soliloquy: For E♭ alto saxophone and piano. Delaware Water Gap, Pa: Shawnee Press, 1987.

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Solal, Martial. Pièce de collection: Saxophone alto seul. [France?]: Misterioso, 1995.

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Martino, Donald. Concerto for alto saxophone and orchestra. Newton, Mass. (11 Pembroke St., Newton 02158): Dantalian, 1990.

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Berkeley, Michael. Keening: For alto saxophone and piano. Oxford: Oxford University Press, 1995.

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Samuel, Adler. Soundings: For alto saxophone and piano. San Antonio, Tex. (San Antonio 78292): Southern Music Co., 1990.

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Book chapters on the topic "Alto saxophone"

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Chapman, Con. "Prologue." In Rabbit's Blues, 1–2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0001.

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The rationale for a biography of Johnny Hodges is given; namely, confusion and contradictory accounts as to basic facts about him ranging from his birth date to his given name to the spelling of his surname to the instrument that he played on a regular basis in person and on recordings. Hodges’s reticence is cited as an explanation; he was not a talkative man, rarely gave interviews, and revealed little when he did. Despite the fact that he was a very private man, he could be recognized around the world by the sound of a single note he produced on the alto saxophone, a claim made about many musicians in both jazz and other genres, but only rarely true.
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van Delden, Ate. "Back to the California Ramblers and Bert Lown." In Adrian Rollini, 274–94. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0016.

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Rollini joins his old partner Ed Kirkeby and starts a new band at the New California Ramblers Inn but depression business is poor. Rollini gets a serious disease and Prohibitionagents raid the place. He recovers from this dip andeven gets acontract to make records under his own name, playing both bass saxophone and vibraphone. Also Bert Lown reappears and Rollini plays gigs andmakes records again. But freelancing adds welcome money to his income when he is asked by Leo Reisman and Joe Venuti and has a session under his own name again. Better times are around the corner when President Roosevelt ends Prohibition.
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van Delden, Ate. "The California Ramblers Grown Up." In Adrian Rollini, 67–84. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0006.

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Kirkeby develops the concept of the "band-within-a-band" andin 1923 the first recordings by the Varsity Eight, a small unit from the California Ramblers are made. The full band also debuts on radio that year and on one occasion, Rollini recorded with saxophone virtuoso Rudy Wiedoeft. Engagements by the full band include the annual dance of the Talking Machine Men aswell as a charity event at the Roseland and a grand re-opening of the massive Hippodrome Theatre. At the start of 1924, the California Ramblers Inn was refreshed with new drapes and carpets to be ready for guests during the hot summer.
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Conference papers on the topic "Alto saxophone"

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Celentano, Frank, Nicholas May, Edward Simoneau, Richard DiPasquale, Zahra Shahbazi, and Sina Shahbazmohamadi. "3D Printing for Manufacturing Antique and Modern Musical Instrument Parts." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66652.

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Professional musicians today often invest in obtaining antique or vintage instruments. These pieces can be used as collector items or more practically, as performance instruments to give a unique sound of a past music era. Unfortunately, these relics are rare, fragile, and particularly expensive to obtain for a modern day musician. The opportunity to reproduce the sound of an antique instrument through the use of additive manufacturing (3D printing) can make this desired product significantly more affordable. 3D printing allows for duplication of unique parts in a low cost and environmentally friendly method, due to its minimal material waste. Additionally, it allows complex geometries to be created without the limitations of other manufacturing techniques. This study focuses on the primary differences, particularly sound quality and comfort, between saxophone mouthpieces that have been 3D printed and those produced by more traditional methods. Saxophone mouthpieces are commonly derived from a milled blank of either hard rubber, ebonite or brass. Although 3D printers can produce a design with the same or similar materials, they are typically created in a layered pattern. This can potentially affect the porosity and surface of a mouthpiece, ultimately affecting player comfort and sound quality. To evaluate this, acoustic tests will be performed. This will involve both traditionally manufactured mouthpieces and 3D prints of the same geometry created from x-ray scans obtained using a ZEISS Xradia Versa 510. The scans are two dimensional images which go through processes of reconstruction and segmentation, which is the process of assigning material to voxels. The result is a point cloud model, which can be used for 3D printing. High quality audio recordings of each mouthpiece will be obtained and a sound analysis will be performed. The focus of this analysis is to determine what qualities of the sound are changed by the manufacturing method and how true the sound of a 3D printed mouthpiece is to its milled counterpart. Additive manufacturing can lead to more inconsistent products of the original design due to the accuracy, repeatability and resolution of the printer, as well as the layer thickness. In order for additive manufacturing to be a common practice of mouthpiece manufacturing, the printer quality must be tested for its precision to an original model. The quality of a 3D print can also have effects on the comfort of the player. Lower quality 3D prints have an inherent roughness which can cause discomfort and difficulty for the musician. This research will determine the effects of manufacturing method on the sound quality and overall comfort of a mouthpiece. In addition, we will evaluate the validity of additive manufacturing as a method of producing mouthpieces.
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