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Journal articles on the topic 'Alto saxophone'
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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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Cairns, Zachary. "Interval-Class Succession Graphs in Edison Denisov's Sonata for Alto Saxophone and Piano." Music Theory and Analysis (MTA) 5, no. 2 (October 31, 2018): 117–46. http://dx.doi.org/10.11116/mta.5.2.1.
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Reynolds, Peter. "Anders Eliasson - ANDERS ELIASSON: Ein schneller Blick … ein kurzes Aufscheinen (2003) (1); Poem for Alto Saxophone and Piano (1988) (2); Symphony No. 3 for Alto Saxophone and Orchestra, ‘Sinfonia concertante’ (1989) (3). Arcos Orchestra, c. John-Edward Kelly (1), John-Edward Kelly (alto saxophone) and Bob Versteegh (piano) (2), John-Edward Kelly (alto saxophone), Finnish Radio Symphony Orchestra, c. Leif Segerstam (3). NEOS 11301." Tempo 68, no. 267 (January 2014): 79–80. http://dx.doi.org/10.1017/s0040298213001484.
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Doc, Jean-Baptiste, and Christophe Vergez. "Oscillation regimes produced by an alto saxophone: Influence of the control parameters and the bore inharmonicity." Journal of the Acoustical Society of America 137, no. 4 (April 2015): 1756–65. http://dx.doi.org/10.1121/1.4916197.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.
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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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Koto, Erizon. "Idiom Musikal Minangkabau dalam Komposisi Karawitan, Sebuah Analisis Konteks Adaptasi Musikal." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 4, 2017): 12. http://dx.doi.org/10.24114/gondang.v1i1.7918.
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The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.
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Irzaq, Muhammad, and Esy Maestro. "ANALISIS STRUKTUR DAN UNSUR MUSIK KOMPOSISI TAKE FIVE KARYA PAUL DESMOND." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 337. http://dx.doi.org/10.24036/jsu.v9i2.110566.
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This study aims to describe Paul Desmond's Take Five music composition analysis. This type of research is descriptive qualitative research with the main instrument in this study is part music in the form of song parts. The researcher processed the data with steps such as reading the scores from the take five material itself, then classifying the data from understanding music theory to the material itself, from the structural aspect of music to melody, rhythm and interval, so that the researcher can make a summary of the data. which was found in the form of writing describing the understanding of music theory, Then, the researcher conducted a feasibility test on the song with the aim that the song analyzed could be used as learning material for students who studied standard jazz material and as eligibility to be used as basic knowledge about music jazz.The results showed that the work of Take five is unique in terms of odd time signatures using simple melody, riem and intervals, which form a song 2 parts A, B with sentences A (a, a ') B (b, b') and A (a, a ') take five can be accepted as a standard jazz learning reference for the alto saxophone instrument. The assessment is obtained from simple melody, rhythm and interval analysis so that it can be used or can be used as a reference for learning standard jazz for students taking the major saxophone instrument course.Keyword : Structur Analysis, Take Five Composision, Paul Desmond.
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Hromchenko, Valerii. "Neo-impressionistic traits in the creativeness of Eugene Bozza (on the example of wind solo’s compositions)." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 82–92. http://dx.doi.org/10.33287/222007.
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The purpose of this represented scientific article is revealing the most character-logical traits in relation to composer style of the French master E. Bozza, which are binding with the particularities of the neo-impressionistic vector in the European academic art from the second half of the 20th century. The series of methods concerning this signified investigation are making from the applying of comparative, axiological, structurally analytical, as well as functional approaches relatively studying of the designated theme. The utilization of methods such as performing analysis and synthesis are having the specific importance. The scientific newness of denoted article is stipulated by designation of style traits regarding little investigated compositions for wind professional instruments by E. Bozza, which were written in performing form of academic instrumental solo (wind solo). That is stage-single musical process, a namely „Improvisation and capriceˮ for saxophone-alto solo, „Imageˮ for flute solo as well as Etude-caprice № 5 for saxophone solo. Conclusions. First of all, the local grinding of the specific musically expressive color, artistic paint on the motive differentiation, separation, peculiar intonation divisionism belong to the most characteristic, maximally singular traits of E. Bozzaʼs neo-impressionistic style in the professional compositions of academic wind solo. In this way, the clear sounding of determined wind academic instrument with the particular motive intonation locality, with concentration on the precisely denoted artistic expression create maximal characterization for neo-impressionistic development of musical material. Artistic content of concentrative motive evolution in relation to musical thought of E. Bozza is intensified by dominant signification of generalizing type of musical program. The flexible possibilities concerning free ideally imaginative interpretation of artistic content as a performer and listener is created by using of that program kind.
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Kendall, Roger A., and Edward C. Carterette. "Verbal Attributes of Simultaneous Wind Instrument Timbres: I. von Bismarck's Adjectives." Music Perception 10, no. 4 (1993): 445–67. http://dx.doi.org/10.2307/40285583.
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A study on the verbal attributes of timbre was conducted in an effort to interpret the dimensional configuration of the similarity spaces of simultaneously sounding wind instrument timbres. In the first experiment, subjects rated 10 wind instrument dyads on eight factorially pure semantic differentials from von Bismarck's (1974a) experiments. Results showed that the semantic differentials failed to differentiate among the 10 timbres. The semantic differential methodology was changed to verbal attribute magnitude estimation (VAME), in which a timbre is assigned an amount of a given attribute. This procedure resulted in better differentiation among the 10 timbres, the first factor including attributes such as heavy, hard, and loud, the second factor involving sharp and complex, a contrast with von Bismarck's results. Results of the VAME analysis separated alto saxophone dyads from all others, but mapped only moderately well onto the perceptual similarity spaces. It was suggested that many of the von Bismarck adjectives lacked ecological validity.
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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (December 1, 2007): 333–57. http://dx.doi.org/10.4312/mz.43.2.333-357.
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This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotion and thoughts, for their ‘authentication’ and justification; for establishing and ‘specifying’ narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan Hofman.
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Gridley, Mark C. "Trends in Description of Saxophone Timbre." Perceptual and Motor Skills 65, no. 1 (August 1987): 303–11. http://dx.doi.org/10.2466/pms.1987.65.1.303.
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Three studies examined how listeners use adjectives to describe saxophone timbres. Descriptions were collected from 97 untrained non-musicians who were exposed to recorded tones of tenor saxophones of stylistically distinct jazz musicians. A lack of universality in characterizations of timbre was found when subjects were required to supply their own adjectives and when they were required to select from a list of 43 adjectives. Of course, considerable agreement among listeners occurred with respect to several timbres when the use of seven-point bipolar scales (hard/soft, rough/smooth, etc.) was required. Scale descriptions matched many ratings which are popularly applied by musicians and journalists. It was concluded that certain adjectives are particularly appropriate for describing saxophone timbres and that their appropriateness has led to their common use among musicians. It was also noted that the nature of these characterizations (calling a tone “hard” or “rough”, for example) is consistent with the idea that cross-modal and cross-material relations exist in cognition.
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Грузін, І. О. "To the question about the interpretation of saxophone compositions by V. Runchak (performing aspect)." Музикознавча думка Дніпропетровщини, no. 16 (December 18, 2019): 30–41. http://dx.doi.org/10.33287/221920.
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The purpose of this represented article is denoting the mostcharacteristic, artistically content interpretations of saxophonecompositions by V. Runchak into the light of performing technologycriterions for possess playing art on wind academy instruments. The targetof this publication is also multisided population of masterpieces forsaxophone by V. Runchak from point of view their performing activationinto concert-festival, pedagogical, competitive and cultural-enlighteningfunctional spheres. The round of methods for this investigation isconcentrated, primarily, in applying of performing analysis method, whichallows designating of the maximally characteristic traits for artisticallyimaginative pallet of works for saxophone by V. Runchak into aspect theirtechnical, performing actively comprehension. The structurally analyticalmethod purchases the ponderable significance. It makes the possibility tobuild definite sequence of representation as touching scientificallyinvestigative material. The appeal to the axiological method is stipulatingby rushing to determination the most artistically value, performinginteresting of the saxophone compositions by V. Runchak. Scientificnewness of this article is achieving the statement from facts of incrediblyseldom the appealing to the questions of interpretive for compositions byV. Runchak, which were written by well-known composer for windacademic instruments a namely saxophone. The research novelty of theproposed work is also focusing into synthetic representation of the series artistically imaginative characters concerning saxophones’ compositionswith their performing-technologic peculiarity. Conclusions. Thesaxophones’ masterpieces by V. Runchak is not only artisticallyextravagant, to a certain extent shocking from technic their compositionalwriting, performing technological particularity as touching possession ofsaxophone but to a specific measure they are amazingly experimental andhighly intellectual musical academic compositions.
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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (March 6, 2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
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Gibiat, Vincent, and Jerome Selmer. "Impedance comparison of high‐quality alto and soprano saxophones." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2292. http://dx.doi.org/10.1121/1.4779214.
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Громченко, В. В., and К. О. Мальцева. "Masterpieces by Ukrainian composers for saxophone as the problem solo academic wind repertoire." Музикознавча думка Дніпропетровщини, no. 13 (August 15, 2018): 140–50. http://dx.doi.org/10.15421/221813.
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The purpose of this scientific article is in determination of specialized reasons, relatively reduced concerning decreased composers attention to concert-solo academic saxophone performing in the creation of Ukrainian professional authors. The methodology of research is represented by historical method, which is conditioned by maximally wide period of academic art playing saxophone exactly the time of middle of the 19th – the beginning of the 21st centuries. The comparative method is also used by researcher in the article, as segment of methodological instruments regarding detecting of the differences between solo saxophone masterpieces by Ukrainian and foreign composers. The structurally-analytical and generalizing methods are used for making sequence of exposition of scientific material and approving conclusions and also the outlooks of studying of denoted subject. The novelty of scientific research is defined by absence of treatment of the scientists to cause-problem reasons of the decreased attention Ukrainian composers into sphere of contemporary academic concert-solo saxophone performing. The novelty of this article is also delineating remained scarcely explored masterworks for saxophone of Ukrainian composers exactly Sonata for saxophone with piano accompaniment by V. Falkova and piece „In the morning from the high castle” for saxophone solo by Z. Kovpak. Conclusions. The cause-consecutive preconditions, reasons of decreased composer’s attention to concert-solo academic saxophone performing in the creation of Ukrainian authors are determining as historical conditionality, specifically by facts appearance of saxophone family with their ensemble-orchestra nature functioning, and absence composer’s practice from the side of famous saxophonists-players. Among the reasons of low number of domestic solo musical works for saxophone are the low level of creative communication artistic creative communicability of artist with native composers.
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Kelleher, David, Caryl Florio, and Richard Jackson. "Quartette (Allegro de Concert), Soprano, Alto, Tenor and Baritone Saxophones." Notes 47, no. 2 (December 1990): 561. http://dx.doi.org/10.2307/942016.
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Rickards, Guy. "SAMUELSSON: Lufttrumma III1; Ivargens öga for alto saxophone and tape2; Krom3; I Am – Are You? for horn and tape4; Flow5; Ö6. Rotationer7; Den natten8. 1Norrköping SO c. Tuomas Ollila, 2Jörgen Pettersson (alto sax), 3Stockholm Chamber Brass, 4Sören Hermansson (hn), 5KammarensembleN c. Joakim Unander, 6Anna Lindal (vln), 7Helsingborg SO c. Hannu Lintu, 8Ensemble Notus c. Olof Boman. Phono Suecia PSCD147." Tempo 58, no. 228 (April 2004): 51–52. http://dx.doi.org/10.1017/s0040298204220149.
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Stepanova, Anna. "Features of the modern saxophone." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (September 24, 2020): 66–70. http://dx.doi.org/10.24195/2617-6688-2020-3-8.
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The relevance of the topic is stipulated by the fact that saxophone performance is becoming widespread nowadays, it substantiates the needs to establish new performing schools and to initiate researches aimed at improving methods of playing the saxophone. The purpose of the article is to pay special attention to the social status of the saxophone, its role in the system of professional music education and the evolution of performing techniques of playing the saxophone. The research methods are as follows: theoretical analysis of scientific and methodological literature, comparative studies. Summary: The main scientific and methodological works devoted to the improvement of methods and techniques of playing the saxophone are considered. In the historical aspect, some theoretical works of domestic and foreign authors on the methods and techniques of playing the saxophone have been analysed: the American researcher Carr W.E.J., who identified the physiological features of playing wooden wind instruments (the flute, the oboe, the clarinet, the bassoon and the saxophone); the Russian Professor Ivanov V. D., who identified modification forms and types of saxophone music; the Ukrainian researchers Kyrylov S. V., who singled out the so-called "concert face of the saxophonist" and the associated set of his / her professional skills, Krupey M. V., who historically analysed saxophone performance and determined the stylistic basis for the formation of saxophonist’s performing skills, Professor V. Apatskyi, who came to the conclusion that the advantage of an "o-shaped" ear cushion is a peculiar position of the lower lip, which is necessary for flexible control of the cane. The article also considers scientific and methodological works of foreign authors, reflecting the problematic and related issues of saxophone performance, which allowed us to draw the following conclusions: academic and jazz saxophone performances develop in parallel and are interdependent; the recognition of the saxophone individuality contributes to the transformations within the professional system of education, the teaching of the saxophone having become narrowly professional in this connection; the development of saxophone performance has led to the creation of national schools, which stipulated a rise in the number of musicians of the new formation, both academic and jazz.
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Lefebvre, Antoine, and Gary Scavone. "Input impedance measurements of alto saxophones with a calibration error analysis." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3332. http://dx.doi.org/10.1121/1.4781274.
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Charleson, Bill. "Woodwind tutors - Blue Flute, Blue Clarinet, Blue Saxophone, Blue Trumpet by James Rae. Universal Education, 1993. £4.95 each. - Improvise Microjazz for Alto Saxophone and Piano by Christopher Norton. Boosey & Hawkes, 1993. £4.95. - Clarinet Folk-weave by Gordon Lewin. Associated Board of the Royal Schools of Music (Publishing) Ltd., 1993. £2.50. - The Flautist's Collection, Books 1, 2 & 3, selected and edited by Paul Edmund-Davies. Kevin Mayhew Ltd., 1993. £7.50." British Journal of Music Education 11, no. 2 (July 1994): 174–76. http://dx.doi.org/10.1017/s0265051700001133.
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Lebed, Volodymyr. "Compositions for saxophone with wind orchestra as a phenomenon academic musically performing art." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 93–101. http://dx.doi.org/10.33287/222008.
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The purpose of scientific article is studying of the definite reasons, particular preconditions in relation to increasing the quantity of original compositions for saxophone with wind orchestra in academic musical-performing art in the period of the 20th – the beginning of the 21st centuries. The round of methods concerning this scientific investigation is delineated, first of all, by historical approach, which stipulated by marking of the wide period regarding academic art of saxophone playing, a namely by the frames of the 20th – the beginning 21st centuries. The comparative method is also applied by author in this work for the possibility as touching the detection of certain differences into academic masterpieces for saxophone with wind professional orchestra by various composers and culturally historical periods. The structurally analytical and generalizing methods of the research are used by investigator for making of determined sequence in reference to exposition of scientific material and implementation of conclusions as well as the prospects relatively further exploration of the noted theme. The scientific newness of the represented disquisition is postulated by absence of the process comparatively studying by scholars of the reasons, preconditions concerning writing of the original academic compositions for saxophone with wind orchestra as well as by lack of the specialized works, which were dedicated to the revealing of the phenomenon regarding establishment of the academic saxophone repertoire in the European professional music of the 20th – the beginning of the 21st centuries. Conclusions. The historical process relatively the development of academic masterpieces for saxophone with wind orchestra was observed by author in this investigation. The reasons for essential activity of composers’ interest to a saxophone and, as a result, appearance of the various original academic compositions for saxophone with wind orchestra are hiding into the impetuous improvement of the saxophonists’ professional performing mastery, which is beginning from the middle of the 20th century. The saxophone conquers the confession on the academic musical stage and becomes the most requested for contemporary audience because it is the youngest academic professional wind instrument.
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Radonjić, Asja. "Ivan Brkljačić: Love!: Saxophone concerto." New Sound, no. 56-2 (2020): 65–75. http://dx.doi.org/10.5937/newso2056065r.
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The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Burtner, Matthew. "The Metasaxophone: concept, implementation, and mapping strategies for a new computer music instrument." Organised Sound 7, no. 2 (August 2002): 201–13. http://dx.doi.org/10.1017/s1355771802002108.
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The Metasaxophone is an acoustic tenor saxophone retrofitted with an onboard computer microprocessor and an array of sensors that convert performance data into MIDI control messages. The instrument has additionally been outfitted with a unique microphone system that allows for detailed control of the amplified sound. While maintaining full acoustic functionality it is also a versatile MIDI controller and an electric instrument. A primary motivation behind the Metasaxophone is to put signal processing under direct expressive control of the performer. Through the combination of gestural and audio performance control, employing both discrete and continuous multilayered mapping strategies, the Metasaxophone can be adapted for a wide range of musical purposes. This paper explores the artistic and technical development of the instrument, as well as new conceptions of musical mappings arising from the enhanced interface.
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Stimpfl, Joseph, and Ngoc H. Bui. "I'd Rather Play the Saxophone: Conflicts in Identity Between Vietnamese Students and Their Parents." Ethnic Studies Review 19, no. 1 (February 1, 1996): 61–80. http://dx.doi.org/10.1525/esr.1996.19.1.61.
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Members of the Vietnamese community in Lincoln, Nebraska range in time of resettlement, background and experience in adjustment to their new home. The impact of cultural change and education on the Vietnamese youth in this community is of particular importance. The Vietnamese youth are under-examined in the areas of adjustment and identity formation. The effects of cultural conflict have profound impact on the future of Vietnamese youth. The following study presents an examination of the variables that may affect Vietnamese youth, specifically culture and education as factors in ethnic identity formation. It also presents how these factors can affect the relationship between students and parents.
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Voon, Chai Yem. "Some Observations on Flute Playing in Malaysia." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 60–80. http://dx.doi.org/10.30819/aemr.6-5.
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Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches back to the time between 2011 and 2016, a cut in cultural market matters caused by the last general election. By and large, watching pure instrumental performances is yet a new controversy for local audiences. This is the major reason stopping potential sponsors to support local arts though musicians have no way to showcase their passion for music without funding. The situation is more frustrating when focussing on flute performance alone as there is no commonly organised major flute event in Kuala Lumpur. For instance, "The Flute Festival in Malaysia" in 2007 was the first and only flute festival so far, in Malaysia. It was organized by the Japan Foundation, Kuala Lumpur (JFKL) together with The Kuala Lumpur Performing Arts Centre (KLPac), the Embassy of Japan and the Flute Festival in Malaysia Organizing Committee. The flute festival opened the eyes and ears of the local flute lovers by giving flute masterclasses, bringing in different kinds of flute brands and models for free trials on the spot and having a flute orchestra to perform. It consisted of 60 professional and amateur musicians from Malaysia, Japan and other countries, who came hoping to inspire each other and to purely enjoy flute music. Not to forget the famous saxophone ensemble from Japan, the “Mi-bemol Saxophone Ensemble” that gave a marvellous performance which was greatly inspiring Malaysian audiences of wind instruments. However, this also shows that flute performances alone might not get to stand resolutely in the local market.
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Twombly, V., R. K. Blackman, H. Jin, J. M. Graff, R. W. Padgett, and W. M. Gelbart. "The TGF-beta signaling pathway is essential for Drosophila oogenesis." Development 122, no. 5 (May 1, 1996): 1555–65. http://dx.doi.org/10.1242/dev.122.5.1555.
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We examine roles of signaling by secreted ligands of the TGF-beta family during Drosophila oogenesis. One family member, the DPP ligand encoded by the decapentaplegic (dpp) gene, is required for patterning of anterior eggshell structures. This requirement presumably reflects the expression pattern of dpp in an anterior subset of somatic follicle cells: the centripetally migrating and the nurse cell-associated follicle cells. Similar requirements are also revealed by mutations in the saxophone (sax)-encoded receptor, consistent with the idea that DPP signaling is, at least in part, mediated by the SAX receptor. A loss of germline sax function results in a block in oogenesis associated with egg chamber degeneration and a failure of the transfer of nurse cell contents to the oocyte, indicating that TGF-beta signaling is required for these events. Some phenotypes of sax mutations during oogenesis suggest that SAX responds to at least one other TGF-beta ligand as well in the posterior follicle cells.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Chang, Hsing Cheng, Chung Chien Chiang, San Shan Hung, Shyan Lung Lin, Shu Chun Liao, and Chang Hsiung Chen. "A Novel Integrated Portable Elasticity Measurement System." Applied Mechanics and Materials 397-400 (September 2013): 1728–32. http://dx.doi.org/10.4028/www.scientific.net/amm.397-400.1728.
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A low cost novel integrated portable elasticity measurement system is developed by using strain gauges and photoconductive sensors on a coaxial movement mechanism for processing signal of force and displacement synchronously. Real-time acquisition data are averaged to reduce transmission delay for assuring signal taken exactly and synchronously. Switching circuit modules connected to the multiplexer are designed for processing nonlinear sensing data using a piecewise linear technology. An experimental study of force, displacement and elasticity is undertaken to illustrate the adjustment operation of tapping keys in alto saxophones. Experimental results show that the resolution and operation range of displacement and force are 0.1 mm in the range of 0 to 40 mm and 10 g in the range of 0 to 1000 g, respectively. The average error of the elasticity in real-time measurement is 2.07 %. The application of tapping keys adjustment using the system are outlined and discussed in three-zone elasticity models.
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (February 2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.
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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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Singer, M. A., A. Penton, V. Twombly, F. M. Hoffmann, and W. M. Gelbart. "Signaling through both type I DPP receptors is required for anterior-posterior patterning of the entire Drosophila wing." Development 124, no. 1 (January 1, 1997): 79–89. http://dx.doi.org/10.1242/dev.124.1.79.
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The imaginal disk expression of the TGF-beta superfamily member DPP in a narrow stripe of cells along the anterior-posterior compartment boundary is essential for proper growth and patterning of the Drosophila appendages. We examine DPP receptor function to understand how this localized DPP expression produces its global effects upon appendage development. Clones of saxophone (sax) or thick veins (tkv) mutant cells, defective in one of the two type I receptors for DPP, show shifts in cell fate along the anterior-posterior axis. In the adult wing, clones that are homozygous for a null allele of sax or a hypomorphic allele of tkv show shifts to more anterior fates when the clone is in the anterior compartment and to more posterior fates when the clone is in the posterior compartment. The effect of these clones upon the expression pattern of the downstream gene spalt-major also correlates with these specific shifts in cell fate. The similar effects of sax null and tkv hypomorphic clones indicate that the primary difference in the function of these two receptors during wing patterning is that TKV transmits more of the DPP signal than does SAX. Our results are consistent with a model in which a gradient of DPP reaches all cells in the developing wing blade to direct anterior-posterior pattern.
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Bach, Erika A., Stephane Vincent, Martin P. Zeidler, and Norbert Perrimon. "A Sensitized Genetic Screen to Identify Novel Regulators and Components of the Drosophila Janus Kinase/Signal Transducer and Activator of Transcription Pathway." Genetics 165, no. 3 (November 1, 2003): 1149–66. http://dx.doi.org/10.1093/genetics/165.3.1149.
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Abstract The JAK/STAT pathway exerts pleiotropic effects on a wide range of developmental processes in Drosophila. Four key components have been identified: Unpaired, a secreted ligand; Domeless, a cytokine-like receptor; Hopscotch, a JAK kinase; and Stat92E, a STAT transcription factor. The identification of additional components and regulators of this pathway remains an important issue. To this end, we have generated a transgenic line where we misexpress the upd ligand in the developing Drosophila eye. GMR-upd transgenic animals have dramatically enlarged eye-imaginal discs and compound eyes that are normally patterned. We demonstrate that the enlarged-eye phenotype is a result of an increase in cell number, and not cell volume, and arises from additional mitoses in larval eye discs. Thus, the GMR-upd line represents a system in which the proliferation and differentiation of eye precursor cells are separable. Removal of one copy of stat92E substantially reduces the enlarged-eye phenotype. We performed an F1 deficiency screen to identify dominant modifiers of the GMR-upd phenotype. We have identified 9 regions that enhance this eye phenotype and two specific enhancers: C-terminal binding protein and Daughters against dpp. We also identified 20 regions that suppress GMR-upd and 13 specific suppressors: zeste-white 13, pineapple eye, Dichaete, histone 2A variant, headcase, plexus, kohtalo, crumbs, hedgehog, decapentaplegic, thickveins, saxophone, and Mothers against dpp.
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Vasiliu, Alex. "The Balkan tradition in contemporary jazz. Anatoly Vapirov." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 256–64. http://dx.doi.org/10.2478/ajm-2019-0015.
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Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Finnerty, Adrian J. "Albums for wind ensembles - Concerts to Sing, Clap and Play (Macmillan Education, 1991, £3.95) by Heather Cox and Garth Rickard - Sing, Clap and Play and Recorder Books 1 and 2 - Foklore International 3 (Universal Edition1992, £5.40) by Christa Reolcke - Hits for Kids series (Universal Edition1991, £5.95) by Walter Haberl - Children's Suite, Op. 16) by Malcolm Arnold arranged by Denis Bloodworth (Lengnick1993) - Recorder Consorts (Kevin Mayhew1993, £15.95) - The Christmas Carol Book (Helicon Music1992, £4.95) - Melodies for Two Flutes and Melodies for Two Clarinets (Lengnick1993, £4.50 and £4.95) both arranged by Edward Watson - Duets for flute and Clarinet and Duets for Clarinet and Alto Saxophone - Microjazz Clarinet Duets (Boosey & Hawkes1993, £4.95) by Christopher Norton - The Three's A Crowd Junior Book B - Three's A Crowd Book 3 - Wind Ensemble 1 (Universal Edition1991) - The Fairer Sax Ensemble Book 1 (Boosey & Hawkes1992, £8.95)." British Journal of Music Education 11, no. 2 (July 1994): 176–77. http://dx.doi.org/10.1017/s0265051700001145.
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Ray, Robert P., and Kristi A. Wharton. "Context-dependent relationships between the BMPsgbbanddppduring development of theDrosophilawing imaginal disk." Development 128, no. 20 (October 15, 2001): 3913–25. http://dx.doi.org/10.1242/dev.128.20.3913.
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The Drosophila BMP5/6/7/8 homolog, glass bottom boat (gbb), has been shown to be involved in proliferation and vein patterning in the wing disk. To better understand the roles for gbb in wing development, as well as its relationship with the Drosophila BMP2/4 homolog decapentaplegic (dpp), we have used clonal analysis to define the functional foci of gbb during wing development. Our results show that gbb has both local and long-range functions in the disk that coincide both spatially and functionally with the established functions of dpp, suggesting that both BMPs contribute to the same processes during wing development. Indeed, comparison of the mutant phenotypes of dpp and gbb hypomorphs and null clones shows that both BMPs act locally along the longitudinal and cross veins to affect the process of vein promotion during pupal development, and long-range from a single focus along the A/P compartment boundary to affect the processes of disk proliferation and vein specification during larval development. Moreover, we show that duplications of dpp are able to rescue many of the phenotypes associated with gbb mutants and clones, indicating that the functions of gbb are at least partially redundant with those of dpp. While this relationship is similar to that described for dpp and the BMP screw (scw) in the embryo, we show that the mechanisms underlying both local and long-range functions of gbb and dpp in the wing are different. For the local foci, gbb function is confined to the regions of the veins that require the highest levels of dpp signaling, suggesting that gbb acts to augment dpp signaling in the same way as scw is proposed to do in the embryo. However, unlike scw-dependent signals in the embryo, these gbb signals are not transduced by the Type I receptor saxophone (sax), thus, the cooperativity between gbb and dpp is not achieved by signaling through distinct receptor complexes. For the long-range focus along the A/P compartment boundary, gbb function does not appear to affect the high point of the dpp gradient, but, rather, appears to be required for low points, which is the reciprocal of the relationship between dpp and scw in the embryo. Moreover, these functions of gbb also do not require the Type I receptor sax. Given these results, we conclude that the relationships between gbb and dpp in the wing disk represent novel paradigms for how multiple BMP ligands signal during development, and that signaling by multiple BMPs involves a variety of different inter-ligand relationships that depend on the developmental context in which they act.
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"Tom Weeks, Alto Saxophone Improvisations." College Music Symposium 60, no. 2 (September 20, 2020). http://dx.doi.org/10.18177/sym.2020.60.rev.11484.
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Sinaga, Doli Sinaga Doli. "PEMBELAJARAN SAXOPHONE ALTO PADA LAGU NOTHINGS GONNA CHANGE MY LOVE MAHASISWA PRODI SENI MUSIK UNIVERSITAS NEGERI MEDAN." Grenek Music Journal 1, no. 2 (July 1, 2012). http://dx.doi.org/10.24114/grenek.v1i2.867.
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Penelitian ini bertujuan untuk mengetahui bagaimanakah proses pembelajaran saxophone alto di Prodi Seni Musik Universitas Negeri Medan khususnya pada lagu Nothings Gonna Change My Love. Lagu Nothings Gonna Change My Love merupakan salah satu lagu yang menjadi bahan ujian akhir mata kuliah intrumen pilihan tiup III khususnya intrument saxophone alto. Dari hasil penelitian, didapatkan bahwametode-metode yang dilakukan oleh dosen adalah sebagai berikut yaitu metode ceramah, metode demonstrasi dan metode imitasi. Pada pembelajaran saxophone secara umum di Prodi Seni Musik, hal yang dilakukan adalah pemanasan (warming up), latihan etude dan scale serta latihan memainkan lagu. Ketiga langkah-langkah ini selalu dilakukan pada saat mata kuliah berlangsung. Untuk mempelajari Lagu Nothings Gonna Change My Love sendiri dosen menggunakan langkah-langkah sebagai berikut tahapan penjelasan bagian dan bentuk lagu, tahapan penjelasan teknik-teknik permainan yang ada pada lagu Love dan latihan madiri untuk melatih lagu tersebut. Dari hasil pembelajaran saxophone alto pada lagu Nothings Gonna Change My Love mahasiswa Prodi Seni Musik Universitas Negeri Medan didapatkan bahwa mahasiswa dapat memainkan bahan lagu dengan baik dan sesuai dengan teknik-teknik yang ada pada partitur lagu Nothings Gonna Change My Love tersebut.
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Enoh, Okafor, Justina. "Using Ethno-Compositional Materials for Contemporary Music Composition: ‘Ovie’ E Flat Alto Saxophone and Piano Accompaniment as Musical Example." Global Journal of Human-Social Science, June 19, 2020, 49–55. http://dx.doi.org/10.34257/gjhssavol20is7pg49.
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The search for musico-cultural identity and nationalism in Africa as well as in Nigeria gave rise to the evolution of new compositional innovations which stemmed from the use of ethno-compositional materials drawn from such cultures for compositional purposes which are contemporary in structure, culturally oriented and globally relevant. Inresponse to this search, Nigerian Contemporary musicians and Art musicians/composers went back as it were to their ‘root’ giving birth to many contemporary compositions by various contemporary musicians and art musicians in Nigeria and Afr ica including other cultural clime. One of such contemporary composition is the musical example titled ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment. In the musicological presentation of ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment, the melodic structure/passage of the song texts ‘ovie’ was used as thematic mater ial to compose an entire work of 173 bars/measures. Presentation of information pertaining to its pre-compositional consideration and compositional techniques employed in the composition titled ‘ovie’ was discussed. Also literatures were reviewed to buttress facts where necessary.
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Lee, David. ""We Can Draw!": Toronto Improvisation, Abstract Expressionism, and the Artists’ Jazz Band." Critical Studies in Improvisation / Études critiques en improvisation 11, no. 1-2 (July 14, 2017). http://dx.doi.org/10.21083/csieci.v11i1-2.3713.
Full textAbstract:
The Artists’ Jazz Band (AJB) was founded in 1962 in Toronto by abstract expressionist painters Graham Coughtry (trombone), Richard Gorman (double bass), Dennis Burton and Nobuo Kubota (alto saxophone), Robert Markle (tenor saxophone), and Gordon Rayner (drums). The AJB’s personnel shifted around this founding core, including pianist/trumpeter Michael Snow, electric bassist Jim Jones, guitarist Gerald McAdam, and saxophonist Bill Smith. They continued to perform into the 1990s. Few ensembles anywhere in the world so strongly foregrounded the relationship between abstract expressionism in the visual arts and jazz improvisation. Because of this, it is instructive to discuss the AJB’s music in terms of twentieth-century modernism, particularly in relation to the musicians’ immediate predecessors on the Toronto scene, Painters Eleven, and in the context of the automatistes in neighbouring Quebec, whose pioneering visual art also had ties to the free jazz of the 1960s and afterwards. The AJB’s introduction of modernist discourse—on the canvas and, by implication, in their music—influenced other improvisers associated with the AJB in the 1970s and 1980s. Modernist influences, stemming from the visual arts, encouraged a generation of musicians in Toronto to depart from more conventional “jazz” practices in order to pursue “free jazz,” free improvisation, and a host of performance possibilities.
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Martin, Henry. "Charlie Parker and “Honeysuckle Rose”." Festschrift for Steve Larson 18, no. 3 (September 2012). http://dx.doi.org/10.30535/mto.18.3.6.
Full textAbstract:
One of the most intriguing items in the Charlie Parker discography is his first recording, a medley of “Honeysuckle Rose” and “Body and Soul” performed as an alto saxophone solo. Probably recorded in 1940, “Honeysuckle Rose” is unique: a multichorus solo from early in his career. For the first time we hear Parker confronting the problem of embedding a well-known swing standard inside the personal network of improvisational formulas necessary for multichorus fluency at a bright tempo. While previous studies have differentiated between formula and motive in Parker improvisation, this paper investigates the roots of the distinction in his first recording. The paper begins with two readings of the chorus of “Honeysuckle Rose” to introduce elements of voice leading and motive in the tune itself. The first reading, based on Schenkerian principles, is one I think Steve Larson would have agreed with. I then present a second reading with a modified Schenkerian approach and compare it with the first reading. I continue with a general discussion of formula in improvisation and its relation to motive and voice leading. The final part of the paper relates these issues to Parker’s solo recording of “Honeysuckle Rose.”