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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

Králová, Tereza. "European saxophone ensemble." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177937.

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The European Saxophone Ensemble was formed by twelve young saxophone players from twelve different countries of the European Union. Every year toured at least seven countries of EU and for each of the years were composed 5 - 6 new pieces from the authors of different nationalities and different music preferences. This project was held in the years 2008, 2010, 2011, 2012 and 2013. It was organized by the association MET-X, whose main target is to connect different cultures with music. My theses is focused on theoretical and practical knowledge of European grant program Culture. The centre of the theses is the grant program strand 2. Support for organizations active at European level in the field of Culture from which the MET-X was benefiting. It should be also a documentation and resume of the whole project European Saxophone Ensemble.
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2

Easton, Jay C. "Writing for saxophones : a guide to the tonal palette of the saxophone family for composers, arrangers, and performers /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11417.

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3

Fusik, James Paul. "The Theatrical Saxophone: Visual and Narrative Elements in Contemporary Saxophone Music." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363599296.

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4

Powell, Timothy J. "Saxophone sonatas| 1980--2010." Thesis, University of Maryland, College Park, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557684.

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The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers.

The saxophone had developed a unique voice by the middle of the twentieth century in both Europe and in the United States. European composers such as Claude Debussy, Florent Schmidt, Jacques Ibert, Darius Milhaud, Alexander Glazounov, Erwin Schulhoff and Bernard Heiden recognized the potential and beauty of the instrument, while the saxophone had found quite a different niche in vaudeville, jazz, and military bands in the United States. If not for the dynamic performances by concert saxophonist such as Marcel Mule, Sigurd Rascher, Jean-Marie Londeix, Daniel Deffayet, Cecil Lesson, Larry Teal, Eugene Rousseau, Fredrick Hemke and Donald Sinta, the timbral possibilities and technical virtuosity of the saxophone would not have been discovered. The awe inspiring performances by these soloists led to the commissioning of a multitude of works by composers looking to expand the sonic possibilities of this relatively new instrument. Through the 1970's American composers such as Leslie Bassett, Paul Creston, Henry Brant, Robert Muczynski, and Karel Husa were writing significant works for the saxophone, while European composers such as Ingolf Dahl, Edison Denisov, Alfred Desenclos, Henri Tomasi and Marius Constant were each making their own contributions, all leading to a significant quantity of repertoire that met the quality demands set by the performers.

The compositions chosen for this dissertation project were selected after numerous performance, pragmatic, programming and pedagogical considerations were taken into account. The three recitals occurred on: March 7, 2010, December 10, 2010 and May 1, 2011 in either the Gildenhorn Recital Hall or Lecture Hall 2100.

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5

Geest, Trijntje Teixeira de Lima van den. "Vocalization in saxophone class." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15343.

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Mestrado em Ensino de Música
Initiating saxophone students often demonstrate difficulties in playing with a consistent sound. In addition, many initiating music students demonstrate difficulties with imagining the music before they play it. Consequently, their performances lack musical interpretation. The aim of this educational project is to develop a vocalization method in order to help initiating saxophone students to improve their tone quality and the use of articulation and dynamics, by singing and playing with vowels and consonants.
Alunos iniciantes de saxofone demonstram por vezes dificuldade na aquisição de um timbre consistente. Associada a esta dificuldade observa-se também uma falta de imaginação musical o que pode ter uma influência direta na performance. O objetivo deste projeto educacional é o desenvolvimento de um método que pretende ajudar alunos de saxofone a enriquecer o seu timbre e a melhorar o seu uso da articulação e das dinâmicas através de exercícios cantados com vogais e consoantes.
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6

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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7

Ferraro, Mathew C. "The Missing Saxophone: Why the Saxophone Is Not a Permanent Member of the Orchestra." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1341342139.

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8

Currie, Neil Alan. "Rhapsody for saxophone and orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/NQ38874.pdf.

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9

Yang, Minsuk. "Concerto for Saxophone and Orchestra." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625865.

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Initially, my motivation for writing saxophone music started with curiosity about the saxophone's timbre rather than influence of jazz music or specific musical styles. I think composers' ideas of sounds are not always easy to realize because of the physical instrument's characteristics. For instance, in case of woodwind instrumental works, performers are occasionally confronted with difficult fingerings, long notes with fastidious articulation, tunings, rapidly leaping motions and so on. From this perspective, clarinet is an easier and satisfactory instrument for realizing composers' idea compared with other instruments and many clarinet works have been attempted successfully. The saxophone, as a single reed instrument, has not only the similar advantages of the clarinet's instrumental mechanism but also timbral characteristics mingled with wood wind and brass instruments. In fact, the saxophone has a complex harmonic spectra whereas clarinet's timbre consists of only odd harmonics.

In the work, the main compositional ideas are applications of short repetitive motive patterns using variation, diminution and extension. The first etude-like pattern appears in an easier register to articulate the saxophone's sonority. The orchestra performs not only material supporting the saxophone's passages but also contrasting ideas of melodic and rhythmic passages.

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10

Bogert, Nathan Bancroft. "Transcribing string music for saxophone: a presentation of Claude Debussy's Cello Sonata for baritone saxophone." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2442.

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The saxophone has a rich tradition of performing transcriptions. In recent years, saxophonists have begun exploring the performance of transcriptions that would have previously been believed to be outside of the capabilities of the saxophone. In general, this new wave of transcriptions has been drawn from the repertoire of string instruments. Through the arrangement of Claude Debussy's Cello Sonata of 1915, this document provides a step-by-step explanation of how saxophonists can effectively transcribe string music for the saxophone.
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11

Keepe, Michael Leonard. "The Hollywood Saxophone Quartet: Its History and Contributions to Saxophone Quartet Performance in the United States." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/217063.

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This study documents the history of the Hollywood Saxophone Quartet and its role in establishing the saxophone quartet as a serious medium for chamber music in the United States. An abbreviated history of saxophone quartets in the United States is provided, including a brief history of the Marcel Mule Saxophone Quartet in France. This ensemble in particular significantly influenced the Hollywood Saxophone Quartet's formation, programming and mission. The history of the Hollywood Saxophone Quartet follows, including its performing, commissioning, and recording activities, as well as biographical information for its members. This introduction is complemented by a discussion of the legacy of the group through its influence on subsequent saxophone ensembles on a national and international scale. Finally, conclusions drawn from this research place the Hollywood Saxophone Quartet in a historical context in the United States.
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12

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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13

Burnette, Herman H. "Saxophone performance problems : causes and solutions." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/458313.

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The subject of the dissertation was chosen as a result of observing a need to provide the college saxophone major in the first or second year of study with a reference text focusing primarily on problem solving. Sources exist describing accepted fundamentals of saxophone performance; however, these noticeably omit solutions to a vast number of problems which inevitably arise for some students during their course of study. It was the aim of the dissertation to fill this void by offering practical solutions to a breadth of performance problems encountered during private studio and class saxophone teaching experience at Ball State University.Solutions to performance problems were formulated through the development of original and learned techniques and procedures, and by synthesizing applicable pedagogical information by other saxophonists and instrumentalists whenever possible. The resultant compilation of knowledge gleaned through personal experience, experimentation, and research of other disseminated information has produced a unique and comprehensive problem-solving reference for saxophone.The format of the dissertation is designed for easy reference. Causes of performance problems are systematically arranged under the following categories: mouthpiece, reed, ligature, instrument, and player. A solution follows each performance problem cited, which generally consists of a corrective physical or mechanical adjustment, a rehearsal technique, or some other course of action required to correct the problem. Subjects addressed include: (1) mouthpiece--designs, defects, selection; (2) reed--designs, conditioning, positioning, deficiency and defect adjustments; (3) ligature--designs, placement, tension; (4) instrument--mechanical adjustments, altissimo vent key adjustment, defective neck, dents; (5) player-tone production, technical problems, air control, tonguing, vibrato.The final chapter functions as a checklist when the cause of a problem is uncertain. Under four categories of performance-problem. symptoms (poor tone quality, intonation problems, response problems, squeaking), the reader may isolate the specific problem by symptom, then refer to the main body of the dissertation for the solution to the fundamental problem. Conclusions follow each topic.The text should contribute to the library of the saxophone instructor and the graduate assistant as a problem-solving reference manual for students. Woodwind instructors required to teach saxophone without extensive performance experience on the instrument should find the text to be a helpful teaching aid as well.
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14

Bunt, Elizabeth. "The Saxophone Works of Karlheinz Stockhausen." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195346.

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Karlheinz Stockhausen (1928-2007) was one of the most influential composers of the second half of the twentieth century. Although his music has been written about extensively, there is little scholarship focusing directly on his saxophone music. This document is a study of Karlheinz Stockhausen's saxophone works. It introduces saxophonists, and others, to Stockhausen's idiomatic stylistic traits and techniques in the context of his saxophone pieces. Particular aspects of Stockhausen's creative output are illuminated, including the formal construction of his pieces, the visual component of his pieces, the spatialization of his pieces, and his use of electronic media. Six of Stockhausen's pieces are discussed in detail: In Freundschaft, Saxophon, Knabenduett, Linker Augentanz, Erwachen, and Edentia.
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15

Bell, Daniel Michaels. "The saxophone in Germany, 1924-1935." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290020.

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This document presents a holistic view of the saxophone in Germany from 1924 to 1935. A "wide field" view is presented in order to examine the saxophone within its social and historical contexts. Chapter One contains a general political and cultural history of Germany and a description of the saxophone in Germany before 1924. Chapter Two offers a definition of jazz in Germany and surveys the music's prominent saxophonists. Chapter Three documents and interprets portrayals of the saxophone in literature, art, and the press that might clarify its position within German society at the time. The instrument's journey through the turbulent period of Hitler's early government is followed. Chapter Three ends with a discussion of the references to the saxophone in the writings of philosopher Theodor W. Adorno. Finally, Chapter Four examines the role of the saxophone in the medium of serious concert music in Germany between the two World Wars.
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16

Cummins, John. "The saxophone music of Thierry Escaich." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6559.

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17

Mollo, Michael J. "Funk-in-the-box for saxophone quartet /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1115990255.

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18

Watson, T. A. "Saxophone world premieres : research, collaboration and performance." Thesis, University of Salford, 2012. http://usir.salford.ac.uk/38105/.

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This DMA portfolio contains materials appertaining to the research and collaboration of imaginative performance-based projects that have been completed whilst studying towards a Doctor of Musical Arts at the University of Salford. Commissioning and working with four leading composers in the Wind Ensemble genre to write world premiere works for solo saxophone performance over a two year period involved a great deal of thought and preparation. Further enhanced by a solo saxophone and piano compact disc recording, this submission compromises: 1. In League with Extraordinary Gentlemen Alto Saxophone and Wind Ensemble composition by Peter Graham. 2. These Mist Covered Mountains a saxophone and piano compact disc recording:- Pastoral - Elliot Carter Brainstorm - Tim Watson Crazy Diamonds Shining Pete Meechan Sea Shift - Robin Dewhurst Fuzzy Bird Sonata - Takashi Yoshimatsu These Mist Covered Mountains - Pete Meechan 3. Concertino for Alto Saxophone by Adam Gorb 4. Fenix Blue by Pete Meechan 5. Let it be an arrangement by Dr Robin Dewhurst Each project is explained in detail, showing the research, commissioning, collaboration and performance involved. Audio and video recordings with the commentaries are accompanied by pdf scores, compact disc sleeve notes, programmes of performance, magazine reviews and critical evaluations from leading performers and academics worldwide. Choosing a wide variety of musicians to evaluate my work not only testifies to its validity, but also shows the impact, significance and importance it has across a wide field of musical knowledge. With the many different aspects involved in performance today each project became completely unique. The research, analysis and adaptation of already written repertoire at an advanced level allowed the development of new stylistic sounds. The incorporation of world premiere performances at different acoustic venues allowed not only performance creation and flexibility, but gave many opportunities to invite the composers to hear their music performed and for the audience to engage and critique a new aural perception. Using different ensembles for each premiere and recording meant logistical problems and unforeseen circumstances had to be overcome, but working with composers that hold such a high standing in their field allowed soloist performance boundaries to be pushed. However, working with differing levels of musicality, in an array of ensembles, from all parts of the country, meant there were various interpretations of the music, ranging from different conducting styles to varying levels of musical accompaniment! Along with the musical aptitude, skills and experience of the composers and musicians on larger scale works, was the challenge of incorporating different stylistic compositions, unaccompanied and with piano accompaniment for the compact disc project. Forming a programme of unrecorded, new and established repertoire meant that the compact disc compilation would have a unique quality to it. In the commentary for this project is the justification of chosen repertoire and the need for professionalism when recording. Over two days of intense concentration, virtuosic and technically demanding passages needed consummate dexterity. Extended technique work added panache but also needed careful control and balancing, along with melodic phrasing and tone production. The final results from every project I found were enlightening and created a buzz of excitement at some point on every performance, an experience I hope to never lose! In conclusion, the submission contains other supporting material that shows my professional standing as a performing artist in varying musical fields, highlighting my past and current activities.
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19

MOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.

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20

Hall, Gail Russell. "Eugene Rousseau : his life and the saxophone /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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21

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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22

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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23

Sousa, Bittencourt Pedro. "Interprétation musicale participative : la médiation d'un saxophoniste dans l'articulation des compositions mixtes contemporaines." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080075/document.

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Étude sur la collaboration et la participation active d’un saxophoniste-chercheur avec plusieurs compositeurs dans la création musicale mixte. Les musiques mixtes combinent un performeur jouant d’un instrument acoustique qui interagit avec des outils électroniques et informatiques, se faisant entendre par des hauts-parleurs. Nous comprenons la participation comme des multiples échanges humains intégrant l’écoute, l’instrument acoustique, l’électronique et les dernières technologies numériques dans la musique. Notre méthodologie s’est nourrie des sciences cognitives, de la systémique, de la recherche-action intégrale et systémique, de la cybernétique de second ordre, de l’opérationnel et de l’émergence contextuelle. Notre démarche propose une réflexion autour de quelques bouleversements de l’écoute musicale au XXe siècle et l’étude des musiques mixtes contemporaines sous le biais de l’approche multi-échelle. Nous faisons partie de notre objet d’étude tout en le modifiant dans un processus dynamique. Quelles connaissances musicales émergent de ces échanges de compétences et peuvent en être élargies grâce à cette rétroaction (feedback) multiple, en boucle créative ? Ces questions, avec nos sources de première main et l’inclusion du compositeur en tant qu’interprète ont fait émerger notre concept d’interprétation musicale participative. Nous proposons que l’analyse de nos propres collaborations peut apporter une connaissance originale sur les pièces musicales mixtes en question et développer une sorte de plasticité dans le faire musical. Comme démonstration, des morceaux ont été créées pendant nos recherches et sont analysées sous cette approche
This research is about the collaboration of a saxophonist-researcher with several composers in electro acoustic music with saxophones. Mixed music combines a performer playing acoustic instruments (traditional or not) interacting with digital and electronics means of all sort of operations, time scales and technical configurations, diffused by loudspeakers. We understand participation in our case as human exchanges in musical digital environments, and as the creation of new links that didn’t exist before. Our research proposes a reflection on listening approaches through the XXst century and studying mixed music through the multi scale approach. The saxophonist gives a contribution, that enhance a creative perspective for each musical piece that influence the composers’ work. Which techniques and which musical knowledge can be exchanged and enlarged thanks to this multiple feedback ? The work on first sources, the competence exchanges between musicians during the many steps of their process of collaborative work construct what we call participatory interpretation in new music. In some aspects we get close to the integral and systemic action-research, since we take part in our study objet, and we modify it in a dynamic process. We propose that the analysis of the musical pieces from our collaborations can bring forth an original knowledge about them and enhance musical creativity. Participatory interpretation optimizes the musical results and explore new mixed “composable” spaces. As a demonstration, some pieces are though analyzed under this participatory perspective. Our research leads to a conclusion towards the idea of plasticity in music making
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24

Davis, Michael James. "An Analytical Survey of Hendrik Hofmeyr's Compositions for Solo Saxophone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703384/.

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Hendrik Hofmeyr is considered one of the most important and influential living composers in South Africa. His music for solo saxophone is not well-known in the classical saxophone repertoire. His four works for solo saxophone (Concerto per saxofono contralto e orchestra, Concerto per saxofono baritono e orchestra, Partita canonica, and Necromancer) are substantial and terrific repertoire for the instrument. This study is intended to inform a saxophone performer's understanding of these compositions through analysis of form, melodic, and harmonic content relevant to performance; and, demonstrate through example the conclusions determined by the analysis about apparent compositional techniques in the music.
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25

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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26

Brūzga, Gediminas. "Skirtingų mokymo sistemų taikymas ugdant pradedančiuosius saksofonininkus." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120620_100706-01644.

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Magistro darbe tyrinėjamos skirtingos mokymo groti saksofonu mokyklos, jų metodų įvairovė ir efektyvumas pedagoginėje praktikoje. Informacijos apie saksofoną, jo specifiką ir mokymą groti lietuvių kalba nepakanka. Tyrimu siekiama atskleisti šiuo metu pedagogų naudojamas metodikas, nustatyti esančių mokyklų skirtumus, įvertinti vienų metodų pranašumą prieš kitus, siekiant ugdymo rezultatų. Tyrimas vykdomas remiantis iškelta hipotetine prielaida, kad dauguma Lietuvos pedagogų, mokydami jaunuosius saksofonininkus, iki šiol vadovaujasi senomis sovietinės mokyklos žiniomis. Tyrimo objektas – skirtingų saksofono mokyklų taikymas pedagoginiame darbe. Tyrimo tikslas yra nustatyti tarp Lietuvos pučiamųjų instrumentų bei saksofono specialybės pedagogų dominuojančią mokymo groti saksofonu metodiką, ištirti saksofono mokyklų svarbą ir metodų efektyvumą, jų įtaką mokinio muzikavimo kokybei.
The master thesis concerns different schools of saxophone training, a variety of their methodologies and effectiveness in educational practice. There is a lack of information on saxophone, its specificity and training in Lithuanian language, therefore, this research aims to expose current educational methodologies, indicate differences between several schools, and reveal the advantages of certain methods over the others in educational work. The research is based on the hypothetical assumption that a majority of Lithuanian teachers apply old-fashioned Soviet methodology in educating young saxophonists. The object of the research is the application of various saxophone training schools in educational practice. The aim of the research is to determine a dominant saxophone training methodology in Lithuanian music schools, explore the importance and method effectiveness of saxophone schools in regard to student‘s performance quality. Furthermore, the objectives of the research should reveal whether the saxophone teachers apply advanced methods as a means to foster quality music performance.
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Pockrus, Jason. "The Saxophone in China: Historical Performance and Development." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248502/.

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The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
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28

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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29

Sandberg, Scott David. "James Houlik: life of a tenor saxophone specialist." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/595.

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30

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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Bradfield, Ann. "An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28397/.

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Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.
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Baltutis, Donatas. "Muzikavimo saksofonu ypatumai interpretacinės raiškos galimybių kontekste." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110804_092936-52267.

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Bakalauro darbas „Muzikavimo saksofonu ypatumai interpretacinės raiškos galimybių kontekste“ parengtas 2011 metais. Tyrimo objektas – muzikavimo saksofonu ypatumai. Tyrimo tikslas – išanalizuoti muzikavimo saksofonu ypatumus muzikos mokyklose. Tyrimo uždaviniai: atskleisti saksofono ypatumus, apibūdinti žymiausius saksofono muzikos atlikėjus, išsiaiškinti saksofonu atliekamas muzikos rūšis, išanalizuoti metodines rekomendacijas ir interpretacijos ypatumus, aprašyti meninį projektą. Mokant groti mokinius saksofonu mokytojai dažniausiai vadovaujasi savo susikurtomis metodikomis bei pūtikams skirtomis metodinėmis rekomendacijomis, kadangi lietuviškoji pučiamųjų instrumentų pedagogika kenčia nuo daugybės įvairiausių problemų, kurios dažniausiaiįvardijamos kaip literatūros (natų) stoka, nepakankama techninė bazė (stokojama kokybiškų instrumentų), neparengta išsami muzikavimo saksofonu metodika ir programa. Atlikus teorinių šaltinių analizę ir įgyvendinus meninį projektą galima išskirti svarbiausius grojimo saksofonu aspektus: taisyklingą kvėpavimą, laikyseną, tinkamą rankų poziciją. Muzikos pedagogai profesinėje veikloje turėtų atkreipti dėmesį į šiuos aspektus ir papildydami mokymo procesą specifinio pobūdžio didaktinėmis rekomendacijomis, siekti kokybiško muzikavimo. Saksofonas yra muzikos instrumentas, kuriuo atliekama muzika gali būti laisvai interpretuojama, nes saksofonas pirmiausia siejamas su džiazu, o džiazas dažniausiai suvokimas kaip improvizacijos ir interpretacijos... [toliau žr. visą tekstą]
The Bachelor’s Thesis „Peculiarities of playing the saxophone in the context of possibilities of interpretational expression” was prepared in 2011. Research object: peculiarities of playing the saxophone. The aim of the research: to analyze the peculiarities of playing the saxophone in music schools. Research objectives: to reveal the peculiarities of the saxophone, describe the most famous performers of the saxophone music, determine the types of music performed by the saxophone, analyze methodological recommendations and interpretational peculiarities and describe the art project. In the process of teaching students to play the saxophone teachers mostly follow their own developed methodology and methodological recommendations designed for the wind instrumentalists, because Lithuanian wind instrument education suffers from various issues that are mainly named as the lack of literature (notes), insufficient technical facilities (lack of qualitative instruments), unprepared explicit saxophone methodology and programs. Analysis of theoretical sources and implementation of the art project enables to distinguish the main aspects of playing the saxophone: right breathing, posture, correct hand position. Music teachers should pay attention to these aspects in their professional activities and aim at qualitative performance of music by adding specific didactic recommendations to the teaching process. Saxophone is a musical instrument that allows free interpretations of music as it... [to full text]
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33

Shner, Idit. "Music for saxophone and harp an investigation of the development of the genre with an annotated bibilography /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5122.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Mar. 29, 2004, Nov. 22, 2004, and Sept. 4, 2007. Includes bibliographical references.
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34

Page, Stephen Charles Jr. "A performance edition and technical guide to Johann Sebastian Bach's Chaconne from Partita in D minor, BWV 1004, for alto saxophone." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/5034.

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Johann Sebastian Bach's Chaconne from his Partita in D Minor is considered a crown jewel of the violin repertoire. Since its composition, this piece has taken many forms, undergoing transformations allowing its performance by other instruments and ensemble formations. These include transformations for piano, orchestra, flute, clarinet, and trumpet amongst others. This projects serves as another transformation, bringing a new versions of the Chaconne to the repertoire of the alto saxophone. Additionally, the project discusses in detail the necessary changes made to the music, as well as offering comprehensive technical suggestions for the inherent issues encountered within this arrangement.
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Reséndez, Joey (José Luís). "An Investigation of Multiple Articulation as Applied to Saxophone Literature and Its Performance: An Historical and Pedagogical Approach." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505205/.

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Multiple articulation is a technique that is becoming commonplace in the saxophone literature. This study provides a detailed explanation of how produce the technique. Its application to saxophone literature is explored with musical examples and commentary by the author. A compilation of pedagogical viewpoints regarding multiple articulation from educators spanning the last century is provided.
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Miller, Robyn Lee. "The role of the saxophone embouchure in the production of the South African jazz sound : a study of nine jazz saxophone players." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11118.

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South Africa is known for having its own distinctive jazz music sound of which the saxophone is a significant feature. The saxophone has often been recognised world-wide as a symbolic jazz instrument and has also played an important role in South African jazz. As the embouchure of the saxophone is crucial to its sound production, it stands to reason that it plays a role in producing this distinctive South African jazz sonority. The purpose of this study is to understand the role of the embouchure in producing the ‘South African jazz saxophone sound’, and to find a common trend in saxophonists.
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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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38

Twillert, Hendrik Van. "Bach's cello suites transcription and interpretation for baritone saxophone." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12351.

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Doutoramento em Música
Bach’s Suites for unaccompanied cello are a masterpiece of the Classical Western canon for their singularity and their creator’s mastery. A myriad of transcriptions were made throughout the centuries with bigger or lesser freedom. This thesis aims at revealing insights from the art of linear polyphony and its performance on a monophonic instrument such as the baritone saxophone. The study of the musical structure is supported by examples from the visual domain that help us to understand the notion of linear polyphony as a third-dimension object. The particularity of this study, in relation to the multiple existing literature about Bach’s music, is its focus on a wind player’s point of view, a saxophonist, which, given the restriction of the polyphonic possibilities of the instrument, reveals some discerning solutions on the performance, analysis and elaboration of the polyphonic thinking in Bach’s Suites. Similar to the relative novelty of the cello at Bach’s time, my work aims at giving as close as possible the same perspective of the music through a new vision and instrument. I analysed the art of linear polyphony and the techniques of elaboration of the melody in the Cello Suites, notably as a means to support the interpretation (e.g. articulation, phrasing, dynamics, vibrato, fingerings, etc.) and to devise a transcription of the Suites for the baritone saxophone. My choice felled on a transcription for baritone saxophone based on the manuscript from Anna Magdalena Bach, wishing to provide detailed guidelines for saxophonists who want to create a more informed interpretation. I hope to offer a better understanding of these works and to provide a reference to build and develop an individual interpretation, especially on the baritone saxophone.
As Suites para violoncelo solo são uma obra-prima do cânone musical ocidental pela sua singularidade e mestria do seu autor. Várias transcrições foram feitas ao longo dos séculos, com maior ou menor grau de liberdade desta obra. Esta tese foca-se na arte de polifonia linear e na sua interpretação num instrumento monofónico, como o saxofone barítono. O estudo da estrutura musical é suportado por exemplos no domínio visual que ajudam a compreender o conceito de polifonia linear como um objecto tridimensional. A particularidade deste estudo, em relação à vasta literatura existente sobre o assunto, é o ponto de vista de um saxofonista, que, devido à restrição das possibilidades polifónicas do seu instrumento, revela algumas soluções na interpretação, análise e elaboração do pensamento polifónico nas Suites de Bach. De forma análoga à relativa novidade do violoncelo no tempo de Bach, o meu trabalho visa dar a mesma perspectiva das Suites através da sua interpretação no saxofone barítono São apresentadas várias análises do ambiente da arte da polifonia linear e das técnicas de elaboração da melodia, como forma de desenvolver uma interpretação (por exemplo, articulação, fraseado, dinâmica, vibrato, dedilhações, etc.) e de apoiar a elaboração de uma transcrição das Suites para saxofone barítono. A minha contribuição foi realizar uma reedição do manuscrito de Anna Magdalena Bach, e fornecer orientações detalhadas para os saxofonistas que querem criar uma interpretação mais informada, oferecendo uma melhor compreensão dessas obras e fornecendo uma referência para construir e desenvolver uma interpretação.
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Richards, Alexander. ""The Last Leaf" for Sopranino Saxophone: A Performance Guide and Interview with Chaya Czernowin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609142/.

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Despite being one of the instruments outlined in Aldophe Sax's original patent for the saxophone, and commercially available since 1849, the sopranino saxophone was generally unaccepted as a fully-fledged instrument until the late 20th century, existing solely as a novelty or a rare member of the saxophone ensemble. As such, there are few saxophonist who utilize the instrument, and the literature for the sopranino saxophone exists primarily in the contemporary idiom. Of the contemporary works for sopranino saxophone, one of the most well-known pieces is Chaya Czernowin's The Last Leaf (2011/12). While Czernowin initially conceived this work for solo oboe, she subsequently arranged a version for sopranino saxophone. Since then, it has been performed many times and recorded by several saxophonists including Ryan Muncy and Patrick Stadler. Through an examination of the score utilizing a variety of sopranino saxophone-centric contemporary resources alongside an interview with Czernowin herself, this dissertation provides the first extant performance guide to the sopranino saxophone edition of The Last Leaf, with the purpose of providing any saxophonists wishing to attempt this work with the information of Czernowin's intention for the piece and how to implement the techniques necessary for a performance.
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40

Lamar, Jacquelyn B. (Jacquelyn Brown). "The History and Development of Vibrato Among Classical Saxophonists: A Lecture Recital Together with Three Recitals of Selected Works of A. Desenclos, L. Robert, J. Ibert, K. Husa, B. Heiden, R. Schumann and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330729/.

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This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.
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41

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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42

Shner, Idit. "Music for Saxophone and Harp: An Investigation of the Development of the Genre with an Annotated Bibliography." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5122/.

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In 1937, Gustav Bumcke (1876-1963) composed the Scherzo, op. 67 for alto saxophone and double-action pedal harp. Since then, over 50 duos were written for various members of the saxophone family and the pedal harp, yet most of this repertoire is rarely performed and many artists are not yet aware of it. This document investigates works that are (1) composed for two musicians: a harpist and a saxophonist; (2) intended for the double-action pedal harp; and (3) originally composed for this instrumentation (no transcriptions). In Part I, An Investigation of the Development of the Genre, pieces are introduced in chronological order, and placed in historical context. Composers such as Gustave Bumcke and Jean Absil wrote short tonal pieces for alto saxophone and harp. In 1969, Günther Tautenhahn composed the Elegy for tenor saxophone and harp, featuring disjunct melodies with wide intervals. In France, Yvonne Desportes and Ida Gotkovsky composed pieces for alto saxophone and harp. Their pieces are substantially longer in duration and have much higher technical demands for both instruments. During the 1980s composers such as Jacqueline Fontyn, Marc Tallet, and Griffith Rose used a variety of extended techniques and avant-garde notation. Mauricio Kagel's Zwei Akte from 1989 is the longest piece in the genre (c. 28 minutes), with pervasive use of extended techniques. During the 1990s composers wrote saxophone and harp duos involving the bass saxophone and the soprano saxophone. Composers such as Quinto Maganini, François Rossé, Armando Ghidoni, and Tomislav Hmeljak wrote pedagogical pieces, suitable for young and intermediate students. In Part II, Annotated Bibliography, 30 published, readily available works for saxophone and harp are presented. The annotation for each piece includes: title, composer (years), dedication, duration, publisher or contact information for obtaining the piece, type of saxophone used, saxophone criteria grade of difficulty chart, harp criteria grade of difficulty chart, and a short discussion of the piece's form, harmony (if applicable), and any outstanding characteristics.
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McCulloch, Peter. "UNRAVEL: Acoustic and Electronic Resynthesis." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.

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Hays, Andrew Paul. "A performer's guide to the saxophone music of Sherwood Shaffer." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1440/umi-uncg-1440.pdf.

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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Steven Stusek; submitted to the School of Music. Includes bibliographical references (p. 62-64).
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Nykänen, Arne. "Methods for specification of sound quality applied to saxophone sound /." Luleå, 2004. http://epubl.luth.se/1402-1757/2004/70.

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Nykänen, Arne. "Methods for specification of sound quality applied to saxophone sound." Licentiate thesis, Luleå tekniska universitet, Drift, underhåll och akustik, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-18010.

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Product specifications that include descriptors of sound qualities are most helpful when a description contains adequate detail and utilises understandable wording. Good specifications require that any descriptions used are familiar to users and that these descriptions are interpretable as acoustical quantities. The objectives of the studies reported upon in this thesis were to investigate how musicians use verbal descriptions of musical sounds and to interpret the descriptions in terms of some commonly used acoustical quantities. Interviews were made with saxophone players and the results were analysed with respect to how frequently different words were used. The most frequently used words were evaluated through listening tests using binaurally recorded test sounds of two saxophone players playing on two saxophones of different brands. Two groups of subjects participated in the listening tests, saxophone players and non-saxophone players. The subjects were asked to judge how well words selected from the interviews described the timbre of the test sounds. Data from the listening tests was analysed to examine how 3 factors: musician, saxophone, and type of listener influenced subject judgements. Principal Component Analysis (PCA) was used to find the most significant perceptual dimensions for the test sounds. Results from factorial analysis of variance and PCA were used to select the most appropriate verbal descriptions that best described significant perceptual dimensions. A small set of words (9 words) suitable for describing the variations in the analysed sounds was developed. To interpret the perceptual dimensions in terms of physically measurable indices, a number of acoustical quantities were added one by one to the set of perceptual variables. PCA of these extended data sets, resulted in a suggestion as to how the perceptual dimensions could be defined in terms of acoustical quantities. The procedure resulted in two significant perceptual dimensions being developed and described. A bipolar scale was used to describe Dimension 1 where items on the scale ranged from sharp/keen/rough to soft/warm/full-toned. Dimension 2 was described by a unipolar scale using the term E-like. The acoustical quantities sharpness, tonality, loudness, specific roughness (5-6 Bark and 21-22 Bark) and specific loudness (8-14 Bark) correlated with sharp/keen/rough. Roughness and specific roughness (13- 14 Bark and 20-21 Bark) correlated with soft/warm/full-toned. Specific loudness (10-11 Bark ) correlated negatively with E-like/large and specific loudness (9-10 Bark) and specific roughness (7-9 Bark) correlated positively with E-like/large. These findings demonstrate that it is possible to subjectively describe sound quality and to relate acoustical quantities to the descriptions. This suggests that it is practical to develop sound description terminology useful for work such as preparation of specifications and subsequent product standardisation.
Godkänd; 2004; 20070111 (biem)
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47

Gross, Abby. "Graduate Recital, Saxophone." 2012. http://digital.library.duq.edu/u?/etd,154261.

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The young age of the saxophone in the existence of the music world has influenced the instrument���s repertoire and programs to be versatile in genres and stylistic influences. This program features styles from several time periods and cultures including 20th and 21st century contemporary saxophone and piano duets, Brazilian choro, electronic music, and jazz. The nature of the instrument also allows pieces written for other instruments to take a different characteristic and open new meaning to a piece when played on the saxophone. For example, the element of passion in Brahms���s Sonata in F minor No. 1 for clarinet takes on new form when played on the saxophone. The goal of the program is to feature both music that the saxophone is important in creating, and that is important in the existence of the saxophone as a solo and ensemble instrument.
Mary Pappert School of Music;
Music Performance
MM;
Recital;
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El-Farrah, Rami. "Doctoral thesis recital (saxophone)." 2010. http://hdl.handle.net/2152/11480.

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Gadgil, Sunil. "Doctoral thesis recital (saxophone)." 2010. http://hdl.handle.net/2152/11481.

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Sonata, op.4, no.11 / J.B.L. de Gant -- Sonata for soprano saxophone and piano / Paul Chihara -- Concertino da camera / Jacques Ibert -- Sonata for alto saxophone and piano, op.19 / Paul Creston -- Canciones del Zocalo / Aaron Bramwell
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Love, Liz. "Master's thesis recital (saxophone)." 2010. http://hdl.handle.net/2152/11528.

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Sonata for violin and harpsichord in B minor / J. S. Bach, arr. Liz Love -- The garden of love / Jacob ter Veldhuis -- Bachianas brasileiras no.5 / Heitor Villa-Lobos, arr. Liz Love -- Concerto for alto saxophone and wind orchestra / Ingolf Dahl
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