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1
Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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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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O'Loughlin, Niall. "Saxophone." Musical Times 129, no. 1741 (March 1988): 139. http://dx.doi.org/10.2307/965290.
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Colinot, Tom, Philippe Guillemain, Jean-Baptiste Doc, Christophe Vergez, and Michael Jousserand. "Numerical Optimization of a Bicylindrical Resonator Impedance: Differences and Common Features Between a Saxophone Resonator and a Bicylindrical Resonator." Acta Acustica united with Acustica 105, no. 6 (November 1, 2019): 1217–27. http://dx.doi.org/10.3813/aaa.919398.
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This paper explores the analogy between a saxophone resonator and a bicylindrical resonator, sometimes called transverse saxophone or cylindrical saxophone. The dimensions of a bicylindrical resonator are optimized numerically to approximate a saxophone impedance. The target is the impedance measured on an usual saxophone. A classical gradient-based non-linear least-square fit function is used. Several cost functions corresponding to distances to the target impedance are assessed, according to their influence on the optimal geometry. Compromises appear between the frequency regions depending on the cost function. It is shown that the chosen cost functions are differentiable and locally convex. The convexity region contains the initial geometrical dimensions obtained by crude approximation of the first resonance frequency of the target. One optimal geometry is submitted to further analysis using descriptors of the impedance. Its deviations from the target saxophone are put into perspective with the discrepancies between the target saxophone and a saxophone from a different manufacture. Descriptors such as harmonicity or impedance peak ratio set the bicylindrical resonator apart from saxophone resonators, despite a good agreement of the resonance frequencies. Therefore, a reed instrument with a bicylindrical resonator could be tuned to produce the same notes as a saxophone, but due to differences in the intrinsic characteristics of the resonator, it should be considered not as a saxophone but as a distinct instrument.
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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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O'Loughlin, Niall. "Modern Saxophone." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965128.
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Dibley, Tom, Jaap Kool, and Lawrence Gwozdz. "The Saxophone." Galpin Society Journal 44 (March 1991): 182. http://dx.doi.org/10.2307/842237.
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Maatouk, Ismaël, and Roy Moutran. "Saxophone Penis." JAMA Dermatology 149, no. 7 (July 1, 2013): 802. http://dx.doi.org/10.1001/jamadermatol.2013.4175.
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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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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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Siyu, Li. "ALEXANDER GLAZUNOV AND HIS ROLE IN THE HISTORY OF RECOGNITION OF THE SAXOPHONE IN THE ACADEMIC ENVIRONMENT." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 87 (2022): 71–76. http://dx.doi.org/10.37313/2413-9645-2022-24-87-71-76.
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The article discusses the special role of A.K. Glazunov in overcoming the dismissive attitude of "academic" composers to the use of the saxophone in classical works. The history of the adoption of the saxophone as a new instrument in the musical environment as a whole, the evolution of the views of A.K. Glazunov to the very possibility of composing a concerto exclusively for a saxophone group. By 1930, the saxophone had won the title of "King of Jazz", but at the same time acquired a certain touch of frivolity and frivolity. Analyzing the relevant literature, the author comes to the conclusion that thanks to the active work of the outstanding saxophonist S. Rascher and his agreements with the recognized master A.K. Glazunov, new classical works appeared, which allowed the saxophone to return to the orbit of "academic music". A.K. Glazunov, of course, associated the saxophone with a certain "Americanism". L. Sabaneev called the Saxophone Quartet "modernism that Glazunov allowed himself." Thus, in the work of A.K. Glazunov showed a mixture of RussianEuropean and American cultures. At the same time, he managed to create works that forever entered the golden fund of art, combining classical music and innovative, at that time, saxophone.
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Jungate, Kittikun, Sayam Chuangprakhon, Weerayut Seekhunlio, and Suthasinee Theerapan. "Conditions and Problems of Instructional Management in Saxophone Practical Skills Course in Higher Education Institutions in Thailand." Journal of Educational Issues 8, no. 2 (December 31, 2022): 910. http://dx.doi.org/10.5296/jei.v8i2.20509.
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The objectives of this research were 1) to study the conditions and problems of instructional management in the Saxophone Practical Skills course in higher education institutions in Thailand, and 2) to propose guidelines for developing the instructional management in the Saxophone Practical Skills course in higher education institutions in Thailand. It is qualitative research. It applied the method of interviewing and observing instructors teaching the Saxophone Practical Skills course in higher education institutions in Thailand, a total of 9 people. The data was then analyzed, the content synthesized, and descriptive reports were written. The research results showed that 1) instructional management in the Saxophone Practical Skills course uses two teaching principles and methods: Classical Saxophone and Jazz Saxophone. Problems encountered in the instruction are the embouchure, air support, tone quality, articulation, performance techniques, understanding of musical performance, the condition of the learner's instruments, and the insufficient places of training for the learner, and 2) the guideline for developing the instructional management consists of to choose the suitable teaching method that the individual learners, encourage students to perform soloists or band members, and attend musical performances.
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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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Rosen, Jerome, and Paul Reade. "Saxophone Quartet (1979)." Notes 47, no. 2 (December 1990): 563. http://dx.doi.org/10.2307/942017.
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Dusman, Linda, John Sampen, Milton Babbitt, Charles Wuorinen, Morton Subotnick, and Marilyn Shrude. "The Contemporary Saxophone." Computer Music Journal 18, no. 1 (1994): 88. http://dx.doi.org/10.2307/3680528.
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Benade, A. H., and S. J. Lutgen. "The saxophone spectrum." Journal of the Acoustical Society of America 83, no. 5 (May 1988): 1900–1907. http://dx.doi.org/10.1121/1.396474.
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Kumaran, M. Sendhil, Somesh Gupta, C. Ajith, Navin Kalra, Sunil Sethi, and Bhushan Kumar. "Saxophone penis revisited." International Journal of STD & AIDS 17, no. 1 (January 2006): 65–66. http://dx.doi.org/10.1258/095646206775220621.
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Smyth, Tamara, and Marjan Rouhipour. "Saxophone fingering identification." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4054. http://dx.doi.org/10.1121/1.4830795.
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Mymryk, Mykhailo. "Timbre and Expressive Means of Modern Saxophone Performance." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 28–46. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255421.
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A new substrate of timbre-sound model of modern saxophone sound in chamber-instrumental music is considered, which is approved due to the emergence of new and modification of established methods and techniques of saxophone playing. It is found that the timbre-sound instrumental model of the saxophone is realized through the timbre color of the sound, pitch characteristics of the sound range of the instrument and related ideas about: registers, surround effects (vibrato and frullato), spectral sound effects (flageolets), dynamic possibilities of sounds in different registers, realization of possibilities of longness of sound, etc. The technology of using additional alternative fingering and flageolet sounds on the saxophone is described, which contributes to greater diversity in timbre between notes within the same octave. It is emphasized that the coloring of the timbre or bisbigliando is carried out on the instrument by alternating ordinary and flagellate sounds, as well as with the help of additional (auxiliary) fingering. The timbre of the sound from the position of saturation of the melody is highlighted. It is stated that recently in modern performing practice on the saxophone are widely used both performing techniques that affect the timbre of the sound during its extraction, and techniques that generate individual timbre and sound structures. The method of changing the sound of the instrument with the help of specific work of the earbud (earbud effects) is substantiated. It is established that timbre ornamentation involves the use of klangfarbenmelodie, intricately ornamented notes, glissando, trills and tremolo. Emphasis is placed on the possibility of composers introducing a polyphonic element into the saxophone (solo) part as a combination of several sound voices — doubletone. It is proved that one of the biggest innovations of modern saxophone performance is the ability to perform chordal polyphony. The author's concept of using alternative (auxiliary) fingering to reproduce consonance on a fundamentally unanimous saxophone due to the performance of double flageolets, splitting tones, etc. is proposed.
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Weikert, Matthias, and Josef Schlömicher-Thier. "Laryngeal movements in saxophone playing: Video-endoscopic investigations with saxophone players." Journal of Voice 13, no. 2 (June 1999): 265–73. http://dx.doi.org/10.1016/s0892-1997(99)80031-9.
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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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Horbal, Yaroslav. "Sonata for saxophone by P. Craston in the aspect of universals for the instrumental sonata genre in the XX century." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 181–92. http://dx.doi.org/10.33287/222045.
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The purpose of article is consist of opening processe concerning the development trends of the sonata genre for saxophone – a new generation instrument that emerged in the postclassical period, after the heyday of the sonata genre in the works of classical composers. This instrument entered the symphony and wind orchestras much earlier than the number of solo instruments, so sonatas for saxophone appeared only in the twentieth century. The material for the analysis was a sonata for saxophone by P. Craston, created in 1937. The research methodology is to apply an analytical method that provides a basis for a comprehensive analysis of the sonata and to identify traditional and innovative features. The scientific novelty of this work is to identify traditional and innovative features in the content and musical style of this P. Craston’s sonata. It is proved that these features arise in the context of new musical universals of the instrumental sonata genre in the twentieth century. The specifics of their transformation in the musical text and the content of the analyzed work are indicated. The scientific article proves that P. Crаston’s sonata combines the features of the traditional sonata cycle with the musical language and style characteristic of the art of the twentieth century, and is quite complex for ensemble performance. The saxophone part is characterized by increased complexity due to extreme mobility, a large number of virtuoso passages, the use of wide jumps from one register to another, the presence of long musical constructions. It is pointed out that the complexity of the saxophone part is due primarily to the fact that in America the performing school of saxophone playing, in comparison with other countries, occupied a leading position in the 30s. The conclusions indicate that in the twentieth century the sonata genre underwent significant changes that distanced it from the classical invariant, as a result of which the analyzed sonata for saxophone organically synthesized a whole set of different stylistic features.
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Wang, Bojian. ""Academization" of the saxophone: genesis, main milestones and current trends." PHILHARMONICA. International Music Journal, no. 6 (June 2021): 39–50. http://dx.doi.org/10.7256/2453-613x.2021.6.35933.
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The leading research topic in this article is the analysis of the specifics of the development of saxophone art in a symphony orchestra. The chosen problem requires the study of this direction from the perspective of a broader socio-historical context, within which it is possible to identify special signs of musical culture, both in the general context and in individual genres. In this vein, the study of saxophone music in a symphony orchestra allows us to outline, firstly, the origins of the origin of interest and the introduction of a special instrument into the cultural panorama, secondly, to trace the ways and impulses of its spread, and thirdly, to find out the problems of the saxophone as part of a symphony orchestra. In order to fully understand its special place in the cultural continuum of a certain place and epoch, music for the saxophone should be considered not just as a specific artifact that has been embodied in creativity, performance, education, but as a multi-level and three-dimensional concept in the musical art of the XIX-XXI centuries. The disclosure of the role of the saxophone as part of a symphony orchestra in the article is not just carried out through the prism of the representation of a certain number of facts, names, events, and can be traced as the correspondence of the development of the instrument to those historical, political, socio-economic and, above all, cultural and artistic processes that have formed a kind of creative reinterpretation of one of the most popular modern instruments. The purpose of the study is to substantiate the genesis, development trends and the current state of saxophone art in general, as well as, in particular, in the composition of a symphony orchestra. In the study, the author focuses on iconic performers and teachers, whose personal achievements in the field of concert, research and musical and social activities had a significant impact on the formation of the saxophone as part of a symphony orchestra.
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Lindhorst, Elmar, and Vittorio Paolucci. "Saxophone spermatic cord hematoma." American Journal of Emergency Medicine 18, no. 4 (July 2000): 504–5. http://dx.doi.org/10.1053/ajem.2000.7361.
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Wang, Bojian. "Musical expression means of a saxophone in the modern chamber-instrumental music." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 32–46. http://dx.doi.org/10.7256/2453-613x.2021.3.35753.
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The research subject is the modern chamber-instrumental music of the late 20th - the early 21st century in the context of the newest performance and expression means and techniques of playing the saxophone as a unique wind instrument which is difficult to interpret. A wide musical expression range of modern music involving saxophone gives an opportunity to practically evaluate the depth of philosophical and figurative concepts embodied by modern composers. In this context, the author considers the peculiarities of the recommended techniques of playing the saxophone which have been detected and studied in the creative work of Yu.L. Povolotsky. The expressive timbre and sound palette attracts a modern composer with the purpose of both to experiment and to attempt to collect the wide range of artistic and philosophical generalizations of the epoch. This mutually determined process - a timbre-sound experiment, on the on hand, and a continuous expansion of the performance and expression means of a saxophone within the chamber-instrumental culture, determined by it, on the other - instigated the author to conduct a scientific analysis of the chamber-instrumental works of modern composers. Besides, of a scientific and historical value is the information about the creative process of Yu.L. Povolotsky: the involvement of out-of-the-box solutions, composition structures, and the newest ways and techniques of playing the saxophone.
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Mymryk, Mykhailo. "Saxophone in V. Runchak’s Chamber and Instrumental Creativity: TimbroExpressive and Technical-Performance Aspects." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 82–95. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266549.
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The conceptual aspects of using the saxophone's timbre and expressive capabilities in V. Runchak's chamber-instrumental work are characterized from the point of view of a comprehensive analysis of ideological and figurative paradigms that reflect and represent the artist's spiritual and philosophical searches. It has been found that the composer's appeal to ancient layers of culture, historical styles of the past is not accidental in this sense. The characteristic features of the enrichment of the intertextual content of V. Runchak's chamberinstrumental works are explained by the skillful use of non-traditional and modified performance devices and techniques of playing the saxophone. The factors of the formation of an imaginary artistic and performing image in the process of stage interpretation are determined in each program musical work. They appear in author text inserts and comments. The specifics of V. Runchak's use of the saxophone's timbre and expressive capabilities in chamber-instrumental creativity are described, taking into account the technical and performance capabilities of the specified instrument. It has been proven that the artist uses non-traditional and modified performance devices and techniques of playing the saxophone exclusively as a compositional and textural calibrated "movement", and not as a " invention for the sake of invention". The specific means of implementing elements of other compositional systems in the author's language are substantiated, taking into account the historically and factually determined ontological significance, aimed at: creating in the listener's imagination "author-controlled" images, ideas and feelings; expansion of stylistic attributes and involvement of a wide range of new or updated technological techniques, polystylistic principles, classical and romantic genre invariants; creative search for conditionally coexisting two opposite genre-forming factors — conditional dialogue between genre classical, historically composed prototypes and author's form-creating innovations and genre paradoxes; application of modern compositional techniques — aleatorics, cluster modeling, layered polyphony, sonoristics, etc.
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Colinot, Tom, Christophe Vergez, Philippe Guillemain, and Jean-Baptiste Doc. "Multistability of saxophone oscillation regimes and its influence on sound production." Acta Acustica 5 (2021): 33. http://dx.doi.org/10.1051/aacus/2021026.
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The lowest fingerings of the saxophone can lead to several different regimes, depending on the musician’s control and the characteristics of the instrument. This is explored in this paper through a physical model of saxophone. The harmonic balance method shows that for many combinations of musician control parameters, several regimes are stable. Time-domain synthesis is used to show how different regimes can be selected through initial conditions and the initial evolution (rising time) of the blowing pressure, which is explained by studying the attraction basin of each stable regime. These considerations are then applied to study how the produced regimes are affected by properties of the resonator. The inharmonicity between the first two resonances is varied in order to find the value leading to the best suppression of unwanted overblowing. Overlooking multistability in this description can lead to biased conclusions. Results for all the lowest fingerings show that a slightly positive inharmonicity, close to that measured on a saxophone, leads to first register oscillations for the greatest range of control parameters. A perfect harmonicity (integer ratio between the first two resonances) decreases first register production, which adds nuance to one of Benade’s guidelines for understanding sound production. Thus, this study provides some a posteriori insight into empirical design choices relative to the saxophone.
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Lucchetta, D. E., L. Schiaroli, G. Battista, M. Martarelli, and P. Castellini. "Experimental acoustic modal analysis of a tenor saxophone." Journal of the Acoustical Society of America 152, no. 5 (November 2022): 2629–40. http://dx.doi.org/10.1121/10.0015052.
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This paper presents an application of the Experimental Acoustic Modal Analysis (AMA) on a vintage 10 M Conn tenor saxophone. This technique originates from the traditional Modal Analysis which is commonly adopted to determine the dynamic behaviour of solid structures. The methodology is based on the measurement of Frequency Response Functions (FRFs) as a ratio of the acoustic pressure, measured by means of a set of microphones positioned along the saxophone body, and the volume velocity produced by an acoustic source and measured at the instrument input. The microphones are housed on the stripped saxophone keys by means of tailored three-dimensional printed adapters. The AMA makes use of the FRFs to extract modal parameters, such as resonance frequencies, loss factors, and mode shapes. These parameters pertain to the cavity modes of the saxophone passive resonator. The analysis has been performed for three different notes (B[Formula: see text], B, and C) and for two registers of the instrument in order to show the potential of the technique. Moreover, the influence of the mouthpiece volume on the cavity modes has been shown. The information obtained by AMA can find useful application in the validation of analytical or numerical models of this kind of musical instruments.
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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.
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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.
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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.
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Bell, Gelsey, and Erin Rogers. "Skylighght: Form and methodology for an encounter between the voice and saxophone." Journal of Interdisciplinary Voice Studies 7, no. 2 (December 1, 2022): 203–18. http://dx.doi.org/10.1386/jivs_00065_1.
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Skylighght is a piece for voice and tenor saxophone created by Gelsey Bell and Erin Rogers, of thingNY. The half-hour piece explores the duet structure in a number of different configurations, offering an intimate and vulnerable practice for finding the meeting ground of the voice and the saxophone, both sonically and physically. This Voicing contains the prose score for the piece with extensive description and methodologies for how to perform the piece. Some sections of the work respond to architectural space, while others use the unique pairing of a vocalist singing into the bell of the saxophone to make novel sounds. The final movement, ‘Building Canyons’, is designed for spotlighting the extraordinary multiphonics and harmonic partials that can be created when a vocalist sings into the instrument while the saxophonist is playing from the other end.
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Andrade-Filho, Jose de Souza. "ANALOGIES IN MEDICINE: SAXOPHONE PENIS." Revista do Instituto de Medicina Tropical de São Paulo 55, no. 4 (July 2013): 290. http://dx.doi.org/10.1590/s0036-46652013000400012.
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DURAND, JÚLIA. "‘Romantic Piano’ and ‘Sleazy Saxophone’." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 23–45. http://dx.doi.org/10.3828/msmi.2020.3.
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Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as ‘romantic’ and ‘erotic’, it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés.
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Vaishampayan, Sanjeev. "Unusual cause of saxophone penis." Indian Journal of Dermatology, Venereology and Leprology 74, no. 3 (2008): 270. http://dx.doi.org/10.4103/0378-6323.41384.
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García-Rodrigo, CarlotaGutiérrez, Lidia Maroñas-Jimenéz, Diana Menis, Hugo Larráin, and LaraAngulo Martínez. "Acute and dramatic saxophone penis." Indian Dermatology Online Journal 6, no. 6 (2015): 462. http://dx.doi.org/10.4103/2229-5178.169726.
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Motte, Warren. "Le Hareng et le saxophone." World Literature Today 87, no. 6 (2013): 69–70. http://dx.doi.org/10.1353/wlt.2013.0047.
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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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Rose, Al. "The Saxophone: Its Strange Origins." African American Review 29, no. 2 (1995): 233. http://dx.doi.org/10.2307/3042297.
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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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Smyth, Tamara, and Marjan Rouhipour. "Saxophone modeling and system identification." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3269. http://dx.doi.org/10.1121/1.4805309.
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GEORGE, K. "UN PETIT AIR ANGLO-SAXOPHONE." French Studies Bulletin 24, no. 89 (January 1, 2003): 18–20. http://dx.doi.org/10.1093/frebul/24.89.18.
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Gibiat, Vincent, Jerome Selmer, and Jonathan Cottier. "Saxophone acoustics and marching bands." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2509–10. http://dx.doi.org/10.1121/1.5014165.
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Raharja, Dominikus Catur. "PELATIHAN SAXOPHONE GUNA MEMBANTU PEMAKNAAN KATA-KATA PADA PENYANDANG BERKEBUTUHAN KHUSUS." Way Jurnal Teologi dan Kependidikan 7, no. 2 (October 30, 2021): 120–32. http://dx.doi.org/10.54793/teologi-dan-kependidikan.v7i2.77.
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The purpose of this study is to help people with special needs to be able to interpret words properly and correctly. Talking about children with special needs is very interesting, there are many things we can learn, we observe and we can do for them. Our attention to them is very meaningful and needed, especially for parents of children with special needs.Every development is something that parents of children with special needs look forward to, many efforts are made to stimulate their children. Not a few parents choose music as a means of stimulus. The introduction of musical instruments and regular practice is an effort and a vehicle for the development of their children. The method used is qualitative by mapping and sorting based on attention in research. Results obtained, the saxophone instrument is one of the many musical instruments that can stimulate children with special needs.Blowing and trying to sound it while practicing the saxophone can help children with special needs to be able to feel the changes in loud and soft sounds.This process can help children with special needs interpret hard and soft words. The conclusion that can be expressed is that the habit of blowing on the saxophone makes people with special needs can feel the blowing pressure with the resulting sound, which is loud and soft.
Keywords: Saxophone Training, Meaning of Words, Special Needs
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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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Estévez-García, Óscar, Felipe Gértrudix-Barrio, and Juan Zagalaz. "La enseñanza del Saxofón en los Conservatorios Profesionales de Música de España. Un estudio desde la percepción del docente." Educatio Siglo XXI 40, no. 2 (June 30, 2022): 169–92. http://dx.doi.org/10.6018/educatio.471921.
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The teaching-learning process of the saxophone in Spain has enjoyed an exponential and positive change in recent decades, which has been reflected both in the quality of the saxophonists and in the diffusion of the instrument itself. The aim of this study is to explore teachers' opinions about the saxophone and its formal teaching in the Professional Conservatories of Music in Spain, as well as their vision of the future. The methodology used was non-experimental and exploratory, with the survey as the research instrument. The sample chosen was n73 from a population of 220 saxophone teachers, with simple unweighted allocation, with a confidence level of 90% (two sigma) and P=Q, with a maximum possible error of ±6% for the whole sample and using simple random sampling. The variables analyzed were repertoire and technique, teaching-learning process, learning outcomes, material resources and educational policies. The results show: 1) educational policies are a fundamental support for the development of saxophone education in Spain, 2) a diversification of curricula, methods and saxophone repertoire and contents is needed to design a creative access model to the labor market, 3) the teacher is the best prescriber in the regulated teaching of the saxophone El proceso de enseñanza-aprendizaje del saxofón en España ha disfrutado de un cambio exponencial y positivo en las últimas décadas que se ha visto reflejado tanto en la calidad de los saxofonistas como en la difusión del propio instrumento. El estudio tiene por objetivo conocer la opinión del docente en torno al saxofón y su enseñanza formal en los Conservatorios Profesionales de Música de España, así como su visión de futuro. La metodología utilizada ha sido no experimental de tipo exploratorio, teniendo como instrumento de investigación la encuesta. La muestra elegida ha sido de n73 de una población de 220 docentes de saxofón, con afijación simple no ponderada, con un nivel de confianza del 90% (dos sigmas) y P=Q, con un error máximo posible de ±6% para el conjunto de la muestra y en el supuesto de muestreo aleatorio simple. Las variables que se han analizado han sido: el repertorio y técnica, procesos de enseñanza-aprendizaje, los resultados de aprendizaje, los recursos materiales y las políticas educativas. Los resultados han señalado que: 1) las políticas educativas han constituido un soporte fundamental para el desarrollo de la educación del saxofón en España, 2) se precisa de una diversificación curricular, métodos y repertorio de saxofón y contenidos que permita crear un modelo creativo de apertura al mercado laboral, 3) el docente constituye el mejor prescriptor en la enseñanza reglada del saxofón.
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Garge, Saurabh, Anupama Negi, VishalK Jain, and Sangram Singh. "Saxophone penis due to primary lymphoedema." Journal of Indian Association of Pediatric Surgeons 14, no. 4 (2009): 230. http://dx.doi.org/10.4103/0971-9261.59611.
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Rosen, Jerome, Betsy Jolas, Hubert Prati, Therese Brenet, and Dennis Riley. "Episode quatrieme; pour saxophone tenor seul." Notes 44, no. 3 (March 1988): 587. http://dx.doi.org/10.2307/941555.
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Moon, Ho-Jin. "An embouchure aid for saxophone player." Restorative Dentistry & Endodontics 37, no. 1 (2012): 54. http://dx.doi.org/10.5395/rde.2012.37.1.54.
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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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