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Добірка наукової літератури з теми "And Saxophone"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "And Saxophone"

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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Анотація:
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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2

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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3

O'Loughlin, Niall. "Saxophone." Musical Times 129, no. 1741 (March 1988): 139. http://dx.doi.org/10.2307/965290.

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4

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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5

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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Анотація:
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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6

O'Loughlin, Niall. "Modern Saxophone." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965128.

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7

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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Анотація:
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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Дисертації з теми "And Saxophone"

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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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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Книги з теми "And Saxophone"

1

The saxophone. New Haven: Yale University Press, 2013.

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2

Sonate, saxophone et piano =: Saxophone and piano = Saxophon und Klavier. Saint-Nicolas, Que., Canada: Doberman-Yppan, 1987.

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3

(undifferentiated), Paul Harvey. Saxophone. London: Kahn & Averill Publishers, 2001.

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4

Harvey, Paul. Saxophone. London: Kahn & Averill, 1995.

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5

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

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6

Torke, Michael. Saxophone concerto. [New York]: Adjustable Music, 1996.

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7

Chautemps, Jean-Louis. Le saxophone. [Paris]: J.C. Lattès, 1987.

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8

Harmer, Jeremy. Solo saxophone. Cambridge: Cambridge University Press, 2011.

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9

Calvello, Michael. Saxophone blue. San Francisco, Calif: Ithuriels Spear, 2009.

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10

Emma, Powell, ed. Solo saxophone. Cambridge: Cambridge University Press, 2011.

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Частини книг з теми "And Saxophone"

1

Bader, Rolf. "Saxophone." In How Music Works, 117–30. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67155-6_6.

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2

Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Saxophone." In The Teaching of Instrumental Music, 257–71. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-19.

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3

Braasch, Jonas. "Acoustics of the Saxophone." In Current Research in Systematic Musicology, 5–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15046-4_2.

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Braasch, Jonas. "Extended Techniques for the Saxophone." In Current Research in Systematic Musicology, 39–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15046-4_3.

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Suzuki, Yoko. "Gender, Sexuality, and Jazz Saxophone Performance." In The Routledge Companion to Jazz and Gender, 156–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003081876-15.

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Solis, Jorge, Atsuo Takanishi, and Kunimatsu Hashimoto. "Development of an Anthropomorphic Saxophone-Playing Robot." In Advances in Intelligent and Soft Computing, 175–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-16259-6_14.

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Hopkin, Bart, and Brian Wittman. "“Sugar Belly” Walker and the Bamboo Saxophone." In Sound Inventions, 219–24. London: Focal Press, 2021. http://dx.doi.org/10.4324/9781003003526-24.

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Matsuki, Kei, Keisuke Yoshida, Salvatore Sessa, Sarah Cosentino, Keiko Kamiyama, and Atsuo Takanishi. "Facial Expression Design for the Saxophone Player Robot WAS-4." In ROMANSY 21 - Robot Design, Dynamics and Control, 259–66. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33714-2_29.

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Titlebaum, Mike. "Jazz Saxophone." In Teaching School Jazz, 151–61. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0014.

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Анотація:
The saxophone is the most iconic instrument in jazz. Ask random people which instrument comes to mind when they think of jazz music, and it would surely be the saxophone. Saxophones play throughout charts and are required to navigate a variety of textures and roles, including beautiful unison melodies, technical harmonized solis, chordal comping, and slow-moving background chords, as well as to fill out the body of the band during full ensemble tuttis. This chapter introduces techniques and articulations specific to jazz saxophone style. Jazz-specific techniques such as subtone, tongue stopping, and half-tonguing are presented alongside teaching strategies and exercises. Other techniques discussed include methods of decorating or personalizing notes with scoops, fall offs, and terminal vibrato. Jazz saxophone pedagogical materials are presented in addition to a listening list of great historical saxophonists. The chapter concludes with a debate on the merits of mouthpieces, reeds, and saxophones marketed as jazz-specific items.
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"The saxophone today: The contemporary saxophone." In The Cambridge Companion to the Saxophone, 161–83. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521593489.015.

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Тези доповідей конференцій з теми "And Saxophone"

1

Hong, Euyshick, Baron Kim, and Kiyeor Han. "Dr. Saxophone: Hybrid saxophone interface." In 2016 3rd International Conference on Systems and Informatics (ICSAI). IEEE, 2016. http://dx.doi.org/10.1109/icsai.2016.7811124.

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2

Portovedo, Henrique, Paulo Ferreira Lopes, and Ricardo Mendes. "Saxophone Augmentation." In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106611.

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Smyth, Tamara, and Marjan Rouhipour. "Saxophone modelling and system identification." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799622.

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Xu, Ning. "Factors Affecting the Saxophone in Tone." In the 2018 International Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3230348.3230439.

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Suwanmanee, Pusit. "Music Composition: Nora Suite for Saxophone Quartet." In The Paris Conference on Arts and Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0970.2022.3.

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Pàmies-Vilà, Montserrat, Gary Scavone, Alex Hofmann, and Vasileios Chatziioannou. "Investigating vocal tract modifications during saxophone performance." In 174th Meeting of the Acoustical Society of America. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000758.

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Petiot, Jef, Pierric Kersaudy, Gary Scavone, Stephen McAdams, and Bruno Gazengel. "Modeling of the subjective quality of saxophone reeds." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799446.

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NISHIHARA, GUSTAVO, and TIAGO FERNANDES TAVARES. "The construction and evaluation of a hyper-saxophone." In XXIV Congresso de Iniciação Científica da UNICAMP - 2016. Campinas - SP, Brazil: Galoa, 2016. http://dx.doi.org/10.19146/pibic-2016-51231.

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"An Analysis of Saxophone Training Methods in Western Universities." In 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.049.

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Greco, Alberto, Danilo Spada, Simone Rossi, Daniela Perani, Gaetano Valenza, and Enzo P. Scilingo. "EEG Hyperconnectivity Study on Saxophone Quartet Playing in Ensemble." In 2018 40th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2018. http://dx.doi.org/10.1109/embc.2018.8512409.

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