Dissertations / Theses: 'Saxophone and accordion music Music'

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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Peiseniece, Mara. "Accordion in Action : How to develop my artistic skills applying theatrical choreography with accordion to a performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2515.

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Řehák, Milan. "Recording and amplifying of the accordion : What is the best way to capture the sound of the acoustic accordion?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2965.

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In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. My aim is that this thesis will contribute to create a comprehensive insight into the specifics of capturing the accordion sound, contribute to better understanding of the acoustic properties of the instrument and bring practical answers to questions that many accordionists have. I have chosen to mention very basic technical aspects related to how to capture the sound of the acoustic accordion with respect to potential elementary knowledge of some people in this area. But, I also discuss very specific and professional details and focus on how different kinds of microphones can be used to capture the sound of the acoustic accordion. This is a subject that clearly is understudied and probably not has been a matter for proper research before. Most of my comments and analysis come from my personal experience and different experiments but there is also an interview included in the thesis with one very experienced accordionist who also is a professional music producer. I hope that my thesis will help other accordionists, sound engineers, and anyone else to understand the accordion and its specifics regarding both studio recording and live amplifying.

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

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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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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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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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Chien, Wei-Lun. "Music for the Saxophone Duet Genre: an Annotated Bibliography of Selected Original Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804908/.

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In 1861, Jerôme Savari (1819-1870) composed Duo for Soprano Saxophone and Alto Saxophone. Since then, more than 400 duets were written, yet many musicians are not aware of this repertoire. The lack of recommended repertoire and insufficient information regarding this genre reduces the use of the saxophone duet in both pedagogical and concert settings. The purpose of this study is to examine the importance of the saxophone duet genre by identifying the standard repertoire and creating an annotated bibliography. Twenty-three composers with twenty-six selected works have been identified and will be annotated. All selected works in this document are (1) composed for any two members of the saxophone family; (2) originally composed for saxophone duet (i.e., no transcriptions will be included); (3) published either by companies or by the composers themselves; and, (4) composed between the nineteenth-century through present day. This annotated bibliography of selected repertoire contains two sections: (1) repertoire for performance; and, (2) repertoire for pedagogy. It is the intent of this project that the annotation for each piece could assist performers, teachers and students with their search of currently published works for this genre. The descriptive information in each annotation regarding the composition and its performance considerations should provide further details in order to assist in the program decision-making process.

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

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

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

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

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

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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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Miller, Robyn Lee. "The role of the saxophone embouchure in the production of the South African jazz sound : a study of nine jazz saxophone players." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11118.

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

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

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

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

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Johann Sebastian Bach's Chaconne from his Partita in D Minor is considered a crown jewel of the violin repertoire. Since its composition, this piece has taken many forms, undergoing transformations allowing its performance by other instruments and ensemble formations. These include transformations for piano, orchestra, flute, clarinet, and trumpet amongst others. This projects serves as another transformation, bringing a new versions of the Chaconne to the repertoire of the alto saxophone. Additionally, the project discusses in detail the necessary changes made to the music, as well as offering comprehensive technical suggestions for the inherent issues encountered within this arrangement.

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Rowles, Carl Thomas. "Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6262.

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

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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Steven Stusek; submitted to the School of Music. Includes bibliographical references (p. 62-64).

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Trittin, Brian Lynn. "Annotated bibliography of selected unaccompanied alto saxophone literature." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186269.

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

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

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Smith, Ryan Joseph. "Dodecaphonic practices and tonal idioms in Frank Martin's Ballade for saxophone and orchestra." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6290.

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

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

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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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Reséndez, Joey (José Luís). "An Investigation of Multiple Articulation as Applied to Saxophone Literature and Its Performance: An Historical and Pedagogical Approach." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505205/.

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Multiple articulation is a technique that is becoming commonplace in the saxophone literature. This study provides a detailed explanation of how produce the technique. Its application to saxophone literature is explored with musical examples and commentary by the author. A compilation of pedagogical viewpoints regarding multiple articulation from educators spanning the last century is provided.

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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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Pockrus, Jason. "The Saxophone in China: Historical Performance and Development." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248502/.

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

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Stambler, David B. "Selected solo music for saxophone by United States composers, 1975-2005." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9711.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Řehák, Milan. "Jindřich Feld : Analysis of Concert Piece For Accordion." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2352.

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This thesis intends to illustrate the music language presented in Jindřich Feld’s compositions for accordion. Jindřich Feld (1925-2007) was a very important Czech composer of the second half of the 20th century. As the best example of this music language, I have chosen his “Concert Piece For Accordion” which is certainly one of the most respected accordion compositions ever written. I have always appreciated the music of Jindřich Feld, which is the reason why I decided to write about him and his composition. In this thesis, I focused mainly on an insight into the form and style of “Concert Piece”. Most of my comments and analyses come from my personal experience and from my perspective as an interpreter. This composition, most likely, has not been performed in Sweden before, or it is not well-know at least. I hope that my thesis will help other accordionists and musicians to understand Feld’s music, and contribute to better and more frequent performances of his accordion music.

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Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.

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In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.

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

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

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Christian, Bryan W. Christian Bryan W. Christian Bryan W. Christian Bryan W. "Wanderings." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477876.

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Thesis (M. A.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.

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Heisler, Jeffrey A. "Anatomy and Evolution of Morton Subotnick’s In Two Worlds for Alto Saxophone and Interactive Computer." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1268962567.

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

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

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Toro-Tóbon, Carlos I. "Fundamental dissonance: concertino for alto saxophone and sinfonietta." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6868.

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

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Egge, Mark N. "Toward a Method for Performance Analysis of Twentieth-Century Music." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1130784707.

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Even, Noa. "Examining François Rossé's Japanese-Influenced Chamber Music with Saxophone: Hybridity, Orality, and Primitivism as a Conceptual Framework." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1415549555.

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Rowlett, Coleman. "Spectral Radiance." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/500.

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Spectral Radiance is a concerto for alto saxophone and chamber orchestra. In this paper, the influence of Franz Schreker's Kammersymphonie on Rowlett's compositional inspiration is discussed in detail. In addition, the various compositional elements that make up the work are explained. These include elements of form, motivic development, sharing themes between movements, and harmony. Rowlett's use of these compositional elements aims to create cohesion throughout the work as a whole. The paper acts as a guide, retracing the steps taken by the composer during the composition of the concerto.

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McCulloch, Peter. "UNRAVEL: Acoustic and Electronic Resynthesis." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.

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

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Richards, Alexander. ""The Last Leaf" for Sopranino Saxophone: A Performance Guide and Interview with Chaya Czernowin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609142/.

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

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Martin, Miranda Noel. "The versatility of the saxophone as presented through a series of compositions." Kansas State University, 2017. http://hdl.handle.net/2097/35465.

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Master of Music
School of Music, Theatre, and Dance
Craig A. Weston
The saxophone is used in many different styles, instrumentations, and medians, which undoubtedly makes it a very versatile instrument. This report comprises a series of compositions that have been written to highlight various attributes of the saxophone. The result of these features will allow the reader to have a further understanding of the saxophone as a solo instrument as well as in a variety of different ensembles.

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Oxford, William Todd Franck César. "A transcription of César Franck's Sonata in A major for the baritone saxophone." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008249.

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Wright, Andrew (Saxophonist). "A Survey of Selected, Original Chamber Music for Saxophone with Diverse Instruments by Marilyn Shrude." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862730/.

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Marilyn Shrude is a champion for contemporary concert music. Throughout her career, she has written multiple works including the saxophone that utilize its unique timbre. Atonality is a chief characteristic of her compositional style. Her contributions to the saxophone repertoire include solos, duos with piano, chamber works, quartets and larger works with band. This study surveys five chamber pieces that include saxophone with diverse instruments written by Marilyn Shrude. The pieces includes are Splintered Visions (1985), Notturno: In Memorium Toru Takemitsu (1996), Transparent Eyes (2000), Face of the Moon (2000) and Within Silence (2012). The analysis of each work includes information pertaining to the creation of cohesion and atonality throughout the piece.

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Kush, Jason Matthew. "François Louis: The Invention of the Aulochrome and Contributions to the Development of the Saxophone." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/216.

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The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.

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Bennet, David. "Sounds Within Sounds : Multiphonic possibilities of the saxophone in composition and improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4069.

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This thesis is part of the result from an explorative venture into understanding how saxophone multiphonics can be used as tools for improvisation and composition. The focus lies partly on how I found these sounds, personalized them and incorporated them into my artistic language, but more importantly, this is an attempt of thinking through art by letting the experience gained from making creative use of accidental occurrences affect future experience in an open-ended artistic process. This is done in two acts, solo-playing and duo-playing. With the solo-playing I listen for what these sounds suggest in themselves, and through this, create open compositions that are embracing their elusive nature. The duo-playing searches for sounds within sounds in a sonic map, constructed from a co-creative artistic process that allows us to zoom in on details, experience deep and spectral listening through vertical musical motion. Apart from the written words and the compositions, the artistic results consist of several recordings, presented and discussed throughout the text together with connected concepts and contexts revolving around saxophone multiphonics, composition and improvisation.

Komposition: Sonic Map

Kompositörer: David Bennet & Vilhelm Bromander

Medverkande: David Bennet, Saxofon. Vilhelm Bromander, Kontrabas

Konserten är inspelad och bifogas med det skriftliga arbetet.

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

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Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.

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

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Sonata, op.4, no.11 / J.B.L. de Gant -- Sonata for soprano saxophone and piano / Paul Chihara -- Concertino da camera / Jacques Ibert -- Sonata for alto saxophone and piano, op.19 / Paul Creston -- Canciones del Zocalo / Aaron Bramwell
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Leggatt, Jacqueline. "Music for a saxophone concerto." Thesis, 1996. http://hdl.handle.net/2429/4822.

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Music for a Saxophone Concerto is a nineteen minute work for solo Bb soprano saxophone, string orchestra and percussion. It contains three movements with an Interlude between the first and second movements and is performed without breaks between movements. The discussion of Music for a Saxophone Concerto begins with a detailed analysis of the piece. Each movement is examined for its large and small-scale form, its pitch structure, and its links with other movements or sections in the piece. Next, the title is discussed since it is not traditional and serves to distance the listener from traditional concerti and make them question their assumptions when they sit down to listen to a saxophone concerto. For this reason, it is important to discuss briefly the Baroque, Romantic, and twentieth-century concerto to determine in which ways my piece would frustrate or compliment a modem listener's expectations. The concept of partnership is most obvious in the Baroque concerto and in neo-classical works of the twentieth century (like Stravinsky's Violin Concerto). The idea of opposing forces is more common in the Romantic period and twentieth century as exemplified by Beethoven's Piano Concerto #5 and Schoenberg's Violin Concerto. While Music for a Saxophone Concerto utilizes a Baroque dance in the first movement, it is neither a real partnership nor a relationship between conflicting characters, but rather seeks to use the concept of the soloist as 'individual' and the orchestra as 'society' in a way that demonstrates their complete integration. For this reason, contrasting textures, instrumentation, orchestration, and forms have been chosen which all, in different ways, experiment with idea of the soloist and orchestra as mutually inclusive. The use of saxophone with strings is a continuation of a rich saxophone concerto tradition but the choice of soprano saxophone is less traditional and thus, with the title and many of the formal details, leads the listener to an appreciation of the possibilities inherent in an anti-concerto.

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Kessler, Benjamin. "Master's thesis recital (saxophone)." Thesis, 2013. http://hdl.handle.net/2152/23356.

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Cormier, Joel. "Acadian Accordion Music in South Eastern New Brunswick." Thesis, 2011. http://hdl.handle.net/1807/31722.

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Instrumental folk music has flourished in south eastern New Brunswick and the accordion, while a relative newcomer to the region, enjoys great popularity. Over the years, accordion players have filled many roles, from providing wedding music, to entertainment for house parties. However, there has been a lack of scholarly work done on the subject, especially when compared with folksongs, which have been the object of many studies. To date, little has been written on Acadian instrumental music in New Brunswick and there has been nothing written specifically on the accordion. The main focus of this work is a study, transcription, and analysis of accordion pieces collected from players in south eastern New Brunswick between 2007 and 2011. Some time is also spent on detailing the history of the accordion in the region, talking about the players themselves, as well as looking at the role of the instrument and its repertoire in a constantly changing world. The pieces in question were collected over a four year period in various venues, including accordion festivals and players’ places of residence; archival recordings were also consulted. The pieces were transcribed and afterwards analyzed and categorized. Multiple recordings of the same piece were checked for variations, which were found to be an important part of the style of the region. Historical data is often based on personal accounts, which were taken during interviews with players from the region. The accordion remains popular in the region and is adapting to changing circumstances. The annual accordion festivals occurring in Moncton every summer are providing new venues to keep the instrument relevant. This study will help to bring further attention to the instrument, stimulate new research, and perhaps even attract new younger players.

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Dissertations / Theses on the topic 'Saxophone and accordion music Music'

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