Relevant bibliographies by topics / Saxophone music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Saxophone music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Saxophone music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Saxophone music"

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Simeng, Lyu. "The Expressive Possibilities of Saxophone in 20th-Century Music." Университетский научный журнал, no. 79 (April 24, 2024): 126–32. http://dx.doi.org/10.25807/22225064_2024_79_126.

Full text
Abstract:
The article is devoted to the modern repertoire for saxophone – works of Russian and foreign composers of the 20th century, demonstrating the wide technical and expressive capabilities of the instrument. The work gives an overview of compositions, systematises the expressive articulation, techniques and methods of playing the saxophone used by composers of various schools, styles and directions from Glazunov to Birtwistle, analyses the scores for orchestras that include the saxophone. The purpose of the study is to establish a connection between new saxophone techniques that entered performing practice in the 20th century, expressive effects that enriched the expressive potential of the saxophone, and the creative use of the instrument by composers. The objectives of the study are tracing the path of the formation of the saxophone as a concert instrument, considering the early and modern repertoire, determining the reasons for the popularity of the saxophone in 20th century music and the factors that led to the expansion of the arsenal of its technical and expressive capabilities, as well as analysing the most famous compositions in terms of interpretation of the instrument and demonstration of its rich timbre palette. While jazz pieces for instrumental ensembles, including saxophone, and the performing technique of variety performers are widely covered in scientifi c literature, avant-garde opuses for saxophone remain unexplored in musicological work. This article attempts to correct the unjustly “indifferent” attitude of scientists to saxophone music of the 20th century.
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Erwin Purba and Junaidi Purba. "The Role of the Saxophone Instrument in the Development of Music Presentation at Wedding Events in Medan City." Formosa Journal of Multidisciplinary Research 2, no. 12 (December 28, 2023): 1851–58. http://dx.doi.org/10.55927/fjmr.v2i12.7386.

Full text
Abstract:
This article aims to determine the role of the saxophone instrument in the development of music at weddings in the city of Medan. This article uses a qualitative descriptive research method because in this research the data produced is descriptive data obtained from data in the form of writing, audio recordings, video recordings and trusted informant sources. The data collection techniques used were observation, interviews and documentation. This article also explains the role of the saxophone instrument in the development of musical presentation at weddings in the city of Medan, namely that the saxophone not only functions as a melodic function but also functions as an aesthetic function to add a majestic impression to the presentation of music.
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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.   
APA, Harvard, Vancouver, ISO, and other styles
10

Radonjić, Asja. "Ivan Brkljačić: Love!: Saxophone concerto." New Sound, no. 56-2 (2020): 65–75. http://dx.doi.org/10.5937/newso2056065r.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Saxophone music"

1

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

Full text
Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Saxophone music"

1

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Schleuter, Stanley L. Saxophone recital music: A discography. Westport, Conn: Greenwood Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Tull, Fisher. Dialogue: For saxophone duet (alto and tenor). San Antonio, Tex: Southern Music Co., 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Haddad, Don. Saxophone soliloquy: For E♭ alto saxophone and piano. Delaware Water Gap, Pa: Shawnee Press, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Frank, Andrew. Alto rhapsody: For alto saxophone. Hillsdale, NY: Mobart Music, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Getz, Stan. Stan Getz: Bb Tenor Saxophone. Milwaukee, WI: Hal Leonard, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Solal, Martial. Pièce de collection: Saxophone alto seul. [France?]: Misterioso, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bryant, Michael. Clarinet and saxophone music in the British Music Information Centre. [Wallasey]: [Clarinet and Saxophone Society], 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

1932-, Londeix Jean-Marie, ed. Music for saxophone.: General repertoire of music and educational literature for the saxophone = Musique pour saxophone. Volume II : répertoire général des oeuvres et des ouvrages d'enseignement pour le saxophone. Cherry Hill, NJ, USA: Roncorp, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Saxophone music"

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Guillemain, Philippe, and Jonathan Terroir. "Dynamic Simulation of Note Transitions in Reed Instruments: Application to the Clarinet and the Saxophone." In Computer Music Modeling and Retrieval, 1–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11751069_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"The Saxophone." In The Teaching of Instrumental Music, 191–206. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

"Illustrations, music examples and tables." In The Saxophone, viii—xiv. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300190953-001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"The Saxophone’s Business in the Band (1949)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear, 356–60. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0043.

Full text
Abstract:
Abstract Editor’s Note: The world-renowned composer knows all about bands and writes for them. The sax family, he says, is indispensable, but must be balanced and complete. We are told that Adolphe Sax created the saxophones with the definite intention of providing a group of instruments midway in tonal strength between the weaker sonorities of the reeds and the stronger sonorities of the brass. This office the saxophone family most satisfactorily performs—that is to say, as long as the family is complete and tonally well-balanced within itself. It is obvious that if the soprano saxophone is missing, the tone-strength gap between the oboe and the cornet will be unfilled, and that Adolphe Sax’s laudable intention (of providing a delicately gauged transition from weaker to stronger instruments within each register) will be frustrated in the soprano tonal area. Likewise, if the baritone saxophone be missing, the midway tone-strength between the bassoon and the trombone will be lacking and Sax’s subtle scheme brought to thought in the bass tonal area.
APA, Harvard, Vancouver, ISO, and other styles
8

Cottrell, Stephen. "Early twentieth-century light and popular music." In The Saxophone, 133–82. Yale University Press, 2013. http://dx.doi.org/10.12987/yale/9780300100419.003.0005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Chapter 4. Early twentieth-century light and popular music." In The Saxophone, 133–82. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300190953-008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Puskás, Levente. "Similarities and Differences between Classical and Jazz Saxophone Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/15.

Full text
Abstract:
The saxophone is one of the most popular, almost ubiquitous instruments of our time. It is unimaginable that the saxophone would not appear in an orchestra or band in jazz, popular music, dance music, pop music, or even folk music. It is not widely known, however, that the story and history of the saxophone dates as far back as around 170(!) years ago. In 2014 the 200th birthday of Adolphe Sax the inventor, after whom the instrument got its name, was celebrated. Sax was the first saxophone professor at the Conservatoire de Paris. For most of the 19th century, mostly Classical and Romantic pieces were usually played by the saxophone, as the genre of jazz came into existence only around the 1910s–1920s. At that point classical and jazz (popular) saxophone music separated. Differences between the two styles can still be observed in both musical approach and technique. This study presents the similarities and differences between these two highly distinct approaches. Keywords: saxophone, Adolphe Sax, classical music, jazz
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Saxophone music"

1

Ozdemir, Mehmet, Montserrat Pàmies-Vilà, and Jouke Verlinden. "User Evaluation of 3D-Printed Personalized Saxophone Mouthpieces." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001687.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ukshini, Enis, and Joris Dirckx. "Strain distribution on vibrating synthetic and natural saxophone reeds measured with digital image correlation." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001640.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Anuchin, Artem Maximovich. "FEATURES OF MARILYN SCHRUDE'S COMPOSITIONAL STYLE MARILYN SCHRUDE." In Themed collection of papers from Foreign international scientific conference «Joint innovation - joint development». Part 1. by HNRI «National development» in cooperation with PS of UA. October 2023. - Harbin (China). Crossref, 2024. http://dx.doi.org/10.37539/231024.2023.81.89.047.

Full text
Abstract:
Marilyn Shrude is an authoritative contemporary American composer, pianist and teacher. Marilyn is a prolific composer, her collected works cover a wide range of genres, but a special place in it belongs to chamber instrumental music with the participation of the saxophone. It was in this area that the stable features of her compositional handwriting were most clearly revealed. Her chamber music is of particular interest in the context of the entire work of the master. M.Shrude has his own individual, recognizable handwriting. Its main quality is a combination of ultra-modern compositional techniques with techniques peculiar to the liturgical music of the Middle Ages.
APA, Harvard, Vancouver, ISO, and other styles
5

Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

Full text
Abstract:
Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
APA, Harvard, Vancouver, ISO, and other styles
6

Celentano, Frank, Nicholas May, Edward Simoneau, Richard DiPasquale, Zahra Shahbazi, and Sina Shahbazmohamadi. "3D Printing for Manufacturing Antique and Modern Musical Instrument Parts." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66652.

Full text
Abstract:
Professional musicians today often invest in obtaining antique or vintage instruments. These pieces can be used as collector items or more practically, as performance instruments to give a unique sound of a past music era. Unfortunately, these relics are rare, fragile, and particularly expensive to obtain for a modern day musician. The opportunity to reproduce the sound of an antique instrument through the use of additive manufacturing (3D printing) can make this desired product significantly more affordable. 3D printing allows for duplication of unique parts in a low cost and environmentally friendly method, due to its minimal material waste. Additionally, it allows complex geometries to be created without the limitations of other manufacturing techniques. This study focuses on the primary differences, particularly sound quality and comfort, between saxophone mouthpieces that have been 3D printed and those produced by more traditional methods. Saxophone mouthpieces are commonly derived from a milled blank of either hard rubber, ebonite or brass. Although 3D printers can produce a design with the same or similar materials, they are typically created in a layered pattern. This can potentially affect the porosity and surface of a mouthpiece, ultimately affecting player comfort and sound quality. To evaluate this, acoustic tests will be performed. This will involve both traditionally manufactured mouthpieces and 3D prints of the same geometry created from x-ray scans obtained using a ZEISS Xradia Versa 510. The scans are two dimensional images which go through processes of reconstruction and segmentation, which is the process of assigning material to voxels. The result is a point cloud model, which can be used for 3D printing. High quality audio recordings of each mouthpiece will be obtained and a sound analysis will be performed. The focus of this analysis is to determine what qualities of the sound are changed by the manufacturing method and how true the sound of a 3D printed mouthpiece is to its milled counterpart. Additive manufacturing can lead to more inconsistent products of the original design due to the accuracy, repeatability and resolution of the printer, as well as the layer thickness. In order for additive manufacturing to be a common practice of mouthpiece manufacturing, the printer quality must be tested for its precision to an original model. The quality of a 3D print can also have effects on the comfort of the player. Lower quality 3D prints have an inherent roughness which can cause discomfort and difficulty for the musician. This research will determine the effects of manufacturing method on the sound quality and overall comfort of a mouthpiece. In addition, we will evaluate the validity of additive manufacturing as a method of producing mouthpieces.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Saxophone music' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography