Relevant bibliographies by topics / Saxophone music / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Saxophone music.

Dissertations / Theses 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 top 50 dissertations / theses for your research 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.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

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
11

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
13

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
14

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
15

Di, Marco Emma Lucy. "Sounding the Horn: Examining the Live Performance Practices of Australian Classical Saxophonists." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367502.

Full text
Abstract:
Classical saxophone music (or CSM) is understood as Western art music, composed for the saxophone, which includes a variety of global influences and has developed since the invention of the instrument in the 1840’s. In Australia, a number of entrepreneurial musicians are specialising in this unique genre and showcasing new Australian music in a variety of live performance situations. Further to this, understanding exactly what knowledge and skills currently required by young classical musicians to build successful and sustainable careers is a strong industry focus. With the increasing need for entrepreneurial mindsets to be adopted and the acceptance of the portfolio career model as common practice for classical musicians, early career performing musicians need to develop a multi-dimensional approach to their future careers. Responding to these current realities, this thesis explores the live performance activities of Australia’s leading classical saxophonists and through four key areas: Logistical Considerations, Artistic Relationships, Digital Engagement, and Performer Satisfaction. In order to address these four areas, the thesis presents nine case studies of leading Australian classical saxophonists and saxophone ensembles; showing insights into how they navigate modern challenges in the industry. Drawing on research in a variety of fields including portfolio career models, the integration of technology into live performances, and the everyday management of live performance activities, the thesis presents the conclusions which are most pertinent to musicians actively striving to build a performance based career in the current industry.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
APA, Harvard, Vancouver, ISO, and other styles
16

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
17

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
18

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.

Full text
Abstract:
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. 

APA, Harvard, Vancouver, ISO, and other styles
19

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

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
20

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

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.

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
22

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
23

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
24

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
25

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
26

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

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
27

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

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.

Full text
Abstract:
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;
APA, Harvard, Vancouver, ISO, and other styles
29

Carbon, Luke Capell. "The Exploration of Selected Cross-Genre Compositions for Clarinet and Saxophone." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366846.

Full text
Abstract:
This thesis explores specific aspects of the broad subgenre of classical/jazz cross-genre music through the performative examination of selected compositions that feature or include the clarinet or saxophone. Several mid-20th century works by American composers Gunther Schuller and William Russo, and several 21st century works by contemporary Australian composers Steve Newcomb and Yitzhak Yedid are explored through preparation, performance, and reflection. Through a performance-centric perspective, these works are contextualised through historical overviews of the third stream and cross-genre music, examinations of cross-genre performance considerations, and individual case studies of the key repertoire performed.
Thesis (Masters)
Master of Music Research
Queensland Conservatorium
Arts, Education and Law
Full Text
APA, Harvard, Vancouver, ISO, and other styles
30

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
33

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
34

Yun, Yeomin. "The Sound of Saxophone from South Korea:A Performer’s Guide to Young Jo Lee’s Sori No.10 for alto saxophone." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1415631920.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
37

Andersson, Stina. "Den ensamma saxofonisten : En musiker i en instrumentfamilj." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68371.

Full text
Abstract:
Under mitt tredje år som musiklärarstudent på Musikhögskolan Ingesund är jag den enda som har klassisk saxofon som huvudinstrument. Mitt intresse för saxofonkvartettspel har alltid varit stort men när det nu inte finns någon möjlighet till kvartettspel har intresset och längtan efter att få spela kvartett vuxit ännu mer. Därför handlar detta arbete om saxofonkvartett. Syftet har varit att ta reda på de utmaningar jag upplever när jag spelar på de fyra olika saxofonerna i kvartetten och när jag studerar in respektive saxofons stämma i ett kvartettstycke. För att genomföra studien har jag främst använt loggbok där jag har skrivit om mina upplevelser och sedan delat upp dem i olika kategorier; fysiska utmaningar, stämmornas utmaningar och instrumentens utmaningar. Resultatet visar bland annat på skillnader vad gäller instudering av varje saxofons respektive stämma och saxofonens roll i kvartetten. Det visar också på skillnader i hur jag använder min kropp för att få fram den optimala klangen på varje saxofon. I arbetets diskussionskapitel jämförs mina upplevelser med forskning och information från litteratur till stor del skriven av andra saxofonister.
During my third year as a music teacher student on Musikhögskolan Ingesund I am the only one who studies classical saxophone as my major subject. My interest of playing saxophone quartet have always been great but when there is no opportunity for quartet playing, the interest and the desire to play quartet has grown even more. Therefore, this work is about saxophone quartet. The purpose has been to find out the challenges I experience when I play the four different saxophones in the quartet and when I study the respective saxophone's part in a quartet piece. In order to complete the study, I have mainly used a logbook where I have written about my experiences and then divided them into different categories; physical challenges, the challenges of the parts and the challenges of the instruments. The results show, among other things, differences in the studying of each saxophone´s part and the saxophones role in the quartet. It also shows differences in how I use my body to get an optimal sound on each saxophone. In the discussion of the work, my experiences are compared with research and information from literature mainly written by other saxophonists.
APA, Harvard, Vancouver, ISO, and other styles
38

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

Full text
Abstract:
This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.
APA, Harvard, Vancouver, ISO, and other styles
39

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Kallestad, Scott D. "An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/kallestad%5Fscott%5Fd/index.htm.

Full text
Abstract:
Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).
APA, Harvard, Vancouver, ISO, and other styles
41

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
42

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Vandegraaff, Stuart. "The Tārāb Saxophone - The development of a comprehensive culturally informed approach to the performance on the saxophone of music derived from Arabic maqāmāt." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18567.

Full text
Abstract:
This thesis details the synthesis of Arabic music performance practices with the idiolect of a non-Arab Australian saxophonist. The process is guided by principles inferred from tārāb, a phenomenon that encapsulates theoretical, technical and expressive information peculiar to the idiom. A retraining method based on conceptualisation, replication, activation and incorporation is applied. A robust theoretical, contextual, aesthetic and kinaesthetic conception is developed by accumulation of performance skills on the Arabic nāy (flute). Aural skills are redefined and systematically enhanced to accurately perceive and produce microtones intrinsic to Arabic maqāmāt (modes). The study demonstrates how this information is transferred by analogy to the saxophone, requiring a detailed investigation of the instrument in the development of a 24-tone chromatic technical approach, including a hierarchy of preferential fingerings. A range of saxophones are tested to ensure transferability of solutions, and limitations are defined and discussed. Contextual technical and kinaesthetic retraining relevant to performance of maqāmāt on saxophone is achieved through a process of development of drills, including idiomatic trills, melisma and ornaments, repertoire extracts and extensive transcription. This process enables a culturally informed and comprehensive performance approach to Arabic-maqām derived music, including traditional repertoire and contemporary intercultural performance practice. Skill sets derived from functional performance aspects of tārāb are used to enhance, direct and inform improvisation and composition practice, within and beyond the Arabic music context.
APA, Harvard, Vancouver, ISO, and other styles
44

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
45

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Zoulek, Nick. "Analyzing the Intersections of Saxophone and Digital Media Through Media Theory." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562771812450533.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Byrnes, Jonathan Lawrence. "The devil’s horn and the music of the brothel approaching adaptation and performance of tango for the classical saxophonist." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15524.

Full text
Abstract:
The purpose of this thesis is to establish a concise and well-considered approach to the performance of tango music by a classical saxophonist. It explores the significance of adaptation to a saxophonist by investigating the integral role it has had on the performance, promotion and education throughout the instrument’s history. To this end, this thesis also traces the tradition of adaptation in Western Classical music. When approaching the adaptation of tango it is important to recognise the differences in the music’s culture. We are ultimately changing the context of the music by arranging it for another instrument. Therefore, a fervent discussion of the issues surrounding the idea of schizophonic mimesis are explored in an effort to maintain due respect for the original composition while bringing something new to it. The impact of schizophonic mimesis on our audience’s expectations, the stylisation of music, and the respect to the tradition of the other culture are discussed, and establish the need for a well informed and stylistic approach. To help address the various issues, this thesis gives a historical account of, what we will refer to as the tango’s ‘tangible’ and ‘intangible’ stylistic traits, and will propose a new approach to saxophone tango performance through a series of established and novel techniques.
APA, Harvard, Vancouver, ISO, and other styles
48

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

Full text
Abstract:
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
text
APA, Harvard, Vancouver, ISO, and other styles
49

Leggatt, Jacqueline. "Music for a saxophone concerto." Thesis, 1996. http://hdl.handle.net/2429/4822.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
50

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Saxophone music' for other source types:
Journal articles 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