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Journal articles on the topic 'Saxophone music'
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1
O'Loughlin, Niall. "Saxophone." Musical Times 129, no. 1741 (March 1988): 139. http://dx.doi.org/10.2307/965290.
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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.
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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.
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O'Loughlin, Niall. "Modern Saxophone." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965128.
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Siyu, Li. "ALEXANDER GLAZUNOV AND HIS ROLE IN THE HISTORY OF RECOGNITION OF THE SAXOPHONE IN THE ACADEMIC ENVIRONMENT." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 87 (2022): 71–76. http://dx.doi.org/10.37313/2413-9645-2022-24-87-71-76.
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The article discusses the special role of A.K. Glazunov in overcoming the dismissive attitude of "academic" composers to the use of the saxophone in classical works. The history of the adoption of the saxophone as a new instrument in the musical environment as a whole, the evolution of the views of A.K. Glazunov to the very possibility of composing a concerto exclusively for a saxophone group. By 1930, the saxophone had won the title of "King of Jazz", but at the same time acquired a certain touch of frivolity and frivolity. Analyzing the relevant literature, the author comes to the conclusion that thanks to the active work of the outstanding saxophonist S. Rascher and his agreements with the recognized master A.K. Glazunov, new classical works appeared, which allowed the saxophone to return to the orbit of "academic music". A.K. Glazunov, of course, associated the saxophone with a certain "Americanism". L. Sabaneev called the Saxophone Quartet "modernism that Glazunov allowed himself." Thus, in the work of A.K. Glazunov showed a mixture of RussianEuropean and American cultures. At the same time, he managed to create works that forever entered the golden fund of art, combining classical music and innovative, at that time, saxophone.
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DURAND, JÚLIA. "‘Romantic Piano’ and ‘Sleazy Saxophone’." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 23–45. http://dx.doi.org/10.3828/msmi.2020.3.
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Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as ‘romantic’ and ‘erotic’, it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés.
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Stepanova, Anna. "Features of the modern saxophone." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 3 (132) (September 24, 2020): 66–70. http://dx.doi.org/10.24195/2617-6688-2020-3-8.
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The relevance of the topic is stipulated by the fact that saxophone performance is becoming widespread nowadays, it substantiates the needs to establish new performing schools and to initiate researches aimed at improving methods of playing the saxophone. The purpose of the article is to pay special attention to the social status of the saxophone, its role in the system of professional music education and the evolution of performing techniques of playing the saxophone. The research methods are as follows: theoretical analysis of scientific and methodological literature, comparative studies. Summary: The main scientific and methodological works devoted to the improvement of methods and techniques of playing the saxophone are considered. In the historical aspect, some theoretical works of domestic and foreign authors on the methods and techniques of playing the saxophone have been analysed: the American researcher Carr W.E.J., who identified the physiological features of playing wooden wind instruments (the flute, the oboe, the clarinet, the bassoon and the saxophone); the Russian Professor Ivanov V. D., who identified modification forms and types of saxophone music; the Ukrainian researchers Kyrylov S. V., who singled out the so-called "concert face of the saxophonist" and the associated set of his / her professional skills, Krupey M. V., who historically analysed saxophone performance and determined the stylistic basis for the formation of saxophonist’s performing skills, Professor V. Apatskyi, who came to the conclusion that the advantage of an "o-shaped" ear cushion is a peculiar position of the lower lip, which is necessary for flexible control of the cane. The article also considers scientific and methodological works of foreign authors, reflecting the problematic and related issues of saxophone performance, which allowed us to draw the following conclusions: academic and jazz saxophone performances develop in parallel and are interdependent; the recognition of the saxophone individuality contributes to the transformations within the professional system of education, the teaching of the saxophone having become narrowly professional in this connection; the development of saxophone performance has led to the creation of national schools, which stipulated a rise in the number of musicians of the new formation, both academic and jazz.
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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.
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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.
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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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Wang, Bojian. "Musical expression means of a saxophone in the modern chamber-instrumental music." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 32–46. http://dx.doi.org/10.7256/2453-613x.2021.3.35753.
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The research subject is the modern chamber-instrumental music of the late 20th - the early 21st century in the context of the newest performance and expression means and techniques of playing the saxophone as a unique wind instrument which is difficult to interpret. A wide musical expression range of modern music involving saxophone gives an opportunity to practically evaluate the depth of philosophical and figurative concepts embodied by modern composers. In this context, the author considers the peculiarities of the recommended techniques of playing the saxophone which have been detected and studied in the creative work of Yu.L. Povolotsky. The expressive timbre and sound palette attracts a modern composer with the purpose of both to experiment and to attempt to collect the wide range of artistic and philosophical generalizations of the epoch. This mutually determined process - a timbre-sound experiment, on the on hand, and a continuous expansion of the performance and expression means of a saxophone within the chamber-instrumental culture, determined by it, on the other - instigated the author to conduct a scientific analysis of the chamber-instrumental works of modern composers. Besides, of a scientific and historical value is the information about the creative process of Yu.L. Povolotsky: the involvement of out-of-the-box solutions, composition structures, and the newest ways and techniques of playing the saxophone.
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Radonjić, Asja. "Ivan Brkljačić: Love!: Saxophone concerto." New Sound, no. 56-2 (2020): 65–75. http://dx.doi.org/10.5937/newso2056065r.
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The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.
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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.
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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.
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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.
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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Rosen, Jerome, and Paul Reade. "Saxophone Quartet (1979)." Notes 47, no. 2 (December 1990): 563. http://dx.doi.org/10.2307/942017.
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Wang, Bojian. ""Academization" of the saxophone: genesis, main milestones and current trends." PHILHARMONICA. International Music Journal, no. 6 (June 2021): 39–50. http://dx.doi.org/10.7256/2453-613x.2021.6.35933.
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The leading research topic in this article is the analysis of the specifics of the development of saxophone art in a symphony orchestra. The chosen problem requires the study of this direction from the perspective of a broader socio-historical context, within which it is possible to identify special signs of musical culture, both in the general context and in individual genres. In this vein, the study of saxophone music in a symphony orchestra allows us to outline, firstly, the origins of the origin of interest and the introduction of a special instrument into the cultural panorama, secondly, to trace the ways and impulses of its spread, and thirdly, to find out the problems of the saxophone as part of a symphony orchestra. In order to fully understand its special place in the cultural continuum of a certain place and epoch, music for the saxophone should be considered not just as a specific artifact that has been embodied in creativity, performance, education, but as a multi-level and three-dimensional concept in the musical art of the XIX-XXI centuries. The disclosure of the role of the saxophone as part of a symphony orchestra in the article is not just carried out through the prism of the representation of a certain number of facts, names, events, and can be traced as the correspondence of the development of the instrument to those historical, political, socio-economic and, above all, cultural and artistic processes that have formed a kind of creative reinterpretation of one of the most popular modern instruments. The purpose of the study is to substantiate the genesis, development trends and the current state of saxophone art in general, as well as, in particular, in the composition of a symphony orchestra. In the study, the author focuses on iconic performers and teachers, whose personal achievements in the field of concert, research and musical and social activities had a significant impact on the formation of the saxophone as part of a symphony orchestra.
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Zebua, Andhika Perdana, Boy Lamris I. Simamora, Bowie Putra Bayu Mukti, and Ezra Deardo Purba. "Learning Strategies for Saxophone Instruments for Music Study Program Students ISI Yogyakarta Batch 2022." Grenek Music Journal 12, no. 2 (December 23, 2023): 182. http://dx.doi.org/10.24114/grenek.v12i2.45389.
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The ISI Yogyakarta music study program currently refers more to the study of art. This resulted in a reduction in the study period for major instruments for students to 3 semesters. The music study program which focuses more on music studies targets students to become researchers and writers, so that the ability to play music is not too much considered when selecting new student admissions. Many students have shifted their instrument focus to other instruments they are not good at. The author focuses on saxophone instrument students class of 2022, most of whom experience this. This study aims to observe and describe the strategies and learning processes for the saxophone instrument course for students of the ISI Yogyakarta music study program class of 2022. The method used is qualitative-descriptive, with data collection through direct observation and interviews with students and supporting lecturers. Several lists of questions have been prepared and will serve as a tool for data collection. The author also made direct observations of the learning process carried out by lecturers and students in the saxophone instrument course. The research findings regarding the learning strategies applied are the design of a new syllabus consisting of several points to be presented to students as well as the establishment of good relationships and interactions between students and lecturers to create a comfortable learning atmosphere. The syllabus refers to the old syllabus which was previously carried out for 6 semesters, but now it is condensed into 3 semesters.
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Li, Yili. "On the Playing Skills of Saxophone "Mallorca"." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 109. http://dx.doi.org/10.26549/jetm.v1i1.585.
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The article based on today's famous saxophonist Michael Lington a representative work, to study the use of his playing skills, sound and music performance, and analyze the music style of Michael Lington; and its skills in playing, from two aspects of subjective and objective of the work and Michael Lington. Play into the comments, can put forward their own views, hope to be able to help in the saxophone fans and players.
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Dusman, Linda, John Sampen, Milton Babbitt, Charles Wuorinen, Morton Subotnick, and Marilyn Shrude. "The Contemporary Saxophone." Computer Music Journal 18, no. 1 (1994): 88. http://dx.doi.org/10.2307/3680528.
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Kalyn, James. "Six etudes pour deux saxophones altos, and: Six etudes d'audition pour trois saxophones en 2 cahiers, and: Six etudes d'audition pour quatre saxophones en 3 cahiers, and: Jumbled Mirrors [for] Saxophone Quartet, and: Trois esquisses pour quatuor de saxophones, and: Fractions du silence--premier livre (Pierre, neige, eau...) pour quatre saxophones (2 saxophones sopranos, 1 saxophone alto et 1 saxophone tenor), and: Saxophonquartett (1995), and: It's Lovely Once You're In for Saxophone Quartet, and: Kentucky." Notes 61, no. 4 (2005): 1106–12. http://dx.doi.org/10.1353/not.2005.0063.
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Toxvaerd, Laura. "Diffracting Alto Saxophones." APRIA Journal 6, no. 6 (December 7, 2023): 98–105. http://dx.doi.org/10.37198/apria.05.06.a12.
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This article presents a study that utilises a performative research approach, contribut ing to our comprehension of music making by grounding it in Karen Barad's theory of agential realism and expanding upon Donna Haraway's use of the concept of diffraction. The starting point is a lecture performance held in 2022 at the Arts in Action: Urgencies in Art and Art Education, where a piece of music for alto saxophone was coming into being, while the saxo phonist partly played and improvised and partly talked about what she sensed and imagined. With saxophones as a pivotal point, a diffractive field is established by the lecture performance and a concert that took place in 2019. Effects that cross time and space are analysed through two agen tial cuts in the concert in the form of two pieces of music. Empiric material is gener ated through sound and video recordings of the soundcheck and concert, supplemented by research notes and a concert review in the Danish daily newspaper, Politiken. The study aims to contest the anthropocen tric tendency to centre human subjects in the making of music. Instead, it asks what human and nonhuman bodies and materi alities do in the study's music making.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Kozłowski, Emil, and Rafał Młyński. "Effects of Acoustic Treatment on Music Teachers' Exposure to Sound." Archives of Acoustics 39, no. 2 (March 1, 2015): 159–63. http://dx.doi.org/10.2478/aoa-2014-0019.
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Abstract In this study, music teachers' exposure to sound was tested by measuring the A-weighted equivalent sound pressure level (SPL), the A-weighted maximum SPL and the C-weighted peak SPL. Measurements were taken prior to and after acoustic treatment in four rooms during classes of trumpet, saxophone, French horn, trombone and percussion instruments. Results showed that acoustic treatment affects the exposure of music teachers to sound. Daily noise exposure levels (LEX, 8 h) for all teachers exceeded a limit of 85 dB while teaching music lessons prior to room treatment. It was found that the LEX, 8 h values ranged from 85.8 to 91.6 dB. The highest A-weighted maximum SPL and C-weighted peak SPL that music teachers were exposed to were observed with percussion instruments (LAmax = 110.4 dB and LCpeak = 138.0 dB). After the treatments, daily noise exposure level decreased by an average of 5.8, 3.2, 3.0, 4.2 and 4.5 dB, respectively, for the classes of trumpet, saxophone, French horn, trombone and drums, and did not exceed 85 dB in any case.
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Wytko, Joseph, Leon Stein, Paul Creston, and Bernhard Heiden. "Sextet for Alto Saxophone and Woodwind Quintet." American Music 3, no. 2 (1985): 249. http://dx.doi.org/10.2307/3051650.
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Noyes, J. R. "Debussy's Rapsodie pour orchestre et saxophone Revisited." Musical Quarterly 90, no. 3-4 (September 23, 2008): 416–45. http://dx.doi.org/10.1093/musqtl/gdn020.
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Noyes, J. R. "Debussy's Rapsodie pour orchestre et saxophone Revisited." Musical Quarterly 93, no. 2 (June 1, 2010): 360. http://dx.doi.org/10.1093/musqtl/gdp010.
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Lebed, Volodymyr. "Compositions for saxophone with wind orchestra as a phenomenon academic musically performing art." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 93–101. http://dx.doi.org/10.33287/222008.
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The purpose of scientific article is studying of the definite reasons, particular preconditions in relation to increasing the quantity of original compositions for saxophone with wind orchestra in academic musical-performing art in the period of the 20th – the beginning of the 21st centuries. The round of methods concerning this scientific investigation is delineated, first of all, by historical approach, which stipulated by marking of the wide period regarding academic art of saxophone playing, a namely by the frames of the 20th – the beginning 21st centuries. The comparative method is also applied by author in this work for the possibility as touching the detection of certain differences into academic masterpieces for saxophone with wind professional orchestra by various composers and culturally historical periods. The structurally analytical and generalizing methods of the research are used by investigator for making of determined sequence in reference to exposition of scientific material and implementation of conclusions as well as the prospects relatively further exploration of the noted theme. The scientific newness of the represented disquisition is postulated by absence of the process comparatively studying by scholars of the reasons, preconditions concerning writing of the original academic compositions for saxophone with wind orchestra as well as by lack of the specialized works, which were dedicated to the revealing of the phenomenon regarding establishment of the academic saxophone repertoire in the European professional music of the 20th – the beginning of the 21st centuries. Conclusions. The historical process relatively the development of academic masterpieces for saxophone with wind orchestra was observed by author in this investigation. The reasons for essential activity of composers’ interest to a saxophone and, as a result, appearance of the various original academic compositions for saxophone with wind orchestra are hiding into the impetuous improvement of the saxophonists’ professional performing mastery, which is beginning from the middle of the 20th century. The saxophone conquers the confession on the academic musical stage and becomes the most requested for contemporary audience because it is the youngest academic professional wind instrument.
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Mymryk, Mykhailo. "Timbre and Expressive Means of Modern Saxophone Performance." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 28–46. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255421.
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A new substrate of timbre-sound model of modern saxophone sound in chamber-instrumental music is considered, which is approved due to the emergence of new and modification of established methods and techniques of saxophone playing. It is found that the timbre-sound instrumental model of the saxophone is realized through the timbre color of the sound, pitch characteristics of the sound range of the instrument and related ideas about: registers, surround effects (vibrato and frullato), spectral sound effects (flageolets), dynamic possibilities of sounds in different registers, realization of possibilities of longness of sound, etc. The technology of using additional alternative fingering and flageolet sounds on the saxophone is described, which contributes to greater diversity in timbre between notes within the same octave. It is emphasized that the coloring of the timbre or bisbigliando is carried out on the instrument by alternating ordinary and flagellate sounds, as well as with the help of additional (auxiliary) fingering. The timbre of the sound from the position of saturation of the melody is highlighted. It is stated that recently in modern performing practice on the saxophone are widely used both performing techniques that affect the timbre of the sound during its extraction, and techniques that generate individual timbre and sound structures. The method of changing the sound of the instrument with the help of specific work of the earbud (earbud effects) is substantiated. It is established that timbre ornamentation involves the use of klangfarbenmelodie, intricately ornamented notes, glissando, trills and tremolo. Emphasis is placed on the possibility of composers introducing a polyphonic element into the saxophone (solo) part as a combination of several sound voices — doubletone. It is proved that one of the biggest innovations of modern saxophone performance is the ability to perform chordal polyphony. The author's concept of using alternative (auxiliary) fingering to reproduce consonance on a fundamentally unanimous saxophone due to the performance of double flageolets, splitting tones, etc. is proposed.
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Тяньфу, Ю. "Saxophone in music education: teaching methods and their evolution in different cultures." Management of Education 13, no. 12-1(72) (December 15, 2023): 214–21. http://dx.doi.org/10.25726/p2466-5734-2984-x.
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В настоящее время развитие музыкального образования рассматривается как один из важнейших аспектов всестороннего развития личности. Исследование методик обучения игре на саксофоне в разных культурах позволяет выявить наиболее эффективные подходы, способствующие полноценному усвоению навыков игры на данном духовом инструменте. Цель данной статьи состоит в сравнительном анализе методик обучения игре на саксофоне в развитых странах Запада и Востока в XX - XXI веках. В работе использовались методы исторического анализа для изучения эволюции подходов к обучению игре на саксофоне в Европе и США на протяжении двадцатого века. Также проводился сравнительный анализ современных методических пособий для обучения игре на саксофоне в российских и зарубежных музыкальных учебных заведениях. Результаты исследования позволили выявить основные этапы становления и совершенствования методик обучения игре на саксофоне в развитых странах мира на протяжении двадцатого - начала двадцать первого века. Проведен сравнительный анализ современных подходов к обучению игре на данном музыкальном инструменте в России и за рубежом. Дополнительно нами были проанализированы видеозаписи выступлений и мастер-классов ведущих саксофонистов современности разных стран с целью изучения особенностей их исполнительской манеры и подходов к обучению. Были проанализированы записи выступлений таких музыкантов как джазмен Кенни Джи из США, классический исполнитель Клаус Зайсс из Германии, джаз-поп саксофонист Макото Сакурай из Японии. Currently, the development of music education is considered as one of the most important aspects of the comprehensive development of the individual. The study of teaching methods for playing the saxophone in different cultures allows us to identify the most effective approaches that contribute to the full mastery of the skills of playing this wind instrument. The purpose of this article is a comparative analysis of teaching methods for playing the saxophone in developed countries of the West and East in the 20th - 21st centuries. The work used methods of historical analysis to study the evolution of approaches to teaching the saxophone in Europe and the United States throughout the twentieth century. A comparative analysis of modern teaching aids for teaching the saxophone in Russian and foreign music schools was also carried out. The results of the study made it possible to identify the main stages in the formation and improvement of teaching methods for playing the saxophone in developed countries of the world during the twentieth - early twenty-first centuries. A comparative analysis of modern approaches to teaching playing this musical instrument in Russia and abroad was carried out. Additionally, we analyzed video recordings of performances and master classes by leading saxophonists of our time from different countries in order to study the characteristics of their performing style and approaches to teaching. Recordings of performances by such musicians as jazzman Kenny G from the USA, classical performer Klaus Seiss from Germany, and jazz-pop saxophonist Makoto Sakurai from Japan were analyzed.
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Williams, Nick. "Late Music York: Delta Saxophone Quartet, Ian Pace Unitarian Chapel, York." Tempo 72, no. 286 (September 6, 2018): 78–80. http://dx.doi.org/10.1017/s0040298218000402.
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Growing out of Soundpool, a York-based composer/performer collective of the 1980s, Late Music York has been promoting new music in York for over 20 years. Composers and commissions featured in their concerts have included Frederic Rzewski, Michael Finnissy, Judith Weir, Anna Meredith and Howard Skempton. Their latest series is equally broad, with music ranging from David Bowie to Tristan Murail (not forgetting younger local composers); the series can never be accused of having a narrow agenda. This review aims to contrast two separate events to give an idea of the range and variety one has come to expect from Late Music concerts.
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Wilson, Dave. "A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT." Leonardo Music Journal 30 (December 2020): 79–83. http://dx.doi.org/10.1162/lmj_a_01095.
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The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dialogical improvisative music-making that emerges from multiethnic and multicultural histories of improvised music.
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Ho, Leslie Wong Kah, and Rattanai Bampenyou. "The Forging of a “Singapore Sound” in Saxophone Compositions of Zechariah Goh." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 1–13. http://dx.doi.org/10.15294/harmonia.v23i1.41647.
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The main objective of this study is to examine two of Goh’s saxophone works that demonstrate how the composer realized Singaporean identity through the synthesis of Western, Tibetan, and Indian musical elements. The research design of this qualitative case study is narrative research with data collection carried out by semi-structured questions, email interview with the composer and review of text, videos, and journal articles that relate to the government policies of racial integration and multiculturalism in Singapore, followed by analysis of two of the recent works that evolved from the fusion of Eastern and Western styles. The two works for this qualitative study are Images of Tibet for Soprano Saxophone and Piano, and Confluence for Saxophone Ensemble and Mridangam. The findings show that 1) Images of Tibet uses Western formal structures, the technique of thematic development, and Tibetan musical idioms; and 2) Confluence for Saxophone Ensemble and Mridangam employs the Indian Tala, motivic modification technique used in the Fugues of Johann Sebastian Bach, and pandiatonicism as employed in Impressionistic works of Debussy and Ravel. This study reveals the two ways in which the composer uses to intertwine the East and West in his connection to his cultural roots.
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Irzaq, Muhammad, and Esy Maestro. "ANALISIS STRUKTUR DAN UNSUR MUSIK KOMPOSISI TAKE FIVE KARYA PAUL DESMOND." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 337. http://dx.doi.org/10.24036/jsu.v9i2.110566.
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This study aims to describe Paul Desmond's Take Five music composition analysis. This type of research is descriptive qualitative research with the main instrument in this study is part music in the form of song parts. The researcher processed the data with steps such as reading the scores from the take five material itself, then classifying the data from understanding music theory to the material itself, from the structural aspect of music to melody, rhythm and interval, so that the researcher can make a summary of the data. which was found in the form of writing describing the understanding of music theory, Then, the researcher conducted a feasibility test on the song with the aim that the song analyzed could be used as learning material for students who studied standard jazz material and as eligibility to be used as basic knowledge about music jazz.The results showed that the work of Take five is unique in terms of odd time signatures using simple melody, riem and intervals, which form a song 2 parts A, B with sentences A (a, a ') B (b, b') and A (a, a ') take five can be accepted as a standard jazz learning reference for the alto saxophone instrument. The assessment is obtained from simple melody, rhythm and interval analysis so that it can be used or can be used as a reference for learning standard jazz for students taking the major saxophone instrument course.Keyword : Structur Analysis, Take Five Composision, Paul Desmond.
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Heaton, Roger. "Revoiced - Revoiced. Corvus Consort, Ferio Saxophone Quartet. Chandos, CHAN20260." Tempo 77, no. 303 (January 2023): 98–99. http://dx.doi.org/10.1017/s0040298222000973.
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Raharja, Dominikus Catur. "PELATIHAN SAXOPHONE GUNA MEMBANTU PEMAKNAAN KATA-KATA PADA PENYANDANG BERKEBUTUHAN KHUSUS." Way Jurnal Teologi dan Kependidikan 7, no. 2 (October 30, 2021): 120–32. http://dx.doi.org/10.54793/teologi-dan-kependidikan.v7i2.77.
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The purpose of this study is to help people with special needs to be able to interpret words properly and correctly. Talking about children with special needs is very interesting, there are many things we can learn, we observe and we can do for them. Our attention to them is very meaningful and needed, especially for parents of children with special needs.Every development is something that parents of children with special needs look forward to, many efforts are made to stimulate their children. Not a few parents choose music as a means of stimulus. The introduction of musical instruments and regular practice is an effort and a vehicle for the development of their children. The method used is qualitative by mapping and sorting based on attention in research. Results obtained, the saxophone instrument is one of the many musical instruments that can stimulate children with special needs.Blowing and trying to sound it while practicing the saxophone can help children with special needs to be able to feel the changes in loud and soft sounds.This process can help children with special needs interpret hard and soft words. The conclusion that can be expressed is that the habit of blowing on the saxophone makes people with special needs can feel the blowing pressure with the resulting sound, which is loud and soft.
Keywords: Saxophone Training, Meaning of Words, Special Needs
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MacLeod, Rebecca B. "A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 33–43. http://dx.doi.org/10.2307/40319328.
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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.
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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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Moura, Nádia, and Sofia Serra. "Saxophone Players’ Self-Perceptions About Body Movement in Music Performing and Learning." Music Perception: An Interdisciplinary Journal 41, no. 3 (February 1, 2024): 199–216. http://dx.doi.org/10.1525/mp.2024.41.3.199.
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Quantitative studies demonstrate that performers’ gestures reflect technical, communicative, and expressive aspects of musical works in solo and group performances. However, musicians’ perspectives and experiences toward body movement are little understood. To address this gap, we interviewed 20 professional and pre-professional saxophone players with the aims of: (1) identifying factors influencing body movement; (2) understanding how body movement is approached in instrumental pedagogy contexts; and (3) collecting ideas about the impact of movements on performance quality. The qualitative thematic analysis revealed that musical features (i.e., musical character, dynamics) constitute a preponderant influencing factor in musicians’ body behavior, followed by previous experiences and physical and psychological characteristics. In the pedagogical dimension, participants presented an increased awareness of the importance of body movement compared to their former tutors, describing in-class implementation exercises and promoting reflection with their students. Still, a lack of saxophone-specific scientific knowledge was highlighted. Regarding performance quality, participants discussed the role of movement in facilitating performers’ execution (i.e., sound emission, rhythmical perception) and enhancing the audience’s experience. We provide insights into how professionals conceive, practice, and teach motor and expressive skills, which can inspire movement science and instrumental embodied pedagogy research.
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Bruce, Greg. "Surmounting the Skepticism: Developing a Research-Creation Methodology." Acta Academiae Artium Vilnensis, no. 109 (August 14, 2023): 101–23. http://dx.doi.org/10.37522/aaav.109.2023.162.
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This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.
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Rosen, Jerome, Betsy Jolas, Hubert Prati, Therese Brenet, and Dennis Riley. "Episode quatrieme; pour saxophone tenor seul." Notes 44, no. 3 (March 1988): 587. http://dx.doi.org/10.2307/941555.
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Cochran, Alfred W., Donald Martino, and Charles Wuorinen. "Concerto for Alto Saxophone and Orchestra." Notes 49, no. 1 (September 1992): 361. http://dx.doi.org/10.2307/897263.
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Castillo, Julio. "Sinú Sax Quartet: un laboratorio musical." Avances en Educación y Humanidades 1, no. 2 (June 30, 2017): 57. http://dx.doi.org/10.21897/25394185.1113.
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En el presente artículo se listan algunas características de tipo formal y rítmico constituyentes de la música del Caribe Colombiano y algunas consideraciones de tipo melódico, armónico y funcional para la composición y elaboración de arreglos en el formato de cuarteto de saxofones.Palabras claves: música tradicional, patrones rítmicos, forma, rearmonización, rol.AbstractIn this article, some characteristics of formal nature and constituents of rhythmic music in the Colombian Caribbean music are listed, and considerations of melodic, harmonic and functional type for the composition and preparation of arrangements in the format saxophone quartet are presented.Keywords: traditional music, rhythmic patterns, shape, re-harmonization, role.
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Canonne, Clément. "Listening to Improvisation." Empirical Musicology Review 13, no. 1-2 (January 17, 2019): 2. http://dx.doi.org/10.18061/emr.v13i1-2.6118.
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Is there something peculiar in our appreciation of improvised music? How does knowing that the music we are listening to is improvised affect our experience? As a first step in answering these questions, I have conducted an experiment in which an audio recording of the very same piece of music – a saxophone/clarinet freely improvised duet – was presented to 16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition). Listeners were encouraged both to reflect on their listening experience and to describe in their own words the music they heard. First, evaluative judgments were strongly different in the two listening conditions: listeners approached the piece with specific sets of values in mind, by relying on different features or different kinds of criteria (aesthetic ones in the COMPO condition vs ethical ones in the IMPRO condition) to ground their appreciative judgments. Second, and maybe more importantly, listening experiences were quite different in the two conditions: in the COMPO condition, the piece was more commonly experienced as a sonic product, with listeners paying great attention to the various acoustical effects achieved by the musicians and to the overall structure (or lack thereof); in the IMPRO condition, the music was often described as a kind of communicational or relational process, with descriptions that largely interweaved music-specific terms and more broadly social terms. Overall, this experiment shows that our listening experience can be dramatically affected by modal considerations, i.e., by how we think the music was produced. More specifically, it sheds some light on what constitutes the core of the aesthetic experience of improvisation by exhibiting what is centrally at play (and what is not) when we listen to collectively improvised music.
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Koto, Erizon. "Idiom Musikal Minangkabau dalam Komposisi Karawitan, Sebuah Analisis Konteks Adaptasi Musikal." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 4, 2017): 12. http://dx.doi.org/10.24114/gondang.v1i1.7918.
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The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.
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Takashima, Suguru. "Music playing robots. Automatic Performance Robots of Saxophone and Trumpet." Journal of the Robotics Society of Japan 14, no. 2 (1996): 196–99. http://dx.doi.org/10.7210/jrsj.14.196.
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Sweeney-Turner, Steve. "Salonen: Mimo 2; YTA 1-3; Alto Saxophone Concerto; Floof." Musical Times 135, no. 1821 (November 1994): 719. http://dx.doi.org/10.2307/1003207.
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Rehm, Alexander M. "The Magnitude of the Frequency Jitter of Acoustic Waves Generated by Wind Instruments Is of Relevance for the Live Performance of Music." Acoustics 3, no. 2 (June 12, 2021): 411–24. http://dx.doi.org/10.3390/acoustics3020027.
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It is shown that a gold-plated device mounted on a tenor saxophone, forming a small bridge between the mouthpiece and the S-bow, can change two characteristics of the radiated sound: (1) the radiated acoustic energy of the harmonics with emission maxima around 1500–3000 Hz, which is slightly reduced for tones played in the lower register of the saxophone; (2) the frequency jitter of all tones in the regular and upper register of the saxophone show a two-fold increase. Through simulated phase-shifted superimpositions of the recorded waves, it is shown that the cancellation of acoustic energy due to antiphase superimposition is significantly reduced in recordings with the bridge. Simulations with artificially generated acoustic waves confirm that acoustic waves with a certain systematic jitter show less cancelling of the acoustic energy under a phase-shifted superimposition, compared to acoustic waves with no frequency jitter; thus, being beneficial for live performances in small halls with minimal acoustic optimization. The data further indicate that the occasionally hearable “rumble” of a wind instrument orchestra with instruments showing slight differences in the frequency of the harmonics might be reduced (or avoided), if the radiated acoustic waves have a systematic jitter of a certain magnitude.
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Myatt, Tony. "Strategies for interaction in construction 3." Organised Sound 7, no. 2 (August 2002): 157–69. http://dx.doi.org/10.1017/s1355771802002078.
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This paper describes the interactive strategies adopted during the composition and realisation of construction 3 for soprano saxophone and multiple media, by Tony Myatt and Peter Fluck. This work is an interactive multiple media composition for computer, computer-enhanced saxophone and computer graphics projected onto irregularly shaped screens. Derivation of the performer sensing system and mapping strategies to control signal processing, computer generated materials and communication gestures between the performer and computer are described. These processes include generative mapping techniques using neural networks for the recognition of gestural information and the development and application of wireless, wearable sensing technology. This work is described as a holistic approach to the derivation of performer sensing, data mapping and the application of reactive and interactive processes in the context of the creation of a new musical and multiple media composition.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Gordon, Terri J. "A ‘Saxophone in Movement’: Josephine Baker and the Music of Dance." Nottingham French Studies 43, no. 1 (March 2004): 39–52. http://dx.doi.org/10.3366/nfs.2004.005.
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Degrassi, Franco. "Some Reflections of Borrowing in Acousmatic Music." Organised Sound 24, no. 02 (August 2019): 195–204. http://dx.doi.org/10.1017/s1355771819000232.
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This article begins with an outline of the Manovich general definition of borrowing followed by an introduction to the theme of borrowing in music, particularly within the context of acousmatic music. Two scenarios proposed by Navas in his taxonomy of borrowing are used to further the discussion in relation to material sampling and cultural citation. With reference to material sampling, some examples of remix, appropriation and quoting/sampling taking place within acousmatic music are highlighted. With regards to cultural citation, two levels of reference will be considered: cultural citation from sound arts, that is, intertextuality, and cultural citation from other media, that is, intermediality. The article closes with some reflections a posteriori about my own composition, Variation of Evan Parker’s Saxophone Solos, and how this relates to wider notions of musical borrowing.
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Тяньфу, Ю. "Integration of traditional and modern approaches in saxophone teaching: opportunities and problems of modern music education in Russian universities." Management of Education 13, no. 11-2(71) (November 30, 2023): 251–58. http://dx.doi.org/10.25726/q9467-7483-3247-p.
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В эпоху стремительного развития цифровых технологий и глобализации, трансформация музыкального образования, в частности обучения игре на саксофоне, становится актуальной задачей для высших учебных заведений России. Традиционные методы обучения, акцентирующие внимание на классических подходах к исполнительству и теории музыки, вступают в диалог с инновационными педагогическими стратегиями, включающими в себя использование цифровых технологий и современных музыкальных практик. Материалы и методы. Исследование основывается на анализе образовательных программ по саксофону в ведущих музыкальных университетах России, включая Московскую консерваторию и Санкт-Петербургскую академию искусств. Проанализировано более 150 учебных планов, а также проведены интервью с 30 преподавателями и 100 студентами. В исследование включены как качественный, так и количественный анализ данных. Результаты. Исследование показало, что 78% преподавателей саксофона используют традиционные методы обучения, в то время как 22% уже интегрируют современные технологии в свою педагогическую практику. Анализ студенческих отзывов выявил, что 65% студентов выражают желание больше использовать цифровые инструменты в обучении. Примеры успешной интеграции включают использование специализированных программ для разработки нотных партий и интерактивных приложений для самостоятельных занятий. In the era of rapid development of digital technologies and globalization, the transformation of music education, in particular saxophone playing, is becoming an urgent task for higher educational institutions in Russia. Traditional teaching methods, focusing on classical approaches to performance and music theory, enter into a dialogue with innovative pedagogical strategies that include the use of digital technologies and modern musical practices. Materials and methods. The study is based on an analysis of saxophone education programs at leading Russian music universities, including the Moscow Conservatory and the St. Petersburg Academy of Arts. More than 150 curricula were analyzed, as well as interviews with 30 teachers and 100 students were conducted. The study includes both qualitative and quantitative data analysis. Results. The study showed that 78% of saxophone teachers use traditional teaching methods, while 22% already integrate modern technologies into their teaching practice. An analysis of student reviews revealed that 65% of students express a desire to use digital tools more in teaching. Examples of successful integration include the use of specialized programs for the development of musical parts and interactive applications for self-study.