Relevant bibliographies by topics / Saxophone with orchestra

Contents

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

Academic literature on the topic 'Saxophone with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Saxophone with orchestra"

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Barabashchuk, Pavlo. "FEATURES OF THE ENSEMBLE PERFORMANCE OF THE CONCERTO FOR SAXOPHONE SHAMS BY JEAN-DENIS MICHAT: THE CASE OF THOMAS KURTZ'S PERFORMANCE WITH AN ORCHESTRA OF SAXOPHONES." Art Research of Ukraine, no. 23 (November 28, 2023): 237–45. http://dx.doi.org/10.31500/2309-8155.23.2023.299281.

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The article examines the characteristic features of the ensemble performance of Jean-Denis Michat’s Saxophone Concerto Shams by the American saxophonist Thomas Kurtz with an orchestra of saxophones. The article emphasizes the interpretative features of the performance and indicates that the special nature of the ensemble interpretation lies in the composition of the orchestra: 11 saxophones (from bass saxophone to soprano) instead of 11 string and wind instruments, which leads to a special artistic reading and performance of the work. The article argues that combining a solo saxophone part with the accompaniment of an ensemble of saxophones is carried out due to the related timbral sound and specific saxophone touches, which creates a new sound of the Concerto and emphasizes its unique flavor. The search and reproduction of modern means of musical expressiveness and imitation of the manner of virtuoso playing characterizes the modern stage performance practice of a saxophonist. From the perspective of forming a modern instrumental performance style, this concert significantly contributes to enriching and embodying instrumental music’s artistic and symbolic world, strengthening its dramatic nature and enhancing the thematic content. The features of the style of ensemble concert performance of the 21st century are exciting reading for a modern saxophonist. These are, first of all, technical complexity, emotional expressiveness, and concert brightness.
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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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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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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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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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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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Громченко, В. В., and К. О. Мальцева. "Masterpieces by Ukrainian composers for saxophone as the problem solo academic wind repertoire." Музикознавча думка Дніпропетровщини, no. 13 (August 15, 2018): 140–50. http://dx.doi.org/10.15421/221813.

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The purpose of this scientific article is in determination of specialized reasons, relatively reduced concerning decreased composers attention to concert-solo academic saxophone performing in the creation of Ukrainian professional authors. The methodology of research is represented by historical method, which is conditioned by maximally wide period of academic art playing saxophone exactly the time of middle of the 19th – the beginning of the 21st centuries. The comparative method is also used by researcher in the article, as segment of methodological instruments regarding detecting of the differences between solo saxophone masterpieces by Ukrainian and foreign composers. The structurally-analytical and generalizing methods are used for making sequence of exposition of scientific material and approving conclusions and also the outlooks of studying of denoted subject. The novelty of scientific research is defined by absence of treatment of the scientists to cause-problem reasons of the decreased attention Ukrainian composers into sphere of contemporary academic concert-solo saxophone performing. The novelty of this article is also delineating remained scarcely explored masterworks for saxophone of Ukrainian composers exactly Sonata for saxophone with piano accompaniment by V. Falkova and piece „In the morning from the high castle” for saxophone solo by Z. Kovpak. Conclusions. The cause-consecutive preconditions, reasons of decreased composer’s attention to concert-solo academic saxophone performing in the creation of Ukrainian authors are determining as historical conditionality, specifically by facts appearance of saxophone family with their ensemble-orchestra nature functioning, and absence composer’s practice from the side of famous saxophonists-players. Among the reasons of low number of domestic solo musical works for saxophone are the low level of creative communication artistic creative communicability of artist with native composers.
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Baker, David N., and Monika Herzig. "Ellingtones: A Fantasy for Saxophone and Orchestra (1987) Movement II. Waltz." International Jazz Archive Journal 03, no. 4 (April 1, 2012): 45–85. http://dx.doi.org/10.2307/44759226.

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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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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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Dissertations / Theses on the topic "Saxophone with orchestra"

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Ferraro, Mathew C. "The Missing Saxophone: Why the Saxophone Is Not a Permanent Member of the Orchestra." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1341342139.

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Currie, Neil Alan. "Rhapsody for saxophone and orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/NQ38874.pdf.

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

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Initially, my motivation for writing saxophone music started with curiosity about the saxophone's timbre rather than influence of jazz music or specific musical styles. I think composers' ideas of sounds are not always easy to realize because of the physical instrument's characteristics. For instance, in case of woodwind instrumental works, performers are occasionally confronted with difficult fingerings, long notes with fastidious articulation, tunings, rapidly leaping motions and so on. From this perspective, clarinet is an easier and satisfactory instrument for realizing composers' idea compared with other instruments and many clarinet works have been attempted successfully. The saxophone, as a single reed instrument, has not only the similar advantages of the clarinet's instrumental mechanism but also timbral characteristics mingled with wood wind and brass instruments. In fact, the saxophone has a complex harmonic spectra whereas clarinet's timbre consists of only odd harmonics.

In the work, the main compositional ideas are applications of short repetitive motive patterns using variation, diminution and extension. The first etude-like pattern appears in an easier register to articulate the saxophone's sonority. The orchestra performs not only material supporting the saxophone's passages but also contrasting ideas of melodic and rhythmic passages.

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Stonaker, Ben Floyd Mobberley James. "Diversions for alto saxophone and orchestra." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Rowles, Carl Thomas. "Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6262.

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Fusik, James Paul. "The Theatrical Saxophone: Visual and Narrative Elements in Contemporary Saxophone Music." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363599296.

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

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Kosmyna, David. "Dippermouth for the Centennial of the birth of Louis Armstrong /." Ohio : Ohio University, 2001. http://www.ohiolink.edu/etd/view.cgi?ohiou997193176.

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Seligson, Robert Jan. "The Rapsodie for Orchestra and Saxophone by Claude Debussy: a Comparison of Two Performance Editions." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330587/.

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This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.
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Cain, Joren. "Rediscovering Fernande Decruck's Sonate en ut# pour saxophone alto (ou alto) et orchestre: A Performance Analysis." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28401/.

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French composer Fernande Decruck (1896-1954) composed over forty works for the saxophone, but her music fell into obscurity soon after her death. In recent years, the Sonate en ut# pour saxophone alto (ou alto) et orchestre (1943) has been rediscovered, performed, and recorded by prominent concert saxophonists. This document takes a historical approach by examining Decruck's biography, as well as a theoretical approach to provide a deeper understanding and appreciation of her work through analysis. The first four chapters of this document provide biographical background on Decruck, her career, professional associations, and her husband, Maurice Decruck, saxophonist and music publisher. Additionally, an examination of her saxophone output includes a brief discussion of her compositional development. Fernande Decruck dedicated her sonata to French saxophone virtuoso Marcel Mule, but a version for solo viola also exists. From the discrepancies between the versions, one might infer that portions of the work were composed originally for the viola. There are also two versions of the accompaniment: one for full orchestra and the other for piano. Analysis comprises the bulk of this study. The work is composed in a traditional four-movement setting: a sonata-form opening movement, a slow second movement, a movement entitled "Fileuse" (spinning song), substituting for the traditional scherzo, and a rondo-like finale. The work incorporates trends of Impressionism through its harmonic vocabulary, chordal planing, and pentatonic scales. It also demonstrates a sophisticated application of polytonal techniques in several passages. In addition to analysis of each movement, common interpretive practices are discussed, based upon available commercial recorded performances, and performance suggestions are given. There are several notation errors within the parts, as well as some significant differences between the two accompaniments. These errata and discrepancies between the solo parts are listed and discussed.
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Books on the topic "Saxophone with orchestra"

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Martino, Donald. Concerto for alto saxophone and orchestra. Newton, Mass. (11 Pembroke St., Newton 02158): Dantalian, 1990.

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Martino, Donald. Concerto for alto saxophone and orchestra. Newton, Mass: Dantalian, 1990.

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1958-, Bensmann Detlef, ed. Maurische Rhapsodie: Für Alt-Saxophon in Es, Sopransaxophone in B und Orchestra. Berlin: Ries & Erler, 2009.

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Marsalis, Branford. American spectrum. Åkersberga, Sweden: Bis, 2009.

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Ally Alligator's Saxophone (Zoo Orchestra). Paradise Press, Inc, 2000.

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Diversions: Tenor Saxophone & Orchestra Piano Reduction. Hal Leonard Publishing Corporation, 1994.

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Villa-Lobos, Heitor. Bachianas Brasileiras: No. 5: Solo Saxophone (or C Instument) and Saxophone Quartet. Associated Music Publishers, 1993.

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Music Minus One Tenor Saxophone: Band Aids with Orchestra. Music Minus One, 1997.

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Hal Leonard Publishing Corporation (COR). Music Minus One Alto Saxophone: Popular Concert Favorites with Orchestra. Music Minus One, 1997.

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Smith, Leonard. Treasury of Scales for Band and Orchestra: E-Flat Baritone Saxophone. Alfred Publishing Company, 1985.

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Book chapters on the topic "Saxophone with orchestra"

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Sudhalter, Richard M. "Bud Freeman and the Tenor Saxophone." In Lost Chords, 239–73. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195055856.003.0011.

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Abstract Every Sunday, Bud Freeman remembered, there were special matinees at the Senate Theatre, a rather grand picture palace on Madison Street, on Chicago’s heavily residential West Side. And every Sunday the audience included Bud, age fourteen, his brother Arny, twelve, and various cousins. “In those days, the better cinemas carried a pit orchestra that played a kind of overture made up of the current popular songs,” he told John Bainbridge in a 19 79 New Yorker profile. “The orchestra at the Senate Theatre was led by Paul Biese.”
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Campbell, Murray, and Clive Greated. "Brass instruments." In The Musician’s Guide to Acoustics, 303–408. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198165057.003.0010.

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Abstract One of the most striking visual features of a symphony orchestra is the array of polished golden bells and glittering tubing which characterises the brass section: it is clear why the section is so named. In a jazz big band, trumpets and trombones are joined by a phalanx of saxophones of equal metallic splendour; yet the saxophone is technically not a ‘brass’ instrument, but a ‘woodwind’. In fact, what distinguishes the brass and wood wind families is not the material of contruction, but the method of sound generation.
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"The professional player: The saxophone in the orchestra." In The Cambridge Companion to the Saxophone, 101–8. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521593489.010.

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Sudhalter, Richard M. "The Jean Goldkette and Ben Pollack Orchestras." In Lost Chords, 303–37. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195055856.003.0013.

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Abstract On Tuesday, February 1, 1927, the Jean Goldkette Orchestra recorded “The Stampede,’’ an instrumental stomp composed by Fletcher Henderson and recorded by his orchestra the previous May. From all reports, it was an outstanding performance, with fine solos by Bix Beiderbecke on cornet and Frank Trumbauer on C—melody saxophone. The Victor Company chose not to release it, and the masters were destroyed.
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Puskás, Levente. "Similarities and Differences between Classical and Jazz Saxophone Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/15.

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The saxophone is one of the most popular, almost ubiquitous instruments of our time. It is unimaginable that the saxophone would not appear in an orchestra or band in jazz, popular music, dance music, pop music, or even folk music. It is not widely known, however, that the story and history of the saxophone dates as far back as around 170(!) years ago. In 2014 the 200th birthday of Adolphe Sax the inventor, after whom the instrument got its name, was celebrated. Sax was the first saxophone professor at the Conservatoire de Paris. For most of the 19th century, mostly Classical and Romantic pieces were usually played by the saxophone, as the genre of jazz came into existence only around the 1910s–1920s. At that point classical and jazz (popular) saxophone music separated. Differences between the two styles can still be observed in both musical approach and technique. This study presents the similarities and differences between these two highly distinct approaches. Keywords: saxophone, Adolphe Sax, classical music, jazz
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Giddins, Gary. "Fusions (Wayne Shorter / Odyssey)." In Weather Bird, 196–98. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0051.

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Abstract Wayne is coming to Lincoln Center. What will Wayne do? What will Wayne, who like Miles needs no last name (no more than Herbie, Ron, or Tony), ever do? The only thing certain is that he won’t do whatever we expect. No, that isn’t quite right. He has trained us not to bring expectation to his performances, but rather anticipation—though he cannot quell our vain hope that he will parcel us into a time machine and do do that voodoo that he once did so well. Dream on, or better still, go back to the recordings, which have grown in stature as few from that era have. The Lincoln Center program promised a new work for chamber orchestra and jazz musicians, an adaptation from Sibelius, and a retrospective running the gamut from the Blue Note pinnacle, Juju and Speak No Evil, to the recent Verve enigmas, High Life and 1 + 1. It did not promise nor deliver the saxophone virtuoso of yore. Indeed, as the orchestra set progressed, with Wayne alternating constantly between tenor and soprano—phrasing with the strings, overlaying a few fragments, launching blood-rushing solos that quickly ran aground in the clogged arteries of the composition—one couldn’t help suspecting that the musician who never wanted to be a leader, or at least postponed the obligation until he had no choice, was no longer interested in playing the saxophone either. Fair enough: focus on the composition.
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van Delden, Ate. "The California Ramblers Taking Off." In Adrian Rollini, 48–66. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0005.

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Arthur Hand had an orchestra of his own which was incorporated into Kirkeby's California Ramblers and which he would co-lead with Ed Kirkeby. In April 1922, Kirkeby arranged for the first of countless record dates for almost any label. The band did not have a bass player and Adrian Rollini decided to fill the gap and quickly learned to play the bass saxophone. In just a few months, he developed a new style of playing, both for the bass line and for solo work. His sound would identify the California Ramblers for years to come. The band was fully employed from its start and one of their engagements was as a replacement for Paul Whiteman's band at the Palais Royal. However, Kirkeby and Hand preferred to have their own place where their band would perform regularly. They found it North of the City of New York and called it the California Ramblers Inn.
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Shipton, Alyn. "Antecedents." In The Gerry Mulligan 1950s Quartets, 1—C1F9. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0001.

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Abstract By his late teens, Gerry Mulligan was already arranging music and playing the saxophone, working with Elliot Lawrence and then touring nationally with Gene Krupa, for whom he wrote the hit “Disc Jockey Jump.” From there he went to New York, and played and arranged for Claude Thornhill’s orchestra, as a result of which he started to cooperate with several of the musicians who would go on to work in Miles Davis’s “Birth of the Cool” nonet. Mulligan himself was to arrange half the material that this group recorded for Capitol, including “Jeru” and “Venus De Milo,” which were central to its repertoire, along with arrangements by Gil Evans, John Lewis, and John Carisi. He made his first recordings as a leader for the Prestige label, both the extended “Mulligan’s Too” (his longest ever solo) and a group of arrangements for ten-piece band. His early arrangements and autograph scores are discussed.
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"CHAPTER 18. Engaging with Sax beyond Conservatoire Walls: The Community Activities of the Queensland Conservatorium Saxophone Orchestra." In Community Music in Oceania, 280–304. University of Hawaii Press, 2018. http://dx.doi.org/10.1515/9780824867034-018.

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Burlingame, Jon. "“Man, woman, birth, death, infinity”Drama." In Music for Prime Time, 159—C5.P166. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0006.

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Abstract Television drama has inspired a wide variety of styles and colors of music. Nelson Riddle and Jerry Goldsmith enjoyed chart hits from their Route 66 and Dr. Kildare themes; a Moog synthesizer was used in the Medical Center theme, and the entire pilot of St. Elsewhere was created using electronic means; ER had both synths and electric guitar. Lawyer shows range from a mild R&B treatment (Perry Mason) to fanfares for the law (The Defenders) to dignified French horns meet sexy saxophone (L.A. Law). War series merit dissonance (Combat), an anthem (12 O’Clock High), and even gentle guitars (M*A*S*H). Anthologies are where John Williams learned his trade (Alcoa Premiere, Kraft Suspense Theatre). Homespun Americana served The Waltons, while dignified contemporary Americana worked for The West Wing; Dallas and Dynasty, meanwhile, merited a touch of disco and a lot of elegance. In the new century, a hint of irony via orchestra and choir seemed right for Desperate Housewives. Umbrella themes attracted such major musical names as Burt Bacharach, Isaac Hayes, and Henry Mancini.
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Conference papers on the topic "Saxophone with orchestra"

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

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
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Maksymenko, D. P., and L. V. Maksymenko. "THE INTERNATIONAL SAXOPHONE ORCHESTRA – AS ONE OF THE FORMS OF THE CALL FOR PEACE ON THE EXAMPLE OF THE WORK OF THE SAME NAME BY J.-D. MICHAT." In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-4.

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