This study represents a creative project approach to the dissertation requirement of the Doctor of Arts degree with primary emphasis in the field of music performance. The project itself, a recital in Alice Tully Hall, Lincoln Center, New York, took place on November 18, 1974. The program consisted of music for alto saxophone and piano, saxophone in the context of chamber music and unaccompanied saxophone.Preparation for the recital was concentrated on the building of a successful program of serious original compositions for saxophone and on preparing those works as thoroughly as possible. The taped performance of the November 18 concert, the program and its critical comment accompany the paper.The paper is in support of that recital. It focuses on the music performed and its composers, the pedagogical implications of the recital and its preparation, and recommendations based on the experiences of the writer.The basis for the discussion of the recital's music depends upon correspondence, work-sessions and upon conversations between the writer and the composers. Composers' statements about their music, and to some extent about the instrument, make up the body of the Appendix. The study grew out of the composers' statements, and the format was suggested by the program itself.The pedagogical implications of this project have not been limited to considerations of the creative project itself. This discussion drew upon the writer's experiences as an intern with Dr. Cecil Leeson and upon the study of interpretation and its long-term procedures.The relatively short history of the saxophone, the lack of a literature about it, the fact that all of the composers whose music is discussed are still alive and the study's scope basing the discussion on the composers' statements--all of these have set limits on the writer's sources. However, the intent of this study was to base the investigation on primary sources still available.

The purpose of this study was to investigate laryngeal movements in selected performance situations on alto saxophone. The specific research problems were to describe glottal activity in three selected musicians as they performed musical tasks with (1) various pitch ranges and registers, (2) fortissimo and pianissimo dynamic levels, (3) crescendo and decrescendo, (4) long tones with vibrato, and (5) legato and staccato styles of articulation. A fiberoptic laryngoscope was employed to gather the visual images, which were recorded on a sound synchronized video tape. A rating system was devised to provide graphic representation of the data. Results of the data indicated that the glottis was used as an airflow constrictor in certain performance situations, especially in pianissimo performance. Other conclusions were drawn, and suggestions for further research were discussed.

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

The history of the saxophone and its development as a performance medium in Japan is short when compared with other European countries and the United States. In this short history, the saxophone performance level in Japan has increased dramatically. At the same time, compositions for the saxophone by Japanese composers have gained more popularity in the world as can be seen in the program of the World Saxophone Congress and the North American Saxophone Alliance conference. The saxophone history in Japan, including contributions of Arata Sakaguchi (1910-1997), Ryo Noda (b.1948), and Nobuya Sugawa (b.1961), is discussed in order to understand the increase of performances of pieces for saxophone by Japanese composers. The success of many original compositions, especially those that incorporate the synthesis of Eastern and Western music, is another significant element examined in this document. Yoshimatsu approaches music for classical saxophone as a new genre. He seeks all possible sounds that the saxophone can create - beautiful tone to "noise like" - in his compositions. The blending of other musical styles in one piece is one of Yoshimatsu's compositional styles, which can be observed in Fuzzy Bird Sonata; however, he does not limit himself to a single style. This unique style with some technical challenges attracts saxophonists and audiences. An analysis of Fuzzy Bird Sonata is provided in order to have a better understanding of the piece and to address performance practice issues. Also various interpretations are examined by comparing available recordings of Sugawa, Nicolas Prost, and Rob Buckland.

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