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.

John Philip Sousa conducted his professional band from September 26, 1892, until his death in 1932. During that time the Sousa Band became one of the premier musical organizations in the world, recognized for its consistently high level of musicianship and for its stunning instrumental and vocal soloists. Ten saxophonists performed solos with the Sousa Band: Edward Lefebre (1893-94), Jean Moeremans (1894-1900, 1902-1905), Ralph Lick (1917), H. Benne Henton (1919-20), Jascha Gurewich (1920-21), Anthony D'Ortenzio (1921), Frederick Bayers (1923), Richard Gooding (1924), Harold Stephens (1925-26), and Edward Heney (1924-1930). These men were some of the most influential concert saxophonists performing during the years after the death of Adolphe Sax in 1894 until the development of the solo careers of Cecil Leeson, Marcel Mule, Sigurd Rascher and Larry Teal in the 1930's. 518 solo appearances by Sousa's saxophone soloists and over 60 different compositions have been documented through concert programs, concert reviews, and previews.

Restless Soul is composed of observational and expository style to depict a culture of youth, strength, and passion. The film captures an improvising musician and composer named Garrett Wingfield, who expresses spontaneous sound reflected in his mind, body and spirit. By working with his music friends, he releases his creative energies through his compositions and his different types of saxophones. The documentary allows its audience to experience the youth culture in a postmodern world.

The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs. / School of Music