Abstract Jeanine Rueff ́s Sonata is a dodecaphonic piece for an unaccompanied saxophone. The aim of this thesis is two fold: First I will do an analysis of the Sonata to try to discover if she used some characteristic series (original, inverted, retrograde, inverted-retrograde...) in her style or, otherwise, she wrote free form. Then, I am going to talk about this technique and the evolution from classical music to atonality and, eventually, I am going to perform the piece in my final master recital. Key words: Saxophone, Jeanine Rueff, twelve-tone technique, classical saxophone, analysis, musical research, Daniel Deffayet.

In the overall academic study of the saxophone and its history there is a considerable lack of integration in how the technological advances of the saxophone enabled the eminent virtuosi of the repertory to accomplish the challenges of saxophone technique and style. This dissertation explores the technological development of the saxophone from when the instrument was first invented in the 1850s to the 1950s. Concurrent with this investigation, the trajectory of the major repertory of the saxophone is also plotted with the technological developments of each era. This dissertation aims to synthesise and study these two aspects contemporaneously to achieve viable theories to explain the effect that saxophone manufacturers of their particular eras had on the expansion of the classical saxophone repertory. As saxophone manufacturers expanded and diversified their approach in instrument construction, the players started to gain more facility with aspects like altissimo and intonation to aid them to play the repertoire proficiently. As a result, standards in the course of the first century of the saxophone’s existence gradually become higher. This dissertation is grounded in an assortment of secondary historical sources and the concepts that surround them. This work aims to aid saxophone players to not only understand the development of their instrument and repertory, but also the concepts and utilisation of vintage saxophones of previous eras. / Dissertation (MMus)--University of Pretoria, 2014. / lk2014 / Music / MMus / Unrestricted

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I det här arbetet har jag sett på Fernande Decrucks Sonate en Ut# och utforskat saxofonens position i den klassiska musiktraditionen. Sonate en Ut# är en sonat för saxofon (eller viola) och orkester av den franska kvinnliga organisten och kompositören Fernande Decruck (1896–1954). Syftet med arbetet var att som saxofonist instudera och interpretera sonaten och att reflektera över saxofonen som klassiskt instrument. Saxofon är ett träblåsinstrument skapat av den belgiska instrumentmakaren Adolphe Sax, som tog patent på instrumentet i 1846. Trots att saxofonens klassiska repertoar är relativt stor har inte saxofonen fått fullständigt genomslag som ett klassiskt instrument och räknas ofta som ett jazzinstrument. Under mitt arbete har jag använt mig av partitur, en inspelning, litterära källor och nätresurser till analysen och agogiska tekniker till instuderingen. Jag upptäckte att saxofonen har potential att fungera i ett klassiskt samspel med rätt teknik och att saxofonen har potential att föra den klassiska musiken framåt. / In this study I have looked at Fernande Decruck's Sonate en Ut# and explored the position of the saxophone in the classical music tradition. Sonate en Ut# is a sonata for saxophone (or viola) and orchestra by the French female organist and composer Fernande Decruck (1896-1954). The purpose of the study was to interpret the sonata as a saxophonist and to reflect on the saxophone as a classical instrument. The saxophone is a woodwind instrument created by the Belgian instrument maker Adolphe Sax, who took out a patent for the instrument in 1846. Although the saxophone's classical repertoire is relatively large, the saxophone has not gained full recognition as a classical instrument and is often considered a jazz instrument. During my study I have used scores, a recording, literary sources and online resources for the analysis and agogic techniques for the interpretive work. I discovered that the saxophone has the potential to work in a classical ensemble with the right technique and that the saxophone has the potential to move classical music forward.