The young age of the saxophone in the existence of the music world has influenced the instrument���s repertoire and programs to be versatile in genres and stylistic influences. This program features styles from several time periods and cultures including 20th and 21st century contemporary saxophone and piano duets, Brazilian choro, electronic music, and jazz. The nature of the instrument also allows pieces written for other instruments to take a different characteristic and open new meaning to a piece when played on the saxophone. For example, the element of passion in Brahms���s Sonata in F minor No. 1 for clarinet takes on new form when played on the saxophone. The goal of the program is to feature both music that the saxophone is important in creating, and that is important in the existence of the saxophone as a solo and ensemble instrument. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 81-84). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004 & res_dat=xri:pqdiss & rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation & rft_dat=xri:pqdiss:MR32037.

Wings / Joan Tower -- Amour / Karlheinz Stockhausen -- Musique legere / Hyekyung Lee -- Sonata / William Albright. / text

Sonate op. 166 / Camille Saint-Saens -- Chance designs / Randall Snyder -- Rapsodie / Claude Debussy -- Sonate / Edison Denisov -- Fantasia / Heitor Villa-Lobos. / text

Five colors for saxophone quartet / Alex Heppelmann -- Three preludes / Kendra Kestner -- La casita de mis viejos / Juan Carlos Cobian -- In C / Terry Riley. / text

Title from accompanying document. / B. Rohrer, saxophone ; F. Proctor, piano and organ ; R. Muse, piano ; C. Miller, piano ; S. Finck, marimba ; F. Sidorfsky, clarinet ; D. Bakke, violin. / Digitized by Kansas Correctional Industries

The first saxophonist to give a New York Town Hall recital and one of the earliest to appear as a soloist with a major American symphony orchestra, Dr. Cecil Leeson devoted his life to promoting the saxophone as an instrument capable of serious musical expression. Leeson was born in Cando, North Dakota, in December 1902 and,. although he didn't begin playing the saxophone until age seventeen, he nevertheless enrolled at Dana's Musical Institute in Warren, Ohio, in September 1921 as a saxophone major. With his enrollment in that year, he initiated a career as a concert soloist on an instrument previously associated primarily with concert and military bands, vaudeville, and the emerging jazz movement. Although performers such as Elise Hall of the Boston Orchestral Society, Jascha Guu ehich, H. Benne Henton, Tom Brown and the Six Brown Brothers, and Rudy Wiedoeft made tremendous gains in popularizing the saxophone in this country, when Leeson began musical study at Dana's Institute, the saxophone could claim no serious concert performers, no stylistic or tonal traditions on which to build, and no concert repertory.The purpose of this dissertation was to document the circumstances of the formative years of the concert saxophone in America, beginning in 1921 with Leeson's enrollment in Dana's Musical Institute and ending in 11941 with the commission of the Paul Creston Concerto. This marked what Leeson saw as the completion of a body of literature for the saxophone comprising works in the most important musical categories: sonatas, concertos, quartets, and saxophone with string quartet. The dissertation serves as a source of original research concerning the literature commissioned and performed by him between 1921 and 1941; it concludes with an epilogue containing a brief account of Leeson's activities from 1941 up to the time of his death in 1989. The source of this material was interviews conducted between the author and Cecil Leeson between 1981 and 1988 supported, whenever possible, with information taken from newspaper articles, essays, programs, and other published documents. Transcripts of interviews are included in the appendix. / School of Music

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.

Title from accompanying document. / C. Massimino, alto saxophone ; S.E. Royall, piano ; A. Westgate, harpsichord and celeste ; V. Pugh, violoncello ; D. Nottingham-Heerman, mezzo-sop. ; B. Dropkin, guitar ; K. Fensholt, oboe ; L. Tharpe, flute ; F. Schwab, harp ; J. Rahjten, audio engineer. / Digitized by Kansas Correctional Industries

Pierre-Philippe Bauzin (1933-2005) was a skilled keyboard performer, improviser, and composer. By way of his close personal friendship with renowned saxophonist Jean-Marie Londeix, Bauzin began dedicating, composing, and often times performing music for saxophone with Londeix, beginning in 1959. The results of this friendship produced eleven original works for saxophone with diverse instrumentation, ranging from solo compositions to large ensembles. Due to Bauzin's preference for improvising the piano accompaniments of his music on each performance, however, a majority of his compositions were thought to be incomplete or lost. This study surveys Bauzin's complete opus for saxophone by way of both his published works, and the author's rediscovery of the manuscripts to these previously assumed lost compositions for saxophone. The pieces studied are Sonata no. 1 (1959), Poème (1960), Cinq Pièces Breves en Forme de Musique (1960), Esquisses (1967), Divertimento (1968), and Quatuor no. 1 (1962). In addition, chapter 8 provides information regarding other compositions for saxophone by Bauzin that did not survive in their completed form. The survey of each work contains information pertaining to creation, performances of significance in saxophone history, and compositional techniques present within each work that can be used to identify the components of Bauzin's unique compositional style.