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Since the first saxophone professor at the Paris Conservatory in 1858, saxophone instruction has primarily been a male-dominated field. Numerous sources detail the experiences, lives, and influence of male post-secondary saxophone instructors. Women have made great strides in the performance and instruction of the saxophone at the post-secondary level, but sources discussing their lives and experiences are limited. Saxophone instruction at the post-secondary level in the United States began in the late 1800s. As the instrument grew in popularity through the 20th century, more and more higher education institutions began incorporating the saxophone as an instrument for primary study. This increased the need for saxophone professors in the United States. In 1994, Elizabeth Zinn Ervin, became the first woman full professor. This was 40 years after the the first man, Larry Teal, held this rank. As of 2023, 15 women have achieved the rank of full professor. This document is intended to highlight several women saxophone instructors throughout the history of the instrument, and detail the thoughts and experiences of women saxophonists who have achieved the rank of full professor in the United States.

This work explores the impact of Barry Harris' 6th diminished scale on my musical expression in jazz. Through repetition, transcription, and interviews with experts like Richard Clements, I delved into the theory and its application. It proved to be a journey ranging from the daunting to the inspiring and informative. I have reflected on how this concept changes my perspective and approach to creating music. The work also highlights the gap between traditional jazz theory and Harris' philosophy, and how I navigate between them in my musical exploration. / <p><strong>Framförd musik:</strong></p><p>Sweat as Bear Meat – Johnny Hodges </p><p>Dizzy Atmosphere – Dizzy Gillespie</p><p>The Big Sound - Isac Schillberg</p><p>First Song – Charlie Haden</p><p>Moment’s Notice – John Coltrane</p><p>Ruby My Dear – Thelonious Monk </p><p>Sing a Song of Song – Kenny Garrett </p><p><strong>Medverkande:</strong></p><p>Milos Lindegren</p><p>Felix Kling </p><p>Johannes Bäckström</p><p>Axel Lidgren</p><p>Olle Ekelind</p>

Under mitt tredje år på Musikhögskolan Ingesund bestämmer jag mig för att åka på utbyte till Conservatorio Superior de Música de Canarias, Las Palmas, Gran Canaria. Det tredje läsåret ska vi skriva ett självständigt arbete om ett valfritt ämne inom musik. Jag valde att studera min inlärning av flageolettspel på barytonsaxofon, då jag hade hittat ett stycke för solo-barytonsaxofon och blåsorkester som gick upp på flageolett-tonerna. Att kunna spela flageoletter på saxofon är en kännedom som många anser som proffsigt. När jag sedan som saxofonlärare har dessa kunskaper om hur det är att lära sig spela flageoletter tror jag att det kommer ge mig en vidare synvinkel på problem som uppkomma. Syftet är att se hur jag designar mitt lärande och uppmärksammar de problem jag stöter på samt hur jag hanterar dessa. Jag har valt att studera detta ur ett designteoretiskt perspektiv med videoobservation samt komplimenterande anteckningar som metod där jag har fem filmer över en sex veckors period. I resultatdelen diskuterar jag hur jag designat mitt lärande samt vilka hinder jag stött på och hur jag hanterat dem. / During my third year at Ingesund School of Music I decided to engage in an exchange student program at the Canary Conservatory Superior of Music in Las Palmas, Gran Canaria. The third school year you´re assigned to write an independent self-study on an optional topic within music. I had chosen to study my learning of the altissimo register on the baritone saxophone, because I found a piece for baritone saxophone solo with wind band that has music that goes to the altissimo register. The knowledge of playing in the altissimo register is considered as a professional knowledge. Pursuing my career as a saxophone teacher and including this knowledge about learning of the altissimo register I think I will have a greater view of which problems you can find throughout the process. The purpose of the assignment is to see how I design my learning and pay attention to problems and see how I handle them. I have chosen to study this through a design theory perspective with video observation and complimentary notes as the method of this study which I got five films over a six weeks long period. In the result part I discus how I have designed my learning and which problems I did found and how I handled them.

Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.

Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.

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La présente thèse porte sur l’improvisation jazz, et plus particulièrement sur sa pratique sans accompagnement au saxophone. Cette pratique est efficace surtout pour les musiciens qui jouent des instruments monodiques, comme le saxophone. L’objectif est d’analyser la compétence de certains saxophonistes en ce qui concerne surtout l’habileté de bien utiliser mélodiquement le contenu harmonique présent dans l’ensemble des standards qui font partie intégrante du répertoire jazz. La démarche de recherche adoptée est constituée, dans un premier temps, d’une recherche de plusieurs points de vue chez différents musiciens de jazz reconnus mondialement qui ont intégré la pratique sans accompagnement systématiquement dans leur routine. Dans un deuxième temps, des transcriptions d’extraits d’improvisations sans accompagnement ont été réalisées, avec un approfondissement quant à la pratique du saxophoniste Chris Potter. Ces transcriptions, qui ont été faites au saxophone ténor (donc sur un instrument transpositeur en si bémol), ont été analysées théoriquement afin d’identifier la manière dont le saxophoniste intègre le concept d’improvisation harmonique. Après ces analyses théoriques, l’auteur présente son point de vue concernant les moyens utilisés par Chris Potter pour faire ressortir l’harmonie à travers la mélodie improvisée. L’étape suivante a consisté à l’appropriation des moyens liés à la pratique sans accompagnement en tant que saxophoniste, permettant de mieux intégrer les aspects harmoniques des standards étudiés pour améliorer la qualité des improvisations lors du jeu en groupe. Finalement, les résultats obtenus permettent d’observer que la pratique de l’improvisation jazz sans accompagnement à travers le concept d’improvisation harmonique améliore la performance dans une situation réelle de concert.