Grimaldi is a synesthetic work composed of aural and visual media including noise, tone, electronic devices, lighting and theatrical events. It is designed for solo saxophone with an accompanying ensemble of eight wind instruments and four percussion. The most important aspect of the piece is its texture, which consists of constantly changing and interacting aural and visual events. The compositional process of Grimaldi began with the selection of a form constructed of two equal arches of unequal subdivision, and the designation of texture for each section. After these selections were made, the theatrical elements were selected, based on a traditional story about the clown Joseph Grimaldi (1787-1836). By gradually refining these general selections into specific notation, and by considering them as a whole rather than individually, consistent relationships were maintained.

Metaphor and Mimesis in an Animal Soundscape serves as a supplementary document for two pieces of contemporary concert music; HOWL, for viola, saxophone and fixed media, and Pastorale for viola and fixed media. Both works quote the second movement of Antonio Vivaldi's violin concerto, La Primavera. This quotation is used to support a musical program which explores the larger topic of metaphor in music. In addition, both pieces play with contemporary trends in music including, but not limited to, acoustic ecology and spectralism.

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Zou Xiangping is one of the most significant Chinese composers who writes music for the saxophone. These works, however, are not well-known in the classical saxophone repertoire. The purpose of this dissertation is to help international saxophonists develop an enlightened understanding and ultimately, performance of two selected pieces by Chinese composer Zou Xiangping (邹向平) (b. 1951), Images of Yalong River for Alto Saxophone and Piano (雅砻江印：为中音萨克斯管和钢琴) and Song of Chuanjiang River Boatman for Saxophone Quartet (川江纤夫之歌: 为萨克斯管四重奏) (2022). The compositional background, the relevant introduction about Chinese culture, the manner in which the composer combined this with Western compositional techniques, and comprehensive performance advice of each piece are provided.

In this project I investigate the impact of musical influences on listeners, particularly in performance and composition. The study is motivated by a personal quest to understand how musical inspirations shape proficiency on an instrument and compositional abilities. Five pieces with varied grooves, tempos, and harmonics were composed and performed on March 19, 2024, at the Royal Academy of Music in Stockholm to examine these influences. Audience feedback indicated recognizable connections to music from the 1950s and 1960s. Post-concert analysis revealed insights into the direct and indirect influences on the compositions, detailing the thought processes behind each piece. The discussion offers a comprehensive summary, linking the work to instrumental techniques and highlighting the development of skills in composition and leadership. This project has broadened my perception of composition, demonstrating increased versatility and providing new methods for future musical endeavors. / <p>Dark Keys - Erik Cappelin</p><p>Clownen Pucko - Erik Cappelin</p><p>Leach - Erik Cappelin</p><p>Song for Ture Björkman - Erik Cappelin</p><p>The Equalizer - Erik Cappelin</p><p></p><p>Medverkande musiker:</p><p>Eskil Larsson - Tenorsaxofon</p><p>Hampus Adami - Ventilbasun</p><p>Mattias Lindberg - Piano</p><p>Hugo Löf - Kontrabas</p><p>Erik Cappelin - Trummor</p><p></p>

American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

Many collegiate saxophone performance degree programs are overwhelmingly classical, adopting from other performance programs in the Western music tradition. However, there is a growing number of saxophone compositions that are “crossover” in nature. Crossover is a term used to describe the fusion of popular music styles in a classical setting. There is also evidence that collegiate music education as a whole is moving towards a more diverse curriculum, which emphasizes ethnomusicology. Due to this trend in composition and education, it is becoming increasingly important that saxophonists have the training of both classical and jazz disciplines. The problem is that while many colleges have saxophone majors, there is a strong divide between classical and jazz education. This leaves students in a Bachelor of Music in Saxophone Performance degree track without the ability to accurately perform crossover music or have the opportunity to perform jazz and other genres of music. The purpose of this study is to develop a crossover degree in saxophone performance by highlighting aspects of crossover saxophone repertoire and reviewing current university degree catalogs. The research in this study is meant to diagnose omissions in performance degree programs as far as crossover development and to create a new degree track for saxophonists in an effort to promote diverse performance ability.

Syftet med arbetet är att hjälpa lärare och elever att bättre förstå hur man lär sig spela ett nytt instrument. Med hjälp av videodokumenterade tillfällen och loggboksanteckningar granskas lärandet under tio veckor där målet är att bemästra saxofon så bra som möjligt. Studien grundar sig i ett designteoretiskt perspektiv med fokus på olika semiotiska resurser samt hur dessa påverkar lärandet. Lärandet sker i två kategorier där den ena är egen övning och den andra är lärarledda lektioner. Dessa två jämförs därefter mot varandra för att se på likheter och skillnader samt hur de påverkar inlärningen. / This study is conducted on the basis of improving students and teachers understanding of how to play a new instrument. And is done with the help of notes and video recorded practice sessions. The instrument is saxophone and the practice period are ten weeks. Design theory is the theoretical perspective of choice and a focus is set on how different semiotic resources affect learning. The project is structured around lessons with a teacher and self-practice, with the hopes of comparing the different processes against each other.