Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Steven Stusek; submitted to the School of Music. Includes bibliographical references (p. 62-64).

The first movement material is presented by the ensemble and subsequently developed by the saxophone. A majority of the saxophone passages are supported by the ensemble with unaccompanied solo passages kept to a minimum. The various sections are based more on differences in pitch and rhythm than orchestration and harmony.

No description available.

Despite being one of the instruments outlined in Aldophe Sax's original patent for the saxophone, and commercially available since 1849, the sopranino saxophone was generally unaccepted as a fully-fledged instrument until the late 20th century, existing solely as a novelty or a rare member of the saxophone ensemble. As such, there are few saxophonist who utilize the instrument, and the literature for the sopranino saxophone exists primarily in the contemporary idiom. Of the contemporary works for sopranino saxophone, one of the most well-known pieces is Chaya Czernowin's The Last Leaf (2011/12). While Czernowin initially conceived this work for solo oboe, she subsequently arranged a version for sopranino saxophone. Since then, it has been performed many times and recorded by several saxophonists including Ryan Muncy and Patrick Stadler. Through an examination of the score utilizing a variety of sopranino saxophone-centric contemporary resources alongside an interview with Czernowin herself, this dissertation provides the first extant performance guide to the sopranino saxophone edition of The Last Leaf, with the purpose of providing any saxophonists wishing to attempt this work with the information of Czernowin's intention for the piece and how to implement the techniques necessary for a performance.

abstract: This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019. / Dissertation/Thesis / Saxophone Quartet No. 2 by Frank Nawrot / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 1. All Together, Now / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 2. Play Pretty / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 3. A Minute Past Crazy / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 4. Is This Funky? / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 5. No, But This Is / Rhythm and Tone Study #3 by Josh Bennett / Fragments of A Narrative by Ben Stevenson - Mvt 1. Skittish / Fragments of A Narrative by Ben Stevenson - Mvt 2. Tense / Fragments of A Narrative by Ben Stevenson - Mvt 3. Rock Forever / Tarkus by Emerson, Lake & Palmer - Arranged by Pete Ford / Doctoral Dissertation Music 2019

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

Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 86-87). Available also in a digital version from Dissertation Abstracts.

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.

West End Avenue / Jeff Campbell -- Young at heart / Johnny Richards -- Y todavia la quiero / Joe Henderson -- Big house / Rick Dimuzio -- Isfahan / Billy Strayhorn -- I love Paris / Cole Porter. / text