Magistro darbe tyrinėjamos skirtingos mokymo groti saksofonu mokyklos, jų metodų įvairovė ir efektyvumas pedagoginėje praktikoje. Informacijos apie saksofoną, jo specifiką ir mokymą groti lietuvių kalba nepakanka. Tyrimu siekiama atskleisti šiuo metu pedagogų naudojamas metodikas, nustatyti esančių mokyklų skirtumus, įvertinti vienų metodų pranašumą prieš kitus, siekiant ugdymo rezultatų. Tyrimas vykdomas remiantis iškelta hipotetine prielaida, kad dauguma Lietuvos pedagogų, mokydami jaunuosius saksofonininkus, iki šiol vadovaujasi senomis sovietinės mokyklos žiniomis. Tyrimo objektas – skirtingų saksofono mokyklų taikymas pedagoginiame darbe. Tyrimo tikslas yra nustatyti tarp Lietuvos pučiamųjų instrumentų bei saksofono specialybės pedagogų dominuojančią mokymo groti saksofonu metodiką, ištirti saksofono mokyklų svarbą ir metodų efektyvumą, jų įtaką mokinio muzikavimo kokybei. / The master thesis concerns different schools of saxophone training, a variety of their methodologies and effectiveness in educational practice. There is a lack of information on saxophone, its specificity and training in Lithuanian language, therefore, this research aims to expose current educational methodologies, indicate differences between several schools, and reveal the advantages of certain methods over the others in educational work. The research is based on the hypothetical assumption that a majority of Lithuanian teachers apply old-fashioned Soviet methodology in educating young saxophonists. The object of the research is the application of various saxophone training schools in educational practice. The aim of the research is to determine a dominant saxophone training methodology in Lithuanian music schools, explore the importance and method effectiveness of saxophone schools in regard to student‘s performance quality. Furthermore, the objectives of the research should reveal whether the saxophone teachers apply advanced methods as a means to foster quality music performance.

Thesis (M.M.)--Missouri State University, 2008. / "May 2008." Instrumentation: piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 clarinets in Bb, bass clarinet, 2 alto saxophones, tenor saxophone, bass saxophone, solo alto saxophone, 3 trumpets in Bb, 4 horns in F, 2 trombones, bass trombone, euphonium, tuba, timpani, percussion. Includes bibliographical references (leaves 64-68). Also available online.

Étude sur la collaboration et la participation active d’un saxophoniste-chercheur avec plusieurs compositeurs dans la création musicale mixte. Les musiques mixtes combinent un performeur jouant d’un instrument acoustique qui interagit avec des outils électroniques et informatiques, se faisant entendre par des hauts-parleurs. Nous comprenons la participation comme des multiples échanges humains intégrant l’écoute, l’instrument acoustique, l’électronique et les dernières technologies numériques dans la musique. Notre méthodologie s’est nourrie des sciences cognitives, de la systémique, de la recherche-action intégrale et systémique, de la cybernétique de second ordre, de l’opérationnel et de l’émergence contextuelle. Notre démarche propose une réflexion autour de quelques bouleversements de l’écoute musicale au XXe siècle et l’étude des musiques mixtes contemporaines sous le biais de l’approche multi-échelle. Nous faisons partie de notre objet d’étude tout en le modifiant dans un processus dynamique. Quelles connaissances musicales émergent de ces échanges de compétences et peuvent en être élargies grâce à cette rétroaction (feedback) multiple, en boucle créative ? Ces questions, avec nos sources de première main et l’inclusion du compositeur en tant qu’interprète ont fait émerger notre concept d’interprétation musicale participative. Nous proposons que l’analyse de nos propres collaborations peut apporter une connaissance originale sur les pièces musicales mixtes en question et développer une sorte de plasticité dans le faire musical. Comme démonstration, des morceaux ont été créées pendant nos recherches et sont analysées sous cette approche. / This research is about the collaboration of a saxophonist-researcher with several composers in electro acoustic music with saxophones. Mixed music combines a performer playing acoustic instruments (traditional or not) interacting with digital and electronics means of all sort of operations, time scales and technical configurations, diffused by loudspeakers. We understand participation in our case as human exchanges in musical digital environments, and as the creation of new links that didn’t exist before. Our research proposes a reflection on listening approaches through the XXst century and studying mixed music through the multi scale approach. The saxophonist gives a contribution, that enhance a creative perspective for each musical piece that influence the composers’ work. Which techniques and which musical knowledge can be exchanged and enlarged thanks to this multiple feedback ? The work on first sources, the competence exchanges between musicians during the many steps of their process of collaborative work construct what we call participatory interpretation in new music. In some aspects we get close to the integral and systemic action-research, since we take part in our study objet, and we modify it in a dynamic process. We propose that the analysis of the musical pieces from our collaborations can bring forth an original knowledge about them and enhance musical creativity. Participatory interpretation optimizes the musical results and explore new mixed “composable” spaces. As a demonstration, some pieces are though analyzed under this participatory perspective. Our research leads to a conclusion towards the idea of plasticity in music making.

In 1937, Gustav Bumcke (1876-1963) composed the Scherzo, op. 67 for alto saxophone and double-action pedal harp. Since then, over 50 duos were written for various members of the saxophone family and the pedal harp, yet most of this repertoire is rarely performed and many artists are not yet aware of it. This document investigates works that are (1) composed for two musicians: a harpist and a saxophonist; (2) intended for the double-action pedal harp; and (3) originally composed for this instrumentation (no transcriptions). In Part I, An Investigation of the Development of the Genre, pieces are introduced in chronological order, and placed in historical context. Composers such as Gustave Bumcke and Jean Absil wrote short tonal pieces for alto saxophone and harp. In 1969, Günther Tautenhahn composed the Elegy for tenor saxophone and harp, featuring disjunct melodies with wide intervals. In France, Yvonne Desportes and Ida Gotkovsky composed pieces for alto saxophone and harp. Their pieces are substantially longer in duration and have much higher technical demands for both instruments. During the 1980s composers such as Jacqueline Fontyn, Marc Tallet, and Griffith Rose used a variety of extended techniques and avant-garde notation. Mauricio Kagel's Zwei Akte from 1989 is the longest piece in the genre (c. 28 minutes), with pervasive use of extended techniques. During the 1990s composers wrote saxophone and harp duos involving the bass saxophone and the soprano saxophone. Composers such as Quinto Maganini, François Rossé, Armando Ghidoni, and Tomislav Hmeljak wrote pedagogical pieces, suitable for young and intermediate students. In Part II, Annotated Bibliography, 30 published, readily available works for saxophone and harp are presented. The annotation for each piece includes: title, composer (years), dedication, duration, publisher or contact information for obtaining the piece, type of saxophone used, saxophone criteria grade of difficulty chart, harp criteria grade of difficulty chart, and a short discussion of the piece's form, harmony (if applicable), and any outstanding characteristics.

No description available.

Percy Aldridge Grainger (1882-1961) was a prolific Australian-American composer whose cutting-edge musical works ushered performers, conductors, and audiences into the modern era with little regard for their comfort zones. Some of his most important work was the research, collection, and arranging of folk songs, particularly British folk songs. Grainger often set these folk songs for wind band, an ensemble for which he was a strong proponent. His works for band were some of the earliest to include prominent saxophone parts and solos. He was a vocal proponent of the saxophone family and is an important figure in the history of the instrument. Despite Grainger's outspoken love for the saxophone, he never composed any original solo repertoire for the instrument. The new, original composition Pictures of Percy: Suite for Soprano Saxophone and Piano (2023) was crafted in an effort to remediate this void within the saxophone repertory. The work includes new arrangements of Grainger's compositions as well original music. The work is intended to add some semblance of Grainger's compositional voice to the saxophone literature while also paying homage to his passion for the saxophone family and his influence on its history.

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

In this study the author addresses the problem of finding quality repertoire for young college-level saxophonists. By examining graded repertoire lists from a variety of college and university saxophone instructors, the author has compiled a list of 180 works for alto saxophone and piano. Twenty-four well-known works of a difficulty-level appropriate for freshman and sophomore players are identified and annotated. Each annotation consists of bibliographical information, a biographical sketch of the composer, a difficulty rating of eight elements of performance, a discussion of performance considerations, and a bibliography of available recordings. The eight elements of performance included in the difficulty rating are: Meter, key signatures, tempo, note-values, rhythm, articulation, range, and dynamic levels. Each of these facets is graded using a six-point difficulty scale. One work from the select list, Yvon Bourrel's Sonate Pour Saxophone Alto et Piano, has been analyzed in greater detail with regard to thematic material and key areas to provide in-depth information that, hopefully, will help the student gain a deeper understanding of that work and as a result perform the piece with greater artistry.

Juan Orrego-Salas has made a significant contribution to the world of Latin American music. One of the most well known composers from Chile, he has taught around the world and founded the Latin American Music Center at Indiana University. While at Indiana, Orrego-Salas began to write for the saxophone. To date, he has composed four chamber works for saxophone: Quattro Liriche Brevi, Opus 61 for alto saxophone and piano, Partita, Opus 100 for alto saxophone and piano trio, Secuencias, Opus 120 for alto saxophone and percussion, and Movimiento Concertante, Opus 123 for alto saxophone and string quartet. Orrego-Salas also included the alto saxophone in his scherzo for orchestra, Riley's Merriment, Opus 94. After a current biography of Juan Orrego-Salas, this document provides a history and performer's analysis of each of the chamber works including the discussion of any errata, where applicable. Included in the appendices are documents that performers or teachers interested in Orrego-Salas' works might find useful. These include a letter written by Orrego-Salas to the master class participants of Eugene Rousseau titled, "The Saxophone and Me" and key articles found on the Internet about Orrego-Salas during the research of this document. Perhaps a source for future research will be the saxophone excerpt from Riley's Merriment, Opus 94 or the list of Chilean saxophone music compiled by Roger Greenberg.

No description available.