La entrada [TÉSIS DOCTORAL] MARCEL MIHALOVICI: Una evaluación crítica de sus trabajos solistas y de cámara para clarinete, un recital de conferencias a cargo de Garry Windel Evans se publicó primero en Adolphesax.

ABSTRACT

The music of Russian composer Edison Denisov (1929-1996) has not been widely studied by music theorists in the United States. He was one of the student composers who came of age in the Soviet Union during the period following Stalin’s death. During this time, young composers began experimenting with some of the modernist approaches to composition found in Europe and America. In this dissertation, I have chosen to focus on one specific aspect of Denisov’s approach to serial composition. My goals are twofold.
First, my fundamental objective will be to give analytical attention to what I strongly believe is an important, though neglected, repertoire. Second, the dissertation explores technical issues involving multiple-row serialism in general, and demonstrates the utility of my own analytical approach developed in the study of this music.

The dissertation is divided into two large parts. The first, comprising Chapters 1-3 serves to set up a music-theoretic backdrop against which Denisov’s serial music might be profitably examined. Chapter 1 gives the reader a sense of the cultural, political and societal situation in which Denisov and his student colleagues found themselves. This chapter also provides some general comments about Denisov’s highly varied compositional style over the course of his career. Chapter 2 presents an annotated translation of a chapter from Svetlana Kurbatskaya’s book, Seriynaya muzïka: voprosï istorii, teorii, estetiki [Serial Music: Questions of History, Theory, Aesthetics]. Written in 1996, this book has the interesting distinction of being the first Russian-language book dedicated entirely to the topic of serial music. This chapter also uses many of Kurbatskaya’s concepts in an analysis of Andrey Volkonsky’s piece Musica Stricta (1956-1957). Generally accepted as the first piece of serial music composed in the Soviet Union, this piece occupies an important place in the history of Soviet music, and is one that Denisov knew well. In Chapter 3, I move to a discussion of some of the general issues of multiple-row serialism. Within this chapter, I introduce a new analytical device, the interval-class succession graph, which can illuminate Denisov’s music by offering a way of conceptualizing the structure of a twelve-tone row which heretofore has been unexplored.

Chapters 4 through 7 make up the second part of the dissertation: the analytical discussion of three specific pieces involving multiple twelve-tone rows. The pieces are the following: the first of Five Etudes for Solo Bassoon (1983), and the finales of Sonata for Alto Saxophone and Piano (1970) and Octet for Winds (1991).

La entrada Multiple-Row Seialism in Three Works by Edison Denisov. Author: Zachary A. Cairns se publicó primero en Adolphesax.

Title: A Performance Analysis of Saxophone Trios By William Albright and Daniel Schnyder

Author: William Ross Gillespie
Thesis Chair: Dr. Keith R. Young
Thesis Committee Members: Dr. Jason Worzbyt

Dr. Matthew Baumer

While there is a plethora of music for solo saxophone, saxophone with piano, and saxophone quartet, the repertory for saxophone in a mixed chamber ensemble is still very limited. This document provides a formal analysis and brief harmonic analysis for two important pieces for mixed chamber ensemble: Worlds Beyond by Daniel Schnyder and Pit Band by William Albright. It also includes performance techniques for the saxophone player, as well as rehearsal techniques for the full ensemble.

This document includes an interview with the composer Daniel Schnyder as well as biographical information on William Albright. Both composers have written numerous works for the saxophone, and they view the saxophone from opposite ends of the compositional spectrum.

The purpose of this project is to gain insight and experience in the performance of modern chamber ensemble music. It also provides important performance information to others who wish to perform these pieces.

La entrada A Performance Analysis of Saxophone Trios By William Albright and Daniel Schnyder by William Ross Gilespie se publicó primero en Adolphesax.

ABSTRACT
Title of Dissertation: SAXOPHONE SONATAS 1980-2010

Timothy J. Powell, Doctor of Musical Arts, 2012

Dissertation directed by: Dr. Michael Votta School of Music

The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers.

The saxophone had developed a unique voice by the middle of the twentieth century in both Europe and in the United States. European composers such as Claude Debussy, Florent Schmidt, Jacques Ibert, Darius Milhaud, Alexander Glazounov, Erwin Schulhoff and Bernard Heiden recognized the potential and beauty of the instrument, while the saxophone had found quite a different niche in vaudeville, jazz, and military bands in the United States. If not for the dynamic performances by concert saxophonist such as Marcel Mule, Sigurd Rascher, Jean-Marie Londeix,

Daniel Deffayet, Cecil Lesson, Larry Teal, Eugene Rousseau, Fredrick Hemke and Donald Sinta, the timbral possibilities and technical virtuosity of the saxophone would not have been discovered. The awe inspiring performances by these soloists led to the commissioning of a multitude of works by composers looking to expand the sonic possibilities of this relatively new instrument. Through the 1970’s American composers such as Leslie Bassett, Paul Creston, Henry Brant, Robert Muczynski, and Karel Husa were writing significant works for the saxophone, while European composers such as Ingolf Dahl, Edison Denisov, Alfred Desenclos, Henri Tomasi and Marius Constant were each making their own contributions, all leading to a significant quantity of repertoire that met the quality demands set by the performers.

The compositions chosen for this dissertation project were selected after numerous performance, pragmatic, programming and pedagogical considerations were taken into account. The three recitals occurred on: March 7, 2010, December 10, 2010 and May 1, 2011 in either the Gildenhorn Recital Hall or Lecture Hall 2100.

La entrada SAXOPHONE SONATAS 1980-2010 by Timothy J. Powell se publicó primero en Adolphesax.

Abstract

Adolphe Sax developed in Paris in the early 1840s a family of brass instruments, the saxhorns, which gained an immediate popularity in France, Britain and other parts of the world. The originality of saxhorns was challenged at the time through long-lasting litigations, and is still questioned by many researchers. This thesis investigates the development of the saxhorn from an organological standpoint. Saxhorns are examined in comparison to instruments predating them by other makers, along with relevant archival material (patents, lawsuit minutes, daily press, publicity material etc.) so as to reveal whether the allegations against their originality were sound. It is noticed that idiosyncrasies of intellectual property law of the time facilitated a strong interaction between musical instrument makers particularly of France and Britain. Instruments examined are Adolphe Sax saxhorns, saxhorns by other contemporary makers, mainly French and British, but not exclusively, as well as a number of related instruments, made before and after the development of Sax’s saxhorns. The assertions of Sax’s rivals are not fully confirmed based on the analysis of instrument measurements. It is also argued that the saxotromba family, so far considered extinct, is in fact represented by two members in the saxhorn family, the alto and the baritone.

A number of related instruments emerged around the middle of the nineteenth century in various wraps and with different names. These are compared to saxhorns and classified according to bore-profile properties. Only certain groups were distinct, whereas most were essentially saxhorns in different forms. Sax’s brasswind production as a whole is reviewed not only as an enumeration of his developments, but also to provide an assessment of the genuine innovation in his work.

La entrada Adolphe Sax’s Brasswind Production with a Focus on Saxhorns and Related Instruments by Evgenia Mitroulia se publicó primero en Adolphesax.

PUBLIC ABSTRACT

Frank Martin’s Ballade for saxophone and orchestra (1938) is an important piece in the saxophone’s repertoire, but it has received little attention from music scholars. It represents one of the Swiss composer’s first works in which he settled into the compositional style of his maturity—a style grounded in balancing conservative and modern compositional practices. This document offers the first detailed analytical study of the saxophone Ballade.

Much has been written about the interplay of dodecaphonic (twelve-tone) and tonal elements in Martin’s mature music. Composers often use twelve-tone practices as a way to systematically organize their music and circumvent tonal references by honoring a series of rigid guidelines established by Arnold Schoenberg in the 1920s. Martin incorporated many dodecaphonic practices into his mature style but refused to do so at the expense of his deeply held convictions regarding tonal harmony in music. This analysis of the saxophone Ballade presents a refined assessment of Martin’s twelve-tone practices, especially as twelve-tone, tonally-functional, and non-functional harmonic features of his music interact. In this regard, Martin’s dodecaphonic aesthetic shares a stylistic kinship with the music of Schoenberg’s disciple, Alban Berg, that has not been closely examined in the literature. This connection is demonstrated through a comparison of dodecaphonic practices in the saxophone Ballade with those used in Berg’s Lyric Suite. Finally, an appendix details a few suggestions for possible adaptations to the saxophone part based on those made by Martin in his arrangements of the work for flute and basset horn.

La entrada DODECAPHONIC PRACTICES AND TONAL IDIOMS IN FRANK MARTIN’S BALLADE FOR SAXOPHONE AND ORCHESTRA by Ryan Joseph Smith se publicó primero en Adolphesax.

ABSTRACT

Saxophonists aspiring to perform significant classical repertoire will quickly discover the challenges of high register passages in the third and fourth registers. Many of the early saxophone concerti, namely those composed between 1930-1960, are the foundation of the saxophone’s solo repertoire, and have guided composers and performers alike to explore the capabilities of the instrument in this regard.1 All saxophonists face the great task of representing these works with the artistic integrity their composers intended and can therefore benefit from an anthology that contains selected high register passages in their correct context, unaltered by unorthodox performance practice, subjective reasoning, or publication error.

This treatise examines high register passages from the alto saxophone concerti of Lars-Erik Larsson, Jacques Ibert, Frank Martin, Henry Brant, Carl Anton Wirth, Ingolf Dahl, Erland von Koch, and Frank Erickson. Historical and analytical facts regarding each composer and work are given, and the included concerti are taken from the most current published editions available.

La entrada High Register Excerpts of Selected Alto Saxophone Concerti: A Critical Anthology by Adam D. Muller se publicó primero en Adolphesax.

La entrada Poe & Debussy and their Rapsodie by Dr. James R. Noyes se publicó primero en Adolphesax.

La entrada La influencia de los compositores japoneses en el desarrollo del repertorio para saxofón y la verdadera importancia de FUZZY BIRD Sonata de Takahashi YOSHIMATSU. Autor: Chiaki Hanafusa (INGLÉS) se publicó primero en Adolphesax.

En este trabajo seguiremos la evolución del saxofón, desde sus inicios como instrumento de refuerzo dentro de la orquesta sinfónica hasta la época actual donde ha alcanzado una singularidad técnica y expresiva. Aunque desde sus orígenes el instrumento causó curiosidad y fascinación entre los compositores, el desconocimiento de su técnica provocó que la mayoría de obras estuvieran influenciadas por lenguajes de otros instrumentos orquestales. Por suerte, a lo largo de la historia el lenguaje saxofonístico clásico ha ido evolucionando gracias a la colaboración entre intérpretes y compositores, hasta convertirse en algo propio y único, consiguiendo así explotar al máximo las capacidades de este instrumento y su versatilidad.

ÍNDICE

1. INTRODUCCIÓN.

2. HISTORIA.

    2.1. Creación de un nuevo instrumento.

    2.2. Dificultades en la difusión del saxofón.

3. ORQUESTACIÓN.

    3.1. Influencia de los tratados de orquestación en el repertorio del saxo y en la actitud de los compositores hacia él.

    3.2. Ficha técnica del saxo desde el punto de vista de un saxofonista actual.

4. REPERTORIO TRADICIONAL DEL SAXO CLÁSICO.

    4.1. La influencia de la concepción del saxo de los compositores en el repertorio tradicional.

        4.1.1. El lirismo de la cuerda.

        4.1.2. La potencia del viento metal.

        4.1.3. La agilidad del viento madera.

    4.2. Cometido del saxo en diferentes formaciones.

5. EL SAXO CLÁSICO ACTUAL.

    5.1. Un nuevo lenguaje.

    5.2. Mauricio Sotelo, compositor.

6. CONCLUSIONES.

BIBLIOGRAFÍA.

ANEXOS.

     1. Entrevista a Mauricio Sotelo.

Artículo realizado por: Nahikari Oloritz

La entrada El Saxofón en la música clásica: en busca de una escritura idiomática por Nahikari Oloritz se publicó primero en Adolphesax.

Teaching Extended Techniques on the Saxophone: A Comparison of Methods

Mathew J. Taylor University of Miami, ma.taylor.j@gmail.com

La entrada TEACHING EXTENDED TECHNIQUES ON THE SAXOPHONE: A COMPARISON OF METHODS By Matthew Jeffery Taylor se publicó primero en Adolphesax.

Autor: DIEGO ALEJANDRO TUNJANO ROMERO 

PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES CARREARA DE ESTUDIOS MUSICALES BOGOTÁ D.C. 2012

La entrada La influencia del Jazz en el CONCERTINO DA CAMERA para Saxofón y once instrumentos de Jaques Ibert se publicó primero en Adolphesax.

Norberto López Núñez

Asociación de Compositores e Investigadores de Música de Murcia (CIMMA)
El presente artículo tiene por finalidad conocer la utilización de los libros para saxofón de Israel Mira como recurso metodológico por parte de los docentes de saxofón en la Región de Murcia, así como destacar los más utilizados. Se ha realizado un estudio observacional y transversal. La muestra consta de 24 profesores que imparten docencia en 38 centros de la Región de Murcia. Como instrumento de recogida de datos hemos aplicado un cuestionario de diseño y elaboración propia. Los resultados revelan que el 87,5% de la muestra afirma sí utilizar los libros de saxofón de Israel Mira como recurso metodológico en su práctica docente, siendo los más utilizados los volúmenes 1 y 2 de la colección de libros “Cómo sonar el saxofón”.
Palabras clave: Saxofón, Israel Mira, Recursos metodológicos. Abstract This article aims to know the use of books saxophone Israel Watch as methodological resource by teachers in saxophone in the Region of Murcia, as well as highlighting the most used. We performed a cross-sectional observational study. The sample consists of 24 professors teaching in 38 schools in the region of Murcia. As data collection instrument we applied a questionnaire design and own calculations. The results show that 87.5% of the sample said yes use books saxophone Israel Watch as methodological resource in their teaching practice, the most used volumes 1 and 2 of the book series “How to blow the saxophone”.
Keywords: Saxophone, Israel Mira, Methodological resources.

Fecha de recepción: 31/05/2016

Fecha de publicación: 13/08/2016

La entrada ISRAEL MIRA: Estudio sobre la utilización de sus libros para saxofón como recurso metodológico en la región de Murcia se publicó primero en Adolphesax.

Christian Lauba
1952 – Sfax, Tunisia
Conservatory of Bordeaux
Michel Fusté-Lambezat
Collaborations with Jean-Marie Londeix
Saxophone professor (retired) at Bordeaux
Jean Matitia
His other “name” for rag-time compositions
Volume One:
Alto Saxophone
Balafon 
Circular breathing and extremely soft dynamics
African wooden xylophone
17 – 19 keys (notes)
Strung together on a frame with a resonator beneath each key
Etude has 19 keys (notes)
Multiphonics 
Londeix
Kientzy
Subtone
Savane
Sanza
Jungle
Volume Two:
Soprano and Tenor Saxophone
Tadj
(soprano saxophone)
Short for Tajikistan
Three different modes
Three different attacks
Pentatonic scales
with quartet tones and multiphonics
Other contemporary techniques
Not the main focus
Gyn
(tenor saxophone)
Vir
(tenor saxophone)
Volume Three:
Duet for Soprano Saxophones
Ars
“Recreate an imaginary ‘Middle Age'”
Fourths and Fifths
Variety of tempo changes
Ars Antiqua (Ancient Art)
No vibrato
‘Natural’ manner
Ars Nova (New Art)
Multiphonics
Quarter tones
Volume Four:
Baritone Saxophone
Bat
“Grand etude based upon tremolos, trills, melodic glissandi and quarter tones”
Batterie (trill), battement (beating), and baritone
Wide intervals
Depicts bats flying and communicating
Longest etude (13:45)
Nine Etudes
Four volumes
Four voices of the saxophone family
Commissioned in 1992 for the Bordeaux saxophone studio
Composed in two years
Focusing on the saxophone as an artistic instrument
Extended techniques
Why Do They Matter?
Promoting these etudes via Londeix
Incorporating these etudes in study
Solo
Auditions
Performances
Competitions
Demonstrating contemporary techniques
Program music

La entrada Los nueve estudios de Saxofón de Christian Lauba se publicó primero en Adolphesax.

Ésta es la poesía con la que Sanguineti describe sus impresiones al escuchar, en 1994, la interpretación de la serie Sequenzas y más concretamente de la sequenza VIIa para oboe, recogiendo claramente en ella la finalidad y sensación descriptiva que le sugiere la música. Berio escribe la secuencia VIIa para oboe solo en 1969 y la dedica a Heinz Holliguer.

De ésta nacerá posteriormente la secuencia VIIb, para saxofón soprano solo, en 1993 para Claude Delangle. Las secuencias son una serie de obras para instrumentos solo en las que se emplea al límite extremo las técnicas del virtuosismo, arrancando los instrumentos de su tradición, ampliándolos en extensión y posibilidades técnicas y musicales. La primera es de 1958 para flauta y seguirá escribiendo hasta su muerte. Inventa, en un juego de manipulaciones y metamorfosis, formas nuevas, nuevos recursos. Sus raíces se encuentran en el serialismo, aunque dicho estilo se notará en forma de pinceladas (música muy puntiaguda, cromática y rítmicamente difícil).

      

Y a partir de este momento es donde aparecen técnicas contemporáneas aplicadas a conseguir esas densidades sonoras: los frulatti añadirán otro perfil, así como los trémolos harán la misma función y los dobles trinos (comparamos con el trabajo en Sinfonía del que hemos hablado al inicio con el juego de las voces y los idiomas, unos encima de otros). Si combinamos todos estos elementos a la vez, se produce una textura justo en la parte central de la obra, muy densa y que generará que se tenga que volver al sonido inicial mediante la inversión del proceso: en vez de acumular lo que se tratará es de quitar niveles hasta conseguir de nuevo el sonido puro del do# (de nuevo nos aparece el concepto de abrir-cerrar de la obra), hasta volver de nuevo a la nada. El perfil melódico general de la pieza quedará de la siguiente forma:

Realización David Pons. Maquetación y programación Adolphesax.com.

La entrada Sequenza VIIb de Luciano Berio se publicó primero en Adolphesax.