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Extended techniques for saxophone: an approach through musical examples

Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very…

The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013
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An ethnology of Arizona early music performers in the twentieth century

Description
ABSTRACT A cultural overview of the so-called "early music movement" in Arizona, specifically the musicians who performed early music in the mid-to-late twentieth century, has never been undertaken. In applying ethnographic methods to Western art music, Kay Kaufman Shelemay suggests, in her 2001 article, "Toward an Ethnomusicology of the Early…

ABSTRACT A cultural overview of the so-called "early music movement" in Arizona, specifically the musicians who performed early music in the mid-to-late twentieth century, has never been undertaken. In applying ethnographic methods to Western art music, Kay Kaufman Shelemay suggests, in her 2001 article, "Toward an Ethnomusicology of the Early Music Movement," that a musical anthropology "would seem to hold great potential for the study of `Western music.'" In this paper I analyze and discuss issues related to "early music" in Arizona from roughly 1960 to 2008. In focusing primarily on the musicians themselves, I address issues in three primary areas: 1) the repertory and the so-called "early music revival;" 2) specific types of early music which have been presented in Arizona and the effects of economic factors; and 3) Arizona musicians' attitudes toward the repertory and their motivations for specializing in it. I then analyze Arizona musicians' involvement with both the early music repertory itself and with the community, identifying how musicians were exposed to early music and whether or not those first exposures began a long-lasting involvement with the repertory. In this section I also describe ways in which musicians define early music for themselves as well as analyze more critical areas such as musicians' formation of an "early music identity." I also asked informants to discuss how they see early music as being fundamentally different from other types of "classical" music and how they view their own places in that community of "difference." Finally, I compare musicians' thoughts on the "transformative" effect that some early music can have on performers and listeners and how that effect compares with similar phenomena in other types of Western art music.
ContributorsDe Fazio, James M (Author) / Haefer, John R (Thesis advisor) / Solis, Theodore (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2010