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Link to Thesis: http://hdl.handle.net/2123/14503

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Abstract/Summary/Outline:

Since the beginning of the twentieth century, classical saxophone composers have consistently looked for ways to blur the lines that divide the jazz and the classical genres by creating works that borrow musical elements from the other. This means classical saxophonists are presented with a challenge that other classical musicians rarely have to face – interpreting jazz influenced classical works with only classical training. In recognising the need for classical saxophonist to acquire these interpretive skills, researchers and pedagogues have begun exploring ways of integrating both classical and jazz styles into saxophone practice routines. While the current literature in this field acknowledges the benefits and challenges of moving from one style to another and offer glimpses of technical work that might help achieve such fluency, little research has gone into charting out areas of agreement that might be considered “best practice” in relation to the acquisition of multi-stylistic fluency on the saxophone and even less has been undertaken in terms of unpacking these areas of agreement in relation to pedagogical approach. This thesis attempts to find ways of improving the current pedagogical practice for multistylistic fluency on saxophone by seeking the advice of prominent artists in this field within Sydney in the form of a group discussion. Based on the data from the group discussion, agreements and some pedagogical strategies for achieving multi-stylistic fluency on saxophone have been charted out. I have then unpacked these strategies in relation to a series of music education studies on the efficacy of modelling and put forth several evidence based lesson plans for more effectively implementing these strategies in one-to-one studio teaching.

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