Woodwind doubling: A historical survey and examination of performance problems and practices between saxophones, clarinets and flutes.
Item
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Title
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Woodwind doubling: A historical survey and examination of performance problems and practices between saxophones, clarinets and flutes.
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Identifier
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AAI3204975
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identifier
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3204975
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Creator
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Joffe, Edward.
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Contributor
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Adviser: Maurice Peress
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Date
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2006
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Multi-instrumental performers on various brass and woodwind instruments were common throughout Western Europe between 1300-1850. These musicians were usually employed to perform in small ensembles at town and church ceremonial events, or in larger orchestras where composers used their diverse abilities to create greater variety in their compositions. However, it wasn't until the invention of the saxophone in 1846 by the Belgian instrument maker, Adolf Sax, that woodwind "doubling" was able to expand in new directions. Other woodwind players were able to adapt to this newest member of the woodwind family by applying some of the same techniques they had learned on the oboe, flute, clarinet, or bassoon and soon developed a high level of virtuosity and musicianship on the saxophone. The popularity of the saxophone family reached its peak in the United States during the 1920s and 1930s when its members were utilized in dance bands, jazz bands, radio orchestras, musical theater, Vaudeville, and Hollywood musical scores. Arrangers and composers incorporated the wide array of tone colors regularly available in the symphonic orchestra by making extensive use of woodwind doubling in these musical venues. This trend continued into the 1960s when these saxophone doublers were also used in television network staff orchestras, music for advertisements, and commercial recordings. However, beginning in the 1970s and continuing to the present, the changing tastes in popular music and music technologies have eliminated many of these jobs.;This dissertation will provide both the aspiring student and the professional player with a clear picture of the development and present state of this discipline, an understanding of the wide variety of musical styles that utilize doublers, an explanation of how to execute specific technical problems that woodwind doublers are likely to encounter, and a list of essential relevant writings, works, and recordings. The scope of this paper will be limited to performers of saxophones, clarinets and flutes.;The information herein was obtained through interviews with performers, conductors, music copyists, musical contractors, and arrangers. A multitude of musical trade publications, magazine and newspaper articles, dissertations, Internet online sources, and musical scores were also used.
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Type
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dissertation
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Source
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PQT Legacy Restricted.xlsx
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degree
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D.M.A.