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A Pedagogical Study of the Saxophone Through the Lens of Acoustic Niche Hypothesisnicholas James Childs

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A Pedagogical Study of the Saxophone Through the Lens of Acoustic Niche Hypothesisnicholas James Childs Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 A Pedagogical Study of the Saxophone through the Lens of Acoustic Niche HypothesisNicholas James Childs Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PEDAGOGICAL STUDY OF THE SAXOPHONE THROUGH THE LENS OF ACOUSTIC NICHE HYPOTHESIS By NICHOLAS JAMES CHILDS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Copyright ã Nicholas Childs 2019 Nicholas Childs defended this treatise on April 19, 2019. The members of the supervisory committee were: Geoffrey Deibel Professor Directing Treatise Denise Von Glahn University Representative Deborah Bish Committee Member Jeffrey Keesecker Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the treatise has been approved in accordance with university requirements. ii TABLE OF CONTENTS Abstract ........................................................................................................................................... iv 1. SPECIALIZATION .................................................................................................................... 1 Saxophone Communities ............................................................................................................ 2 Classical ................................................................................................................................. 2 Jazz ......................................................................................................................................... 5 Niche Communities ............................................................................................................... 8 Acoustic Niche Theory ............................................................................................................... 9 2. HISTORICAL NARRATIVE .................................................................................................. 13 Part I - Intent ............................................................................................................................. 14 Part II – Into the Twentieth Century ......................................................................................... 22 E. H. Lefèbre ........................................................................................................................ 23 The Brown Brothers ............................................................................................................. 28 Part III – World Stage ............................................................................................................... 30 Mexico ................................................................................................................................. 31 China .................................................................................................................................... 34 3. TONAL PROFILE .................................................................................................................... 39 Manufacturing ........................................................................................................................... 39 Evolution of Tonal Profile ........................................................................................................ 43 Jazz ....................................................................................................................................... 43 Classical ............................................................................................................................... 49 Popular Imagination ............................................................................................................. 55 Non-Western Music ............................................................................................................. 57 4. PRACTICAL APPLICATION ................................................................................................. 60 Outline Sampling ................................................................................................................. 61 Conclusion ........................................................................................................................... 63 APPENDIX ................................................................................................................................... 65 A. SELECTED DISCOGRAPHY ................................................................................................. 65 References ..................................................................................................................................... 67 Biographical Sketch ....................................................................................................................... 73 iii ABSTRACT The purpose of this document is to construct a pedagogical model for which we can better teach the adaptation and versatility of the saxophone within the musical world. In my experience, there seems to be an absence of discussion regarding the rich historical diversity of the instrument. When considering the development of the saxophone it is usually within the scope of a particular musical style, most often through the genres of classical music or jaZZ. By narrowing our scope to the field that we inhabit we leave out some of the most innovative and interesting approaches to the instrument, and concepts that could potentially be integrated into our own performance practices. Through an examination of how the instrument has adapted in response to technological, social and aesthetic changes we gain insight into the flexibility of the instrument and begin to dismantle barriers that often define “schools of playing.” By establishing the saxophone’s history of adaptation, I build an argument that there is no singular correct approach to sound, only a rich variety of choices. Soundscape ecologist Bernard Krause populariZed the term “acoustic niche” which originated from his colleague Ruth Happel.1 Acoustic niche refers to the situation by which vocaliZing creatures within a particular environment alter their frequencies to compensate for sonic changes to their territory caused by encroaching other species including humans. He states that examining, “the diversity and structure of natural sounds from a rainforest forcefully demonstrates very special relationships of many insects, birds, mammals, and amphibians to each other.”2 The adaptation of creatures’ vocaliZations, rising and falling within certain frequency levels, is essential to their survival. Any “masking” or invasion by others threatens an 1 Bernie Krause, Wild Soundscapes: Discovering the Voice of the Natural World (Yale University Press: New Haven and London, 2002), 26. 2 Bernie Krause. “The Niche Hypothesis: How Animals Taught Us to Dance and Sing.” Wild Sanctuary, 1987. Accessed on March 17, 2019. http://www.appohigh.org/ourpages/auto/2010/12/21/52074732/niche.pdf.\ iv individual’s ability to locate food sources, communicate danger signals and attract mates. In this context, acoustic niche theory becomes a useful metaphor for the development, adaptation, and trajectories of the saxophone in the instrumental world. Since its invention in the mid-nineteenth century, the saxophone has regularly adapted and altered its tonal profile to carve a place in a diverse spectrum of genres and musical styles. The opening chapter discusses the landscape of the saxophone community as a whole. This includes the genres of classical and jaZZ as well as niche communities such as Carnatic and popular musics. In this chapter I frame the issue of “specialiZation” and provide background material on acoustic niche theory. The second chapter seeks to complicate and enrich the saxophone’s historical narrative in order to demonstrate the logic of various communities existing within. The third chapter begins with a discussion of technological changes made to the instrument since its invention. The remainder of chapter three explores a variety of diverse tonal profiles that exist within general communities such as classical, jaZZ, popular and non-Western musics. The final chapter considers a practical application of these discussions and presents a sample pedagogical method. v CHAPTER 1 SPECIALIZATION Despite being relatively late to the instrumental world, the saxophone has navigated a variety of musical genres and styles to overcome mounting opposition since the time of its invention. Today the instrument occupies all musical venues, performs in an eclectic array of styles and genres, and its flexibility has allowed it to integrate with indigenous musics across the world. Within the academic saxophone community, however, boundaries often arise between the broad structures of classical and jaZZ saxophone. While these boundaries do not alienate the instrument from its roles in popular and world musics, they hinder young saxophonists within the academy from exploring musics outside of their respective fields. The issue of specialiZation within these broadly defined communities of classical and jaZZ saxophone often breed insular factions of students that ultimately end up preventing the development of new and interesting tonal profiles.3 Not only does this isolation stifle imaginative or experimental
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