University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 Redefining the erP formance Degree Curriculum for the Crossover Saxophonist Ian M. Cruz University of Kentucky, [email protected] Author ORCID Identifier: http://orcid.org/0000-0002-3116-9058 Digital Object Identifier: https://doi.org/10.13023/ETD.2017.150 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Cruz, Ian M., "Redefining the erP formance Degree Curriculum for the Crossover Saxophonist" (2017). Theses and Dissertations--Music. 84. https://uknowledge.uky.edu/music_etds/84 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Ian M. Cruz, Student Miles Osland, Major Professor Dr. Michael Baker, Director of Graduate Studies REDEFINING THE PERFORMANCE DEGREE CURRICULUM FOR THE CROSSOVER SAXOPHONIST MUSICAL ARTS PROJECT A monograph submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in Performance in the College of Fine Arts at the University of Kentucky By Ian Michael Cruz Lawrenceburg, Kentucky Director: Miles Osland, Professor of Saxophone, Director of Jazz Studies Lexington, Kentucky 2017 Copyright © Ian Michael Cruz 2017 ABSTRACT REDEFINING THE PERFORMANCE DEGREE CURRICULUM FOR THE CROSSOVER SAXOPHONIST Many collegiate saxophone performance degree programs are overwhelmingly classical, adopting from other performance programs in the Western music tradition. However, there is a growing number of saxophone compositions that are “crossover” in nature. Crossover is a term used to describe the fusion of popular music styles in a classical setting. There is also evidence that collegiate music education as a whole is moving towards a more diverse curriculum, which emphasizes ethnomusicology. Due to this trend in composition and education, it is becoming increasingly important that saxophonists have the training of both classical and jazz disciplines. The problem is that while many colleges have saxophone majors, there is a strong divide between classical and jazz education. This leaves students in a Bachelor of Music in Saxophone Performance degree track without the ability to accurately perform crossover music or have the opportunity to perform jazz and other genres of music. The purpose of this study is to develop a crossover degree in saxophone performance by highlighting aspects of crossover saxophone repertoire and reviewing current university degree catalogs. The research in this study is meant to diagnose omissions in performance degree programs as far as crossover development and to create a new degree track for saxophonists in an effort to promote diverse performance ability. KEYWORDS: Crossover, Curriculum, Integration, Jazz Studies, Performance, Saxophone Pedagogy Ian Michael Cruz April 17, 2017 REDEFINING THE PERFORMANCE DEGREE CURRICULUM FOR THE CROSSOVER SAXOPHONIST By Ian Michael Cruz Miles Osland Director of Dissertation Dr. Michael Baker Director of Graduate Studies April 17, 2017 ACKNOWLEDGMENTS I would never be able to reach this point in my studies without the support and generosity of so many wonderful people. First, I would like to thank University of Kentucky saxophone professors Miles and Lisa Osland for accepting me into their program for my Master of Music in Performance degree in 2010. This started my long and incredible journey in crossover study and development. Their support and guidance are the reasons the saxophone studio at UK is so wonderful. I would also like to thank my former teachers at Ithaca College Dr. Steven Mauk and professor Steve Brown. Dr. Steven Mauk was the first person to introduce me to crossover saxophone repertoire and shaped my future development as a saxophonist and educator. Professor Steve Brown took a chance on me when he placed me as lead alto saxophonist in the IC jazz ensemble my sophomore year and I can never thank him enough for seeing the potential in me and being an incredible friend. My parents, Cari and Henry Cruz, are the reason I became a musician. They always wanted me to pursue my dreams, never settling for less and to do what I love. They are true inspirations to me and I love them both. Finally, I want to thank my wife, Lauren Cruz, for encouraging me to pursue my Doctorate. She left New Jersey with me and has been the most supportive and loving human being I have ever known. Without Lauren’s care and understanding, I would not be the man I am today. I love you Lauren, always and forever. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................................. iii PART ONE – EXTENDED MONOGRAPH OF MUSICAL ARTS PROJECT Chapter One: Introduction and Background....................................................................... 1 The Problem with Current Saxophone Education .................................................. 1 Developing a New Approach.................................................................................. 4 Chapter Two: Review of Related Literature....................................................................... 5 Chapter Three: Methodology.............................................................................................. 9 A Focused Look on Crossover Repertoire............................................................ 10 Degree Catalog Analysis....................................................................................... 10 Chapter Four: A Focused Look on Crossover Repertoire ................................................ 12 Sonata for Alto Saxophone and Piano (1972) by Phil Woods.............................. 12 Blue Caprice (1981) by Victor Morosco .............................................................. 13 Rock Me! (2009) by Barry Cockcroft ................................................................... 15 Chapter Five: Degree Catalog Analysis............................................................................ 17 Liberal Arts Requirements.................................................................................... 18 Performance and Jazz Studies Common Requirements........................................ 19 Performance Specific and Jazz Studies Specific Requirements ........................... 20 Chapter Six: Building a Crossover Curriculum................................................................ 22 Liberal Arts Requirements.................................................................................... 22 Applied Study / Ensemble Requirements ............................................................. 23 Music Theory Requirements................................................................................. 26 Music History Requirements ................................................................................ 28 Additional Course Requirements.......................................................................... 28 Chapter Seven: Conclusion............................................................................................... 31 APPENDIX A. Degree Catalog Analysis......................................................................... 33 APPENDIX B. Proposed Degree Track ........................................................................... 41 PART TWO – PROGRAM NOTES Chapter Eight: Program Notes.......................................................................................... 44 DMA Classical Saxophone Recital....................................................................... 45 DMA Classical/Jazz Saxophone Recital............................................................... 50 DMA Chamber Saxophone Recital ...................................................................... 54 DMA Jazz Saxophone Recital .............................................................................