Examining the Live Performance Practices of Australian Classical Saxophonists

317 Pages·2017·2.97 MB·English

Sounding the Horn: Examining the Live Performance Practices of Australian Classical
Saxophonists

by
Emma Lucy Di Marco
B.Mus (Honours) in Advanced Performance
Queensland Conservatorium Griffith University, 2011

Dissertation Submitted in Partial Fulfilment
of the Requirements for the Degree of
Doctor of Philosophy

Queensland Conservatorium
Arts, Education, & Law
Griffith University
December 2015
ii
Abstract
Classical saxophone music (or CSM) is understood as Western art music, composed for
the saxophone, which includes a variety of global influences and has developed since the
invention of the instrument in the 1840’s. In Australia, a number of entrepreneurial
musicians are specialising in this unique genre and showcasing new Australian music in a
variety of live performance situations. Further to this, understanding exactly what
knowledge and skills currently required by young classical musicians to build successful
and sustainable careers is a strong industry focus. With the increasing need for
entrepreneurial mindsets to be adopted and the acceptance of the portfolio career model
as common practice for classical musicians, early career performing musicians need to
develop a multi-dimensional approach to their future careers. Responding to these current
realities, this thesis explores the live performance activities of Australia’s leading
classical saxophonists and through four key areas: Logistical Considerations, Artistic
Relationships, Digital Engagement, and Performer Satisfaction. In order to address these
four areas, the thesis presents nine case studies of leading Australian classical
saxophonists and saxophone ensembles; showing insights into how they navigate modern
challenges in the industry. Drawing on research in a variety of fields including portfolio
career models, the integration of technology into live performances, and the everyday
management of live performance activities, the thesis presents the conclusions which are
most pertinent to musicians actively striving to build a performance based career in the
current industry.
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Certification

This work has not previously been submitted for a degree or diploma in any
university. To the best of my knowledge and belief, the thesis contains no material
previously published or written by another person except where due reference is made in
the thesis itself.

Signed E. Di Marco
Date 23/12/2015
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Table of Contents
List of Tables ..................................................................................................................... ix
List of Figures ......................................................................................................................x
Acknowledgments............................................................................................................. xii
Chapter 1 - Introduction .......................................................................................................1
Research Question .........................................................................................................4
Research Rationale.........................................................................................................6
Terminology and Important Definitions ........................................................................7
Classical Music and Classical Saxophone Music ................................................... 7
Australian Classical Saxophonist ............................................................................ 9
Performance Context .............................................................................................. 9
Individual Performance Contexts ......................................................................... 11
Collaborative Performance Contexts .................................................................... 11
Educational Performance Contexts ....................................................................... 12
Scope… ........................................................................................................................13
Organisation of the Research .......................................................................................13
Chapter 2 – Literature Review ...........................................................................................16
An Introduction to the Saxophone – Positioning the Research ...................................19
The Continual Development of Classical Saxophone Music: Repertoire,
Reception, and Key Figures .............................................................................24
Classical Saxophone Music in Australia ......................................................................30
Classical Music Performance .......................................................................................37
v
Classical Music Careers and Early Development ........................................................41
21st-Century Music Consumers and the Performer-Audience Relationship ...............47
Visual Aesthetics: Choice and Artistic Vision .............................................................49
Place and Performance .................................................................................................56
Recorded Music, the Internet, and Digital Engagement ..............................................59
Musician Satisfaction through Performance ................................................................68
Conceptual Framework ................................................................................................73
Chapter 3 - Methods...........................................................................................................77
Instruments ...................................................................................................................78
Participants ...................................................................................................................84
Procedures and Timeframe ..........................................................................................90
Analysis........................................................................................................................92
Ethics and Limitations .................................................................................................95
Chapter 4 – Australian Classical Saxophonists .................................................................97
Katia Beaugeais (Sydney) ............................................................................................98
Barry Cockcroft (Melbourne) ....................................................................................100
Dr Michael Duke (Sydney) ........................................................................................102
Jabra Latham (Hobart) ...............................................................................................104
Ben Price (Hobart) .....................................................................................................106
Erin Royer (Perth) ......................................................................................................108
Dr Matthew Styles (Perth) .........................................................................................110
Continuum Sax (Sydney) ...........................................................................................112
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Nexas Quartet (Sydney) .............................................................................................114
Emma Di Marco (Brisbane) .......................................................................................116
Barega Saxophone Quartet (Brisbane) .......................................................................118
Chapter 5 – Performance Management and Logistical Considerations ...........................120
Instigation and Rationale ...........................................................................................121
Finances .....................................................................................................................125
Visual Aesthetics .......................................................................................................133
Venue Choice .............................................................................................................141
Repertoire ...................................................................................................................146
Marketing ...................................................................................................................156
Educational Outcomes ...............................................................................................168
Chapter 6 – Artistic Relationships ...................................................................................175
Venue – Repertoire – Audience Triangle ..................................................................176
Audience and Repertoire..................................................................................... 177
Repertoire and Venue ......................................................................................... 185
Venue and Audience ........................................................................................... 192
National Identity ........................................................................................................196
Chapter 7 – Digital Music-Making and Technological Engagement ..............................205
Digital Media .............................................................................................................206
CDs: The Impact of Production and Dissemination ........................................... 206
Recordings .......................................................................................................... 213
Professional Websites ......................................................................................... 218
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Videos and YouTube .......................................................................................... 220
Digital to Live Connection.........................................................................................222
Chapter 8 – Performer Satisfaction ..................................................................................240
Understanding Performance Success .........................................................................241
Success Definition 1: Artistic ............................................................................. 242
Success Definition 2: Response .......................................................................... 248
Success Definition 3: Professional ...................................................................... 250
Success Definition 4: Financial .......................................................................... 251
Success Definition 5: Understanding (or Alternative Perspectives on
Success)................................................................................................... 253
Understanding Performer Satisfaction .......................................................................255
Satisfaction Area 1: Audience Response ............................................................ 257
Satisfaction Area 2: Development and Growth .................................................. 262
Satisfaction Area 3: Personal and Emotional ...................................................... 265
Satisfaction Area 4: Collaboration and Career Development ............................. 266
Satisfaction from Specific Performance Contexts .............................................. 269
Chapter 9 - Conclusion ....................................................................................................273
Understanding Australian CSM .................................................................................273
Performance Management and Logistical Considerations ........................................276
Artistic Relationships .................................................................................................281
Digital Music-Making and Technological Engagement ............................................284
Performer Satisfaction ...............................................................................................287
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Future Directions in Research ....................................................................................289
Appendix: Full Participant Responses in Defining Australian CSM...............................292
References ........................................................................................................................296
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List of Tables
Table 1. Cross-Examination of Conceptual Framework and Application of Australian
CSM-Specific Data ................................................................................................... 76
Table 2. Methodological Tools employed in the Research Design .................................. 79
Table 3. Participants: Australian Classical Saxophonists and Saxophone Ensembles ..... 88
Table 4. Participants: Organisers of Major Industry Events ............................................. 89
Table 5. Summary of Data Collection (Dates & Locations) ............................................. 92
Table 6. Types of Instigation Identified by the Participants ........................................... 122
Table 7. Breakdown of Participant Marketing Methods ................................................. 159
Table 8. Participant Responses Regarding Satisfaction .................................................. 256
x
List of Figures
Figure 1. Diagram of Data Collection Tools and Organisation of Work 80
Figure 2. Photo taken from http://www.newmusicblock.com/gallery/premiere-of-terra-
obscura-concerto-for-saxophone/ 98
Figure 3. Photo taken from
http://www.reedmusic.com/composers/cockcroft-barry/ 100
Figure 4. Image taken from http://www.michael-duke.com/live/ 102
Figure 5. Image taken from http://www.opushouse.com.au 104
Figure 6. Image taken from http://benpricemusic.wix.com/music#!about/c10fk 106
Figure 7. Image taken from
http://www.erinroyer.com/gallery/files/page6-1000-full.html 108
Figure 8. Image taken from http://mattstyles.com.au/cpt_photoalbums/photo-album-
2/playing-at-waapa-lt-web/ 110
Figure 9. Image taken from http://continuumsax.com 112
Figure 10. Image taken from http://www.nexasquartet.com 114
Figure 11. Image taken from http://www.emmadimarco.com 116
Figure 12. Image taken from https://www.facebook.com/baregasq/photos_stream 118
Figure 13. Graph of Funding Sources for Live Performance Activities 127
Figure 14. Participant Responses Regarding Repertoire Choice for their Live
Performance Activities 147
Figure 15. Screenshot of www.emmadimarco.com (bottom half of the webpage) featuring
embedded Soundcloud files 220