The dissertation is dedicated to the study of historical-stylistic, genre, ideological-figurative, musical-linguistic, semantic-organological and performance-technological properties of saxophone creativity in their holistic systemic coverage.
It is indicated that in less than two hundred years of history, the saxophone managed to gain immense popularity and today is one of the most sought-after wind instruments in all styles and genres of music (both pop, jazz, and classical). The reasons for such an incredible success of the saxophone are discussed in a considerable number of scientific and popular articles, in the dissertation and research material of musicologists and saxophonist performers all over the world. But in this work, there is an attempt to determine the most systematic parameters of the functioning of saxophone instrumental culture, covering its historical-cultural, musical-aesthetic, instrumental-organological, performing-technical, language-thinking (composing and performing), genre-stylistic sides - which makes current section of musicological and performing studies.
The scientific novelty of the work is formed by the systematic complexity of the musicological study of saxophone creativity of the 19th - 21st centuries. from the perspective of a holistic approach; definition of principles of universalism and vivid specificity of modern saxophone art; introduction to the musicological and performing analytical bases of original works for saxophone by J. Shelsey, F. Woods, T. Yoshimatsu, J. Adams, J.E. Lennon, J. Williams; study of the specifics of saxophone solo, ensemble and orchestral music in their historical instrumental, technical and stylistic development; the place of saxophone music in modern academic musical culture is revealed.
Chapter 1 of the work examines the evolution of saxophone art in its historical-theoretical, instrumental-organological, genre-stylistic, instrumental-performing and personalistic aspects from the standpoint of the indicated systematicity. Here, all types of saxophones are considered in comparative characteristics, the key organological innovations of A. Sax are emphasized in their influence on the artistic and expressive possibilities of the instrument and the prospects of its explosive development in the coming centuries - the 20th and 21st centuries. Emphasis is placed on the role of G. Berlioz in the spread of the saxophone in the 19th century, as well as on the systematic approach of A. Sax to this issue through the parallel development of instruments (including factory production), repertoire (in all genre forms and types), education, sheet music publishing, and broad educational activity The Section describes in detail the basic techniques of saxophone playing, including its classical and jazz content, with a description of performance methods and semantic features. The genre-stylistic intentions of academic saxophone art are analyzed in their connection with jazz influences, romantic doctrine and the most modern aesthetic and instrumental-material paradigms.
Chapter 2 of the work presents a study of saxophone creativity in orchestral (opera, symphonic, ballet) scores, in chamber-ensemble genres of music, solo-concert field. In each of the listed areas, analytical essays of specific original works for the saxophone and generalizations regarding the specifics of the instrumental-performing, language-composing, genre-stylistic and figurative-semantic properties of the saxophone part are presented. The influence of jazz art, which forms one of the important specific features of academic saxophone art, is emphasized and argued. The characteristics of saxophone performance and composer creativity in modern China are given.
