Electronic Theses and Dissertations

Date

2024

Document Type

Dissertation

Degree Name

Doctor of Musical Arts

Department

Music

Committee Chair

Michael Shults

Committee Member

Daryn Zubke

Committee Member

Janet Page

Committee Member

Michael Shults

Committee Member

Michelle Vigneau

Abstract

This dissertation provides saxophonists with a complete overview of Alan Hovhaness’s collective saxophone music, including detailed information about each piece’s historical and cultural significance. Hovhaness composed eleven pieces for the saxophone and chamber ensemble. Since many were not published until later in his life, there is minimal scholarly writing about them. The pieces were composed over two periods of Hovhaness’s life, 1949 to 1954 and 1976 and 1984. His saxophone music from both eras is analyzed, and the details of each composition in relation to his career and personal life are discussed. Additionally, how these pieces were received by the public and critics is examined. From 1949 to 1954, Hovhaness lived in Boston and New York City. His music from this era is focused on his ballet and theatre compositions, specifically The Flowering Peach and The Spook Sonata, as well as his relationship with Judith Malina, actress and co-owner of The Living Theater. I illuminate the significance of Malina and Hovhaness’s friendship and further define it as one of his most important relationships in the 1950s. His Armenian musical influences are discussed at length, and evidence is provided to prove its authenticity. From 1976 to 1984, his saxophone music was composed during his early retirement in Seattle and marriage to Hinako Fujihara-Hovhaness. The Armenian influence continued to impact this era, but Hovhaness shifted to including Armenian, Eastern, and Renaissance styles in his compositions. His Concerto for soprano saxophone is analyzed, and it is discussed why Hovhaness considered it to be the most “Romantic” piece he ever wrote and how Hinako’s voice inspired him. The concerto is then compared to The Spook Sonata, and I explain why they are his two most important works for the saxophone. I provide examples of their artistic integrity and reveal the technical challenges for the saxophonist. I credit Four Nocturnes, Saxophone Trio, Suite for alto saxophone and guitar, and Mountain Under The Sea as being exceptional compositions and justify why Hovhaness’s saxophone music should be considered standard repertoire.

Comments

Data is provided by the student.

Library Comment

Dissertation or thesis originally submitted to ProQuest.

Notes

Open Access

Download

Share

COinS