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
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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
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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
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Figure 16. Screenshot of Barega Saxophone Quartet featured on the AdolpheSax.com
YouTube channel 228
Figure 17. Screenshot of Vimeo from https://vimeo.com/76608277 223
xii
Acknowledgments
I would like to take the opportunity to acknowledge the participants in this study
for their help and support throughout the study. Without their important work
championing Australian music, none of this research would have been possible. Also, a
big thank you to my supervisors, Dr Brydie-Leigh Bartleet and Mr Peter Luff, for their
ongoing support, guidance, and mentorship and to my family and friends for your
continual enthusiasm and encouragement.
Chapter 1 - Introduction
This thesis discusses the field of classical saxophone music with a particular focus
on current trends in the performance of this music in Australia. Classical saxophone
music (hereafter referred to as CSM) is experiencing an increase in interest from leading
Australian saxophonists currently championing this field. CSM can be understood as
music within the Western art music tradition having been composed in the years from the
instrument’s invention in 1846 to present day (Di Marco, 2014a; Frigo, 2005).
Amalgamating a variety of musical influences and styles, performers engaging in CSM
repertoire are adept at contemporary techniques, and historically informed performances.
Within the Australian context, prominent performers and educators in the CSM arena are
developing a community around performance, composition, and education that is
fostering this music within Australia’s classical and contemporary music industry.
Internationally, Australian saxophonists are gaining increasing recognition for their high
level of performance ability. Some examples of recent Australian classical saxophonists
garnering international attention include Amy Dickson from Sydney, Australia who is
regularly engaged in performances of new works and, in 2014 received a nomination for
Best Instrumental Arrangement at The Grammy’s. Australian born, French based
saxophonist Joshua Hyde won the 5th International Saxophone Competition in Nantes
(France) as well as winning 1st prize and the audience prize at the prestigious 3rd
International Jean-Marie Londeix International Saxophone competition in Bangkok in
2011 (Hyde, N.D.). While these artists are championing Australian CSM from foreign
shores, closer to home, Australian classical saxophonists and saxophone ensembles have
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been creating a vibrant and active performance scene built upon the creation and
dissemination of new Australian repertoire over the past 30 years. A strong sense of
community has been developing nationally through recent national saxophone-based
conferences such as the World Saxophone Congress or NASA Biennial Conference
attracting international attention. These events have also seen prominent international
saxophonists in attendance including Phillippe Geiss (France) and Claude Delangle
(France) who have travelled to Australia to headline the Australian Clarinet and
Saxophone Festival (2011) and Australasian Saxophone and Clarinet Conference (2013)
respectively. These few examples highlight the constantly expanding field of classical
saxophone music in Australia through a combination of live performances, educational
activities, and growing community spirit. This ongoing activity across the country has
facilitated the development of an emerging sense of national identity and shared goals
furthering and promoting Australian CSM. There are still major gaps in our
understanding regarding how the Australian CSM community approaches the
management of live performance activities.
To put this thesis topic within a broader context, it is worth stating at the outset
that when executed well, the live performance of music can provide the audience with an
encapsulating, engaging experience that sculpts a shared experience between audience
members and performers. Further to this, modes for the everyday consumption of music
have undergone significant changes and listeners now have a variety of options available
to them. Technological developments, the Internet, and ever-changing social values
3
around the arts have altered how we interact with music on a day-to-day basis. With the
music library of the world now virtually stored in our digital devices and on-demand
services available at little to no-cost, providers of live musical performances across many
genres now appear to be re-evaluating their position and modes of operation. This mutual
experience of attending a live performance cannot be replicated in any other
circumstances and it is in this sense that live performance of music still has an important
role to play in the current music industry. By examining how live performance operates
in today’s industry, further insight into the management of live performance activities
and classical music careers has the potential to create greater sustainability in the industry
for the future and will ensure the creation of workable knowledge to help young
musicians develop the skills and know-how to thrive in the classical music community.
This topic is also of professional and personal significance. CSM has been an
inspiring genre at the core of my musical identity and musical expression throughout my
secondary and tertiary education. As an undergraduate saxophone student, specialising in
the performance of CSM music allowed me to explore my own voice as a musician and
saxophonist whilst simultaneously being welcomed into a thriving musical community.
This has led me to finding my own place within the Australian CSM community and
developing a style of performing which is “authentic” to myself and sensitive to the
history of the genre. I was fortunate to have studied under an inspiring teacher, Mr Barry
Bobart, who encouraged me to explore the history of CSM by learning, performing, and
regularly engaging with historic repertoire in the CSM body of repertoire alongside
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newer works. His encouragement to work with composers and develop new repertoire of
my own was also a motivating factor to engage with a canon of repertoire that is
welcoming of new works. His advice also saw me initiate an ensemble – Barega
Saxophone Quartet - which helped to develop my skills as a performer and better
familiarise myself with the CSM history. These personal and professional experiences
have been a strong motivation for this thesis, and provided important insights, networks
of colleagues, and a unique perspective to inform this study.
Research Question
A wide variety of academic studies in the CSM field are based on historical
perspectives of the instrument (Hemke, 1975; Horwood, 1980; Liley, 1998a); the
development of CSM repertoire (Ashton, 1998; Frigo, 2005; Hubbs, 2003; Koval, 1999;
Liley, 1998b); or personal accounts of key influential soloists (Dryer-Beers, 1998; Hubbs,
2003; Royer, 2011). The core bulk of the academic literature leaves vast areas of CSM
unexplored, with many gaps including saxophone performance practice, pedagogy,
engagement with digital music-making to name a few. This thesis aims to fill just one of
these gaps through a qualitative investigation into classical saxophone performance in
contemporary Australia. Specifically, it examines the contexts of performance and the
resulting challenges faced by leading Australian practitioners in this field. The primary
research question underpinning the investigation is: How do classical saxophonists
navigate the diverse dynamics that make up live performance in 21st-Century Australia?
This question explores exactly how live performances are taking place by examining the
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current practices and possibilities for further growth to the satisfaction of both performers
and audiences. This research question has also prompted the following secondary
research questions that this thesis sets out to answer:
What are the live performance contexts of classical saxophone music in
Australia?
What are the different planning and logistical requirements of each different
performance context?
What artistic relationships are evident within the performance of classical
saxophone music?
Is there currently any engagement between live performance and technology
within Australian classical saxophone music performance?
What personal satisfaction is derived from live performance by Australian
classical saxophonists?
How can Australian classical saxophone performance be positively expanded into
the future?
Through the investigation of the primary and secondary research questions, there are two
key aims that the project has sought to achieve. Firstly, that this research will develop a
better understanding of the current practices underpinning the different performance
contexts of CSM in Australia and secondly, that it will unpack the successful strategies
behind current Australian classical saxophonists’ performances that may lead to the
building of a stronger, knowledgeable, and empowered CSM community in Australia.
The overarching aim of the project is to provide informative feedback to the field that
will promote the classical saxophone genre and encourage performers and audiences to
engage in classical saxophone performances.
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Research Rationale
Personal observations from both myself and a number of colleagues in the field
suggest that there are currently a number of active professionals across the country
engaging in CSM performance and education activities. Academic research within this
field is developing at a much slower rate and does not seem to accurately reflect the
broad variety of ideas, constructs, and practices currently shaping the field. The literature
review conducted and presented in this thesis, highlights that up until now academic
research into classical saxophone performance has been severely lacking in substance and
quantity and therefore there are numerous gaps that this research can fill. The live
performance of CSM is a key channel for engaging with the greater community. It is
hoped that this research will provide informative feedback to the field that will help
sustain and empower professional classical saxophonists as they continue to develop this
unique musical genre and its widespread appeal. This thesis is therefore an innovative
study into the Australian CSM field and argues a strong case for the analysis of the
current practices of leading professionals in the pursuit of knowledge for the Australian
CSM genre. To my knowledge, this documentation of Australian CSM is the first of its
kind and represents a continuing development in the understanding of Australian CSM.
The literature review has shown the diverse nature of music careers and calls into
question how exactly performance activities account for the total output of an Australian
classical saxophonist’s career and how this pertains to the nature of their performance
engagement. With each different performance context requiring a unique set of planning
requirements, a different set of outcomes and artistic possibilities, the examination of live
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performance provides a broad and varied set of data to be analysed, compared, and
contrasted for this investigation. This will hopefully provide a greater insight into the
careers of Australian classical saxophonists.
Terminology and Important Definitions
Classical Music and Classical Saxophone Music
As Barlow and Shibli (2007) remind us, "What the public generally calls
‘classical’ music is actually many different styles of music that come from many
historical periods, however it is generally accepted that classical music encompasses the
broad period from roughly 1000 to the present day". This definition rather compactly
describes the term classical music for both specialist and non-specialist readers.
Following on from this, classical saxophone music is Western art music written for the
saxophone from the 1840’s to the present day and covers a multitude of stylistic
influences and musical forms. Some practitioners in the field will also refer to the term
contemporary saxophone music as an extension of the classical saxophone genre as they
feel the word ‘classical’ gives the wrong implications for the music that they perform.
This is particularly the case when dealing with newly composed music which falls
outside of the Classical period. The use of the term contemporary is not only referring to
a time period but also to a set of stylistic requirements that move away from conventional
notation and sound sets, again, mostly when dealing with newly composed music. This
term has been found to be a commonly used term on the CSM networking site SaxBook
where saxophonists are able to create and present professional profiles and choose a
8
specialised genre (http://saxbook.com). Both terms, classical saxophone and
contemporary saxophone, are appropriate terms which describe music within this genre
and are sometimes used interchangeably by practitioners in the field. Participant Martin
Kay, of the Continuum Saxophone Quartet, described the genre and use of the term
“classical saxophone music” most succinctly:
From my own experience, it is an approach to sound and to learning. There is a
focus on creating a default position of a pure, even, uniform, equally tempered
sound with uniform articulation, capable of blending. From this basis expressive
elements are added to project a particular composition’s expression. There is a
core body of repertoire extending from the saxophone’s origins in the 19th century
with myriad branches leading to today. The classical saxophonist learns their craft
by absorbing the musical and technical requirements from this tradition, as well as
the broader repertoire of music since the renaissance, putting their knowledge at
the service of the composer and audience. Classical saxophonists are often
engaged in working with composers to generate new repertoire. It is at the point
of this interaction where the expression of a personal vision can come to the fore
more obviously. (M. Kay, personal communication, 2014)
To embrace the more all-encompassing term, this thesis will employ the most commonly
used term - classical saxophone music - throughout and implement the abbreviation CSM
throughout the text.
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Australian Classical Saxophonist
The term “Australian Classical Saxophonist” is used to address practitioners in
the field of CSM that are currently living, working, and for professional purposes based
in Australia. Whilst there are undoubtedly Australian saxophonists currently working
internationally and based in different countries, due to the scope of this research, the
study will focus exclusively on Australian-based saxophonists. The term ‘classical
saxophonist’ on its own can be applied to any person that is a specialist in the field of
CSM and includes performers, teachers, composers, and researchers under this banner
with many musicians taking on one or more of these roles. This project focuses
exclusively on Australian classical saxophonists and Australian classical saxophone
ensembles who are also active in this field. The participants involved in this research
investigation are outlined in Chapters 3 and 4.
Performance Context
In this thesis, the term “performance context” is used to define the actual
conditions under which a live performance takes place and the resulting paradigm that is
constructed around the performance activity. This thesis focuses on the undertaking of
live performance activities in the Australian CSM community; however, the term 'live
performance' is in itself a largely ambiguous and wide-ranging umbrella term. Classical
musicians engage in a wide variety of activities within the purview of their career which
can be deemed 'live performance' and it is in this vein that understanding the different
contexts of Australian classical saxophone performance becomes crucial to this
10
investigation. This study recognises that there are a variety of different performance
contexts which the participants regularly engage in. This required the development of
appropriate terms to define and explain each context to both a specialist and non-
specialist audience. The categorisation of performance context begins at the conception
of a performance. It is the initiation of a performance that demands the immediate
classification of its context in order for appropriate requirements to be met including
venue choice, repertoire choice, and target audience amongst a plethora of other issues.
This thesis proposes that performance is a contract between two parties: the performer
and the audience. The performer promises to provide entertainment and service whilst the
audience promises to observe and respect the performer’s output. In essence, the
performance conforms to predetermined understandings of development and execution.
Understanding what constitutes a performance becomes increasingly complex when
digital technologies are considered. With modern development of the internet, digital
cameras, smart phones, and social media platforms such as Facebook, Twitter, and
YouTube, performance, and particularly live performance, is becomingly increasingly
complex to define; however, this thesis does not shy away from these complexities and
examines the ways in which these technological developments underpin, inform, and
influence CSM performance contexts.
Three types of performance contexts have been identified and are discussed
within the thesis: Individual Performance Contexts, Collaborative Performance Contexts,
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and Educational Performance Contexts. These different terms are outlined in more detail
below.
Individual Performance Contexts
Individual performance contexts are the most common form of performance
engaged in by classical saxophonists and their audiences. Despite the use of the term
‘individual’, this performance context does not necessarily imply that only one performer
will be on the stage; individual performance contexts includes ‘recitals’ and ‘concerts’ by
a single musician or musical group. The term ‘recital’ is central to the investigation of
performance as it forms the basis of the performance activities undertaken by Australian
classical saxophonists. In this sense, a recital is an important activity within the careers of
classical musicians by providing a crucial platform for the presentation of the music and
technical skill expected by audiences.
Collaborative Performance Contexts
Collaborative performance contexts include major multi-performer, multi-venue
events such as conferences and festivals. The use of the term collaborative refers to the
nature of these events to combine multiple performances, lectures, and presentations
under the larger umbrella banner of the main event. Conferences and festivals allow for
the building of professional networks and creation of new artistic outputs. Australian
classical saxophonists have embraced collaborative events including conferences and
festivals as an important means of networking and collaborating. These events also bring
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together practitioners in the field that may be living and working in separate locations and
present an opportunity to connect professionally and share work, repertoire, and projects
together. During the process of this research, three major collaborative performance
contexts in the CSM field were conducted: in 2012, the XVI World Saxophone Congress
(WSC) was held in St Andrews, Scotland; in 2013, the Australasian Saxophone and
Clarinet Conference was held in Sydney, Australia; in 2014, the North American
Saxophone Alliance Biennial Conference was held in Urbana-Champaign, Illinois, USA
and finally in 2015, the XVII World Saxophone Congress (WSC) held in Strasbourg,
France.
Educational Performance Contexts
Within this thesis, ‘Educational Performance Contexts’ is used to describe
masterclasses and workshops which include live performance activities that have the
principal purpose of education. In these instances, the performance itself is not always
focussed on the performer but instead can be the performer engaging with students,
amateurs, or audience members in the pursuit of an educational outcome. Performances
which fall under the banner of 'Educational' do not always have the final goal of
performing or presenting music. Instead, Educational Performance Contexts are centred
around educational activities for the audience or attendees. The role of education in
performance is an area expanded upon later in this thesis; however, there are often times
when education is a key focus and a goal of performance such as in masterclasses or
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workshops. Masterclasses and workshops form a significant portion of the performance
outputs of the participants included in this research.
Scope
This study pertains solely to the investigation of live performance practices of
musicians specialising in the CSM genre. By focusing purely on the performance outputs
of these musicians, the study is in the position of being able to more thoroughly assess
the practices of these musicians within the scope of a doctoral thesis. The research also
focusses specifically on the Australian CSM community. In Australia, these musicians
face their own unique sets of conditions and challenges in pursuing and growing a
performance career. For this reason, focussing on the Australian community provides the
research with clear parameters and the ability to delve into the specificities of the
Australian context. This will provide comprehensive information from saxophonists
operating in this field, and also provide detailed case studies of leaders in the Australian
CSM field.
Organisation of the Research
Chapters Two and Three will present a comprehensive literature review and
methodological outline respectively before the thesis delves into the key issues identified
in the research. Chapter Four will explore the participants involved in the study and
present an overview of their work and professional milestones and influences. The
inclusion of this chapter is to provide context and clarity to the case studies and set up the
14
data presented in the following four chapters. Chapters Five through Eight present the
core findings of the research investigation and conclusions drawn from this work. The
organisation of the chapters is based on the four major research areas developed in the
literature review and theoretical framework. These four areas are: Performance
Management and Logistical Considerations; Artistic Relationships; Digital Music-
Making and Technological Engagement; and Performer Satisfaction. A brief overview of
these four areas is provided below and their full definitions and justification provided in
following chapters.
Performance Management and Logistical Considerations is the term used to
describe the logistical planning of a live performance activity and encompasses a number
of different facets pre-, during, and post-performance. A selection of logistical concerns
which fall into this category range from instigation of a performance, venue hire,
repertoire choice, funding, and marketing, all of which are important requirements of any
live performance. Artistic Relationships takes the discussion to a deeper level by
unpacking relationships and connections formed through the live performance of music
and the resulting impacts on the musicians involved. Topics discussed include
connections between performer and repertoire, the intricate triangle of performer-venue-
audience, and national identity. Digital Music-Making and Technological Engagement
focuses specifically on the involvement of technology and the internet on the live
performance activities of Australian classical saxophonists. This discussion has two
distinct centres: firstly, the involvement of digital media in the live performance such as
15
recordings, CDs, and digital products; and secondly, the integration of technology into
the live performance such as electronic music, social media and marketing, and digital
presence. Performer Satisfaction discusses the satisfaction these musicians glean from
their live performance activities and how they view and measure successful
performances. This chapter aims to directly address a current gap in the literature
regarding musicians’ job satisfaction amongst soloists or chamber musicians.
Chapter 2 – Literature Review
It is within recent years that “the category of live performance has only just
started to gain scholarly attention” (Holt, 2010, p. 244). The reasoning for this lacunae in
academic literature is unclear and "performance practice in recent contemporary art
music is an area that musicology has largely left unexplored” (Heaton, 2012, p. 96). In a
somewhat related view, some authors acknowledge a significant gap in current
knowledge within the areas of “musicians’ career patterns, roles, contributions and skills”
(Bartleet, Bennett, Bridgstock, Draper, Harrison, & Schippers, 2012, p. 33). Heaton
proposes that this may be the result of a disconnect between performers and academics
and that the source of the knowledge (the performers) may not be directly connected with
the method of academic dispersal (the scholars) and as such, the disconnection of
performing musicians to academic publication means that "very few expert performers
write about what they do: some contribute in an anecdotal way, mostly in interviews; and
some, in time-honoured fashion, write treatises" (Heaton, 2012, p. 96). Dogantan-Dack
presents the argument that the musicological discipline does not historically cover
performance research. This has changed with recent developments in musicological fields
allowing for an increasingly thorough investigation of modern performance practice. As
she elaborates:
The three broad areas defining this musicological discipline – namely historical
performance practice, the psychology of performance, and analysis and
performance (Rink, 2004) – characteristically employ recorded performances as
their primary source material… Consequently, the research context on the making
17
of a live performance of music in the Western classical style involving a score is
currently very limited. (Dogantan-Dack, 2012, pp. 35-36)
This limitation, however, has not held back developments in performance research. As a
discipline of musicological investigation, research into live performance activities holds
many merits; for example:
…artistic research projects about live musical performance are particularly
valuable on two accounts… One has to do with the role and status of performers
within the discipline… there is a need to include the performer’s authentic voice
and discourse within the discipline. (Dogantan-Dack, 2012, p. 38)
Bartleet et al. also acknowledge that “tertiary music education is a key player in this
‘musical ecosystem’” (2012, p. 33). While this thesis does not specifically examine the
tertiary programs in CSM currently available at Australian tertiary institutions, the
important role of the tertiary education in the development of modern musicians must be
acknowledged. This is further promoted by the increasing body of literature surrounding
tertiary music education programs and in this sense, research into music industry
practices, and, further, current performance practices provides support to tertiary
institutions in their application of music education.
With this broader context in mind, this literature review explores classical
saxophone performance and performance in the classical music industry more
specifically. In this literature review, commonly covered themes are divided into two
18
streams: research into the saxophone as an instrument, and research in the practices of
live music performance in the classical music industry. This thesis therefore will address
the overwhelming gap between these two areas by combining the practice of CSM with
the investigation of the music industry in the 21st-Century. The limited research
combining these two fields highlights the need to undertake research into the Australian
classical saxophone community and explore a number of pertinent themes including
historical development, Australian music, live performance practices, visual aesthetics,
place, engagement with technology, and performer satisfaction. To put this study into a
broader context, this literature review, therefore, begins with an investigation of CSM on
an international scale and narrows in to specific developments in Australia. With the vast
majority of documentation in the history of CSM, more specific studies in Australian
CSM are lacking with the most pertinent sources presented here. Following on from this,
investigation into contemporary performance practices brought forth the wide variety of
related topics. The topics covered in the area of live performance include portfolio
careers, audience relationships and development, classical music performance etiquette,
visual aesthetics, place and venue choice, digital music-making practices, as well as job
satisfaction through performance.
This chapter will explore several areas of literature all pertinent to this
investigation. As previously stated, the examination of the literature reveals two clear
areas of discussion and this is reflected in the presentation of the review below. The first
sub-chapter will deal with the CSM tradition: beginning with the early development of
19
the saxophone as an instrument and repertoire development, the review continues through
the modern developments in the CSM tradition and a focus on Australian CSM. The
lacunae in current CSM research is evident; however, research that has been completed in
this field focuses on “history, repertoire, pedagogy, as well as stylistic issues such as
cross-genre music” (Di Marco, 2014a, p. 23). Following this discussion, the literature
review will examine the live performance of classical music from a current perspective.
The topics discussed include: classical music performance and careers; the performer-
audience relationship and the changing traditions of the classical music concert; visual
aesthetics; place, venue, and the space in which performances take place; the Internet,
social media, and changing digital music-making practices; and finally, performer
satisfaction through performance. To complete this chapter, a theoretical framework is
presented, based on information gleaned in the literature review that illuminates the
development of the methodological approach.
An Introduction to the Saxophone – Positioning the Research
The history of the saxophone has been documented with a focus on the creation of
a new instrument and understanding the man behind this invention: Adolphe Sax (1814 –
1894). The documentation and investigation of the saxophone, its repertoire, and the
historical circumstances surrounding its invention have been discussed by academic
scholars and performing saxophonists alike. A significant portion of academic literature
pertaining to CSM is drawn from postgraduate and doctoral dissertations where students
are investigating CSM at a thorough and extremely in-depth level. These dissertations
20
focus on the history and development of CSM and some specialise further to focus solely
on a particular piece of repertoire and provide a comprehensive performance analysis and
stylistic guide (Bunte, 2010; Cripps, 2006; Frigo, 2005; Lamar, 1986; Lichnovsky, 2008;
Mickel, 2011; Williams, 2011). This literature review will now briefly examine the
history of the saxophone and development of the CSM genre, as it has led to the
development of the Australian CSM community of today. This overview of work
conducted in the historical field of the saxophone provides context to the CSM genre and
clarifies the basis through which artists in the field now operate.
An invention of Belgium instrument maker Adolphe Sax, “[t]he exact date of the
saxophone’s invention has likewise been subject to confusion” (Hemke, 1975) but it is
commonly accepted that the saxophone was invented in the 1840’s (Di Marco, 2014a;
Frigo, 2005; Koval, 1999; Liley, 1998a). The saxophone was an instrument adopted
easily by jazz and popular music forms yet struggled to gain acceptance in the Western
Classical canon (Frigo, 2005). As Cripps describes, “the saxophone has a brief but rich
history in military, jazz, ragtime, pop, rock, and many other genres of music in North and
South America, Europe, and other continents. In addition, a powerful tradition of
classical saxophone has emerged” (Cripps, 2006, p. 1). Unlike other instruments that
developed over a long period of time, the young saxophone was thrust into a well-
developed musical tradition whilst still only in its formative years, building a community
of active and proficient performers, teachers, and enthusiasts. Vanderheyden states that:
21
While the classical tradition of playing music preceded the birth of jazz by
hundreds of years, the saxophone took a roundabout way into its place in the
current canon of each genre, and was suffering something of an identity crisis in
the early twentieth century. (Vanderheyden, 2010, p. 3)
Through an extensive process of development and the continuing support of Sax, the
saxophone gradually began to gain widespread acceptance; however the extensive
process to the mainstream classical music scene has been attributed to many different
reasons in the literature. Reasoning around this includes ideas such as the tone colours of
the instrument not being suitable for the compositional styles of composers to the
personality characteristics of its inventor Adolphe Sax off-putting potential performers
and teachers; however, one of the most highly discussed issues is that of the relative
exclusion of the saxophone from the symphony orchestra. At the time of the saxophone’s
invention the symphony orchestra was one of the central forms of music-making in
Europe and it was Sax’s original intention for the instrument to join the orchestra, filling
in timbral gaps and providing new, rich tone colours to exploit (Horwood, 1980; Liley,
1998a). “By 1844 the basic description and tonal qualities of the saxophone were well
known to artists and composers. The saxophone was envisioned as a further colour for
the orchestral palette which held … potential” (Hemke, 1975, p. 247). Despite this
acceptance on a small scale and interest of composers of the day, “the saxophone started
out with great potential and promise… yet failed to become [a] regular [member] of the
orchestra” (Koval, 1999, p. 150).
22
Whilst the exclusion of the saxophone in the orchestra cannot be attributed to one
single specific reason, Koval suggests that the portrayal of the saxophone in orchestral
treatises is a crucial influence on many composers’ use of the instrument. Koval’s
argument proposes that “if treatises of orchestration and instrumentation are found to be
biased against the use of saxophones in the orchestra, then this would help explain why
these instruments have been unsuccessful in the past in gaining a foothold in this
medium” (Koval, 1999, p. 6). Despite the minimal inclusion of the saxophone in
orchestral music, there has been “widespread acceptance in ensembles in other areas of
music-making” (Koval, 1999, p. 6). Koval’s analysis included examinations of numerous
treatises and concluded with the assumption that the youth of the instrument has not
allowed composers to utilise the saxophone to its greatest potential within the symphony
orchestra. It could also be argued that the saxophone’s exclusion from the orchestra is
irrelevant to its development as a solo instrument however this is not entirely supported.
The symphony orchestra was a key form of classical music in Europe at the time of the
saxophone’s invention; it’s exclusion from the orchestra also left it far removed from
significant composers’ musical outputs. Frigo explains:
[The] saxophone is a young instrument compared to the more traditional
orchestral string and wind instruments, and this presents various challenges to the
establishment of the saxophone as a legitimate and worthy orchestral instrument...
Its (sic) long displacement from the orchestra continues in the modern era even
though now its exclusion is both economic and historic (Frigo, 2005, p. 1)
23
The separation of the saxophone and the symphony orchestra has permitted other areas of
musical involvement to develop further; namely, the involvement of the saxophone in
European military bands.
As a brand new instrument, the saxophone required the creation of new music
specifically written for its tonal and technical capabilities. The young saxophone did not
have the technical capabilities of more mature instruments and performers were not as
proficient on the instrument to perform at a high artistic level; therefore, the instrument
was not being performed regularly and gaining public exposure or any serious
recognition from audiences and critics. The lack of exposure meant little recognition
which in turn affected new compositions being composed. With no new or innovative
music for the young instrument, it fell into the margins of classical music.
The saxophone was seen as an oddity for decades, and because of this, it took a
great deal of effort by classical soloists to have compositions written that were not
in the “pop” style of the time. (Williams, 2011, p. 3)
Despite increasing popularity and dissemination of the instrument, “general popularity
does not necessarily produce excellence, particularly on an instrument which appears
deceptively easy to master” (Ashton, 1998, p. 21). Other musical genres, such as jazz for
example, were not as cautious in creating new music for the saxophone. And it can be
seen that "the saxophone enjoys immense popularity and an undeniable sense of
belonging in the jazz and popular music idioms, but its place in the concert hall realm - in
formal orchestral and solo/chamber music settings - is more ambiguous" (Frigo, 2005, p.
24
1). It is through the development of new music that early classical saxophonists could be
seen to have developed their own style and performance practice as they pushed to create
a tradition of CSM in the greater musical community; in essence, "they can create their
own [performance practice] in new music" (Heaton, 2012, p. 97).
The Continual Development of Classical Saxophone Music: Repertoire, Reception,
and Key Figures
As CSM has continued developing, repertoire has continually been adapting to
differing musical tastes and ideas. The beginning of the twentieth century saw that “in
classical music the saxophone made only an occasional appearance, due in large part to
the lack of substantial repertoire and the disinterest of orchestral musicians” (Ashton,
1998, p. 20). Some specialist performers, however, were encouraging composers to
develop new repertoire in the classical style. The 1930’s saw saxophonist Marcel Mule
form “an SATB quartet” (Ashton, 1998, p. 23) whose primary goal was to encourage and
stimulate “some of the great classical repertoire for the medium” (Ashton, 1998, p. 23).
With active soloists and the ongoing prominence of the saxophone quartet in chamber
music, the twentieth century was an important era in the development of the CSM genre
and has cemented its current place within the repertory of saxophone education. With
“twentieth-century pioneers of the classical saxophone [including] Marcel Mule (1901-
2001) in France, Larry Teal (1905-1984) in America, Sigurd Rascher (1907-2001), first
in Germany and later in America, and Peter Clinch (b.1930) in Australia” (Di Marco,
2014a, p. 26) leaving a legacy of commissioning new music, repertoire development, and
25
pushing the musical and technical boundaries of classical saxophone performance. Of the
saxophonists presented, Rascher and Mule are arguably the most influential in the CSM
genre and current performance practice:
The influence and position of Sigurd Rascher and Marcel Mule are central to any
discussion of the development of the classical saxophone in the twentieth century.
They have been responsible both for attracting significant contributions from
composers and for the dissemination of these works via live performance,
broadcast and the teaching studio. Each artist’s personal musical style has
repeatedly chronicled as influential by their fellow musicians and can now be
viewed as a legacy passed to following generations. (Dryer-Beers, 1998, pp. 41-
42)
Dryer-Beers highlights an important element of CSM performance: many modern-day
classical saxophonists view these pioneers as incredibly influential in their current careers
and approach to CSM performance. This suggests a strong, interconnected network and a
sense of community created through the shared appreciation of the genre, its soloists, and
its history. These pioneers also exemplify the nature of careers in CSM which constitute
“the performance of the saxophone as a classical instrument, the academic instruction of
the instrument in the performance of the style, and the commissioning of new works for
the instrument” (Colón-Martín, 2015, p. 41).
Strong musical influences and figurehead soloists can be found in other areas of
music-making which have impacted on the development of the CSM genre. This is
26
particularly notable in America where increasing interest in the saxophone developed
through commercial entertainment and the increasing prevalence of recording
technology. As Ashton elaborates:
Edouard Lefèbre, through the bands of Patrick Gilmore and John Philip Sousa,
delighted American audiences with fine quality playing for nearly forty years.
Shortly afterwards the masterful Rudy Wiedoeft was recording, composing, and
promoting the saxophone to the public in a manner allying the instrument with
high-class control, nuance and first-rate entertainment. Wiedoeft’s choice of
instrument was a happy one for champions of the saxophone, and fortunately
coincided with early growth in the recording industry and the public’s post-war
appetite for novel entertainment. So unfolded the unprecedented saxophone
‘craze’ of the 1920s in America, directly responsible not only for the spawning of
so many good quality performers and a large listening public, but also for
tremendous amateur interest. (Ashton, 1998, p. 21)
This ‘craze’ extends only to America and was unmatched in other parts of the world;
however, “the events of those years contributed so much to the technical development of
the saxophone, the demands and abilities of its exponents, and the launching of the
saxophone into the jazz and dance bands” (Ashton, 1998, pp. 21-22).
Education has been identified as an important factor in the continuing
development of the CSM genre; however, “the tenuous thread spun by Adolphe’s early
teaching at the Paris Conservatoire seems barely discernible until reinforced by Marcel
27
Mule and Sigurd Rascher some fifty years later” (Ashton, 1998, p. 20). The education of
saxophonists and the CSM tradition has been slowly developed in many countries where
higher education programs have been slowly implemented. This trend has been seen in
many countries across the globe particularly in France, America, and Canada as well as
later in other countries including Australia. As far as tertiary education is concerned, this
has taken even longer to develop with many saxophonists unable to study their
instrument at a tertiary institution as the programs and staff members were unavailable
(Abbink, 2011) until relatively recently.
Just as the historical development of CSM in Australia is limited in academic
literature, researchers in other countries, such as Canada are attempting to solve the same
problem and fill in the blanks. As part of his doctoral dissertation, Erik Abbink
investigated the development of education and performance in British Columbia in a
qualitative study involving active saxophonists in that area. Documenting an early history
of music in the British Columbia region, he outlines the social and economic changes
across the region that saw the increase in demand for music and entertainment that
ultimately led to the inclusion of the saxophone in musical life (Abbink, 2011). Dubbing
the earliest existence of the saxophone in British Columbia musical life as a saxophone
quartet performance in 1885, Abbink states that the instrument has been on a steady path
into general musical activities of performance and education ever since (Abbink, 2011).
28
The continuing development of CSM - particularly in Australia – has been due to
the ongoing relationships between performers and composers and the resulting music that
is created from these unions. The performer-composer relationship therefore can be
viewed as a key factor in the continuing exploration and dissemination of CSM. This has
been due to the fact that "the commissioning of new music for the saxophone plays a
critical role in the ongoing effort to strengthen the recognition and respect of the
saxophone as a legitimate concert instrument" (Frigo, 2005, p. 2) and therefore
contributes to the establishment of the performer-composer relationship as a viable means
of mutual benefit. The development of new repertoire in the Australian CSM genre often
comes about through different commissioning processes that may or may not include
financial transactions. Commissions have spawned positive relationships between
saxophonists and composers and fostered future projects, new works, and mutual career
advancement (Di Marco, 2014a). Frigo stipulates: “It is common for composers to be
inspired by specific performers, agreeing or even offering to write a new work out of
admiration for a particular performer or instrument. The ‘admiration’ commission implies
a non-financial commission” (2005, p. 6). For new music development in future
generations, Frigo describes that the friendships developed in early studies, such as
tertiary institutions, are a crucial component of positive relationships in the workforce.
Students (both performance and composition) that are able to collaborate on new music
projects consequently grow together, learning from each other and having a better ability
to expand this relationship in the professional world.
29
The relationship is now no longer a curriculum requirement, and both must now
create commissioning opportunities for themselves. They are no longer in a
school environment with convenient access to one another and to the resources a
university offers, such as free performing space and a built-in audience. (Frigo,
2005, p. 46)
The collaboration between saxophonists and composers in educational contexts suggests
an approach to career preparation which is reflective of the modern concept of a
‘portfolio’ career musician (Bartleet et al., 2012; Bennett, 2007) and the need for music
professionals to be active in creating opportunities for themselves. Ultimately, the
performer-composer relationship has the potential to directly benefit both parties and
create new, innovative music through collaborative processes. This can be the catalyst for
repertoire which pushes the boundaries musically or technically on the instrument, as
Heaton suggests:
Composers, as was always the case, often come into contact with exceptional
players. The resulting works can extend the technical boundaries, with both the
composer making demands that at first may seem impossible to execute (but soon,
with the next generation of players, begin to come within reach), and the player
encouraging composers. (Heaton, 2012, p. 98)
The performer-composer relationship can be seen as an underpinning factor in the
development of the CSM genre both in Australia and internationally and therefore must
be considered in any investigation of this music.
30
Australian classical saxophonists are rapidly developing a strongly connected
network focussed on promoting the genre through performance, education, and, to a
lesser extent, research. In my professional capacity, I have observed this in the field
throughout my work as a performer and engagement with the industry at conferences and
festivals. The development of classical saxophone networks in other countries is well
known with notable examples being a strong ‘school’ of French classical saxophonists
beginning with Adolphe Sax himself opening a classical saxophone class at the Paris
Conservatoire (Liley, 1998a) and continuing to the present day where Claude Delangle,
head of the CNSM Paris saxophone class for the past 25 years has acquired an
international reputation as the master of French classical saxophone style.
Classical Saxophone Music in Australia
When focussing on the CSM genre in Australia, it can be seen that this tradition is
much younger and less established than other national CSM traditions. In Australia,
audiences were initially introduced to the saxophone in jazz, popular, and vaudeville
music forms, following the popular music trends of the United States of America in the
1920’s. Audiences lapped up the antics and showmanship of the raucous saxophonists
(A.B.M., 1954); however, performances of this kind only further solidified the position of
the saxophone as a less than serious instrument. Performances utilising the saxophone
presented it as a comic instrument and neglected the tonal capabilities it possessed that
were suitable for classical music as audiences “[overlooked] the real beauty of the
instrument when turned to serious matters” (N.D., 1932, p. 2). It is also interesting to note
31
that the frivolous perception of the saxophone extends further than Australia, where in
Puerto Rico for example, “the idea that the saxophone was a lesser quality instrument,
representative of ‘lowbrow’ music” was widely considered (Colón-Martín, 2015).
From an academic perspective, the Australian classical saxophone tradition “is
not as proud or illustrious as in the other nations” (Lichnovsky, 2008, p. 1). Why the
situation has developed as such is unclear and not discussed thoroughly throughout the
literature. However, the status quo has emerged and Australian CSM has formed into a
niche musical genre and “a relatively late arrival on Australia’s classical music scene”
(Andra, 2005, p.5). There are two notable champions of the saxophone in the
development of Australian CSM: composer Peter Grainger (1882 – 1961) and soloist
Peter Clinch (1930 – 1995). Australia’s premier champion of the saxophone was
composer Percy Grainger. He frequently spoke of the positive qualities of the saxophone
and used the instrument extensively in his concert band compositions.
“I like the saxophone,” exclaimed Mr. Grainger, “because it is the most voice-like
of wind instruments. The trumpet and horn are beautiful, but they have a metallic
quality; the clarinet and the oboe are beautiful, but they have a very reedy quality;
and the flute has some kind of a hollow quality which is not very beautiful. The
saxophone… [is] the most lyrical of wind instruments.” (The West Australian,
1934, p. 14)
32
Grainger’s constant inclusion and promotion of the saxophone within wind band
repertoire was an important reinforcement of the capabilities of the instrument and
provided numerous opportunities for the instrument to receive further attention.
The most long lasting impact upon the Australian saxophone community and
influence on saxophone performance education in Australia was made by soloist Dr Peter
Clinch (1930 – 1995); a clarinettist and saxophonist often credited as the founding father
of the Australian CSM genre. Clinch’s work throughout Australia was extensive, as
documented by Clinch’s biography:
[H]e played clarinet and saxophone with every ABC Symphony Orchestra in
Australia either as a member of the orchestra or as a soloist. Peter was the Head of
the Music Department at the Melbourne College of Advanced Education and later
the Reader, then Associate Dean (Music Education) at the Faculty of Music,
University of Melbourne. As well as producing a number of recordings, including
those used as the basis of this disc, Peter toured extensively in Europe, Asia and
the USA as a soloist, recitalist, a chamber music performer, and a conductor as
well as giving lectures and masterclasses. The Peter Clinch Saxophone Quartet
was the most exciting ensemble of the Australian music scene, certainly its most
pertinent in contemporary significance. (Move Records, 2015)
Clinch’s impact upon the Australian CSM community was made firstly, through his
performances and active role as a performer with the Peter Clinch Saxophone Quartet,
and secondly, as an educator who has made a significant impact on leading figures in the
33
Australian CSM community today including saxophonist Barry Cockcroft who is a
research participant in this investigation. The continuing development of the Australian
CSM community can trace its roots back to the activities of Peter Clinch. The education
of saxophonists in Australia early on was limited with many students learning from
“doublers” or teachers who specialised in a number of instruments (in many cases a
clarinettist who also taught saxophone for example) (Hemke, 1975) and this is a parallel
development with CSM traditions in other nations. In early development, some
saxophonists may find they must develop a specialisation in either classical or jazz
traditions, particularly in cases of applying for tertiary education programs. Tyson
elaborates: “Saxophonists at any level of his/her development are often faced with the
difficult dilemma of choosing whether to be a classical or jazz specialist, however, many
modern saxophonists are developing an integrated approach to playing the instrument”
(Tyson, 2004). This modern approach is reflective of the diverse nature of saxophone
education programs. The continuing development of the Australian repertoire is crucial to
this community.
The repertory of Australian CSM is beginning to grow however there is no clear
start to when composers began writing music in this particular style. Whilst “there has
been no evolution of an accepted interpretive style” (Lichnovsky, 2008, p. 2) of
Australian CSM, the slow and steady trickle of original compositions provided
performers with a greater opportunity to explore the classical saxophone genre and begin
to pave the path of an Australian ‘style’ of CSM. This trend has been stimulated over
34
many years by enthusiastic and dedicated saxophonists that have worked with living
composers to create music that creates a unique mix between different musical trends and
individual expression that, having been involved in the creation, allows them to stamp the
music with their own, uniquely Australian, perspective. Michael Lichnovsky, an
Australian saxophonist, wrote his doctoral dissertation on three classical sonatas for the
saxophone by major Australian composers: Dulcie Holland, William Lovelock, and
Margaret Sutherland and how these Australian compositions help to empower the
national identity of Australian CSM. In his dissertation, Lichnovsky discusses these three
works in detail and concludes with a discussion of these works as ‘lost gems’ in the
Australian repertory, neglected by generations of saxophonists. The conclusions in his
discussion highlighted the lack of development of an Australian classical repertory of the
saxophone. In more recent years, Australian compositions have grown in number and are
getting increasing numbers of performances. This is due to the pioneering spirit of
Australian classical saxophonists and their persistence in building and nourishing this
musical tradition.
National identity within the classical music paradigm is not a new concept.
Discussion of national identity has been ongoing in the literature; however, exploring the
idea of national identity through the lens of Australian CSM is a relatively new
application of this knowledge. Over the centuries, nationalism in classical music has
taken many forms including outright patriotism, evocations of history and landscape,
references to the motherland, pieces in what is conceived to be a recognised style, folk
35
songs influencing specific attempts to define a national style (Arblaster, 2002). From an
Australian perspective, “the benefits the arts bring to Australia’s national identity and to
the community in general is a point relatively commonly made in advocacy for the arts”
(Costantoura, 2001, p. 50). Many discussions and analyses surrounding nationalist ideas
in classical music narrow in specifically on the composers’ perspective and the works
produced as a result of their nationalistic ideals (Arblaster, 2002). From a modern
perspective, nationalism in classical music can be a channel for creating connections
between composer, performer, and audience member: "the matter of finding an audience,
of relating to a community, is one key to understanding the importance of nationalism to
the composer" (Arblaster, 2002, p. 270). National identity within music can be
interpreted as a personal form of expression as well as that of a community.
Understanding how this applies to the Australian CSM genre means understanding where
this sense of identity is drawn from:
[T]echnically speaking, you can also, within limits, choose your nationality, or
change it. But even if you, as an Italian or a Korean or a Mexican, choose to go
and live in the United States, it will probably be a long time before you feel that
you have become an American. And no matter how long you live in Italy or
Japan, it is unlikely, if you were brought up and grew up elsewhere, that you will
ever feel that you are Italian or Japanese, whatever your formal citizenship may
be. There are many other dimensions to the sense of identity, some more local
than nationality. (Arblaster, 2002, p. 271)
36
National identity is not the only form of identity which can be gleaned from musical
experiences. A more broad approach can be considered where music is representative of
the individual and of the community. This is the key concept which can be considered
within the CSM genre.
Music, then, represents a remarkable meeting point of the private and public
realms, providing encounters of self-identity (this is who I am; this is who I’m
not) with collective identity (this is who we are; this is who we’re not). Of course
all cultural products have this potential – films, television programmes, even
shoes and cars. Yet music’s often-noted link to the emotions arguably makes it an
especially powerful site for such encounters. (Hesmondhaigh, 2008, pp. 329-330)
National identity is a discussion that has permeated musicological investigations in the
past yet rarely broached the subject of the CSM. As this discussion suggests, further work
could be conducted within the Australian CSM field in the understanding of national
identity and its impact on the greater community and development of the genre.
At this point, the literature review has presented a variety of sources detailing the
history, development, and practices of the CSM genre. The discussions around the
development of the instrument and challenging methods for its inclusion into the greater
Western art music scene provide insights into the practices and attitudes of current day
practitioners. The greater classical music industry, and in particular, the examination of
live performance practices will now be addressed.
37
Classical Music Performance
Understanding the nature of the classical music industry provides a well-rounded
perspective and insight into the nature of the CSM genre, particularly as “live music
performance is currently an under-researched area within contemporary music
performance studies” (Dogantan-Dack, 2012, p. 35). Further to this, "until recently, there
has been virtually no research on the process by which performers develop and refine
their interpretations and expressive performance" (Clarke, Cook, Harrison, & Thomas,
2005, p. 32). This area of research has seen ongoing development in recent years and as
Gabrielsson suggests, “there is a rapidly increasing number of contributions concerning
models of performance, performance planning and practice” (Gabrielsson, 2003, p. 221).
Some areas of investigation in classical music performance that have been explored
include understanding classical music audiences today (Barlow et al., 2007; Freeman,
1996; Gelb, 1996; Jacob, 1996; Kozinn, 2000); shaping the classical music concert
experience (Aroutiounian, 2011; Bradshaw & Shankar, 2008; Cluley, 2009; Holt, 2010;
Marontate, 2005; Parncutt, 2007; Tyson, 2004); venue and the role of place in music
presentation (Aitken, 2009; Craik, Kyte, Lancaster, & Schippers, 2010; Drake, 2003); the
classical music recording industry (Holt, 2010; Kozinn, 2000; Marontate, 2005; Midgette,
2010; Rolston & Di Benedetto, 2002); creating a better understanding of the role of the
internet within live performance (Beeching, 2005; Bennett, 2012; Horsley, 2001;
Rosenberg, 2000); and unpacking job satisfaction of performing musicians (Mogelof &
Rohrer, 2005; Parasuraman & Purohit, 2000; Steiner & Schneider, 2013; Streimikiene &
Grundey, 2009). With increasing discussion in the field, the area of research into live
38
performance is of particular interest to researchers and practitioners alike. This is due to
the unique conditions of the live performance experience and the resulting changes that
are currently taking place within the industry. Dogantan-Dack elaborates:
There is ample anecdotal evidence indicating that for performing musicians there
are significant phenomenological, aesthetic and indeed existential differences
between the experiences of performing live and in the recording studio.
(Dogantan-Dack, 2012, p. 36)
This implies that an in-depth understanding of performance research must be drawn from
performance-specific investigations and active fieldwork with professionals. Dogantan-
Dack continues to state that research of this nature “is in its early stages” (Dogantan-
Dack, 2012, p. 40) and this is particularly the case regarding research into the
performance activities within Australian CSM.
Live performance is, in itself, an engaging and emotional medium. Music is a
celebrated and integral part of society and it is for this reason that the live performance of
music still remains as valuable to many citizens as ever before. Experiencing music in a
live performance - as compared to a recording or digital music experience - is an
engaging and intensive experience and can shared by all persons present in the moment.
Bradshaw and Shankar elaborate:
The condition of music emerges as a sort of magical domain that can captivate
audiences, provide cathartic and embodied experiences, and ground identities and
communities, but also introduce us to rich exchanges between peoples while
39
somehow both reifying and subverting power structures. Before the advent of
recorded sound, music was the ultimate intangible experience rooted to time and
place, simultaneously created and destroyed, produced and consumed. (Bradshaw
et al., 2008, p. 225)
Bradshaw and Shankar have here captured some of the essence of live performance and it
is this definition of live performance that is used throughout this research. The connection
of the live experience to the ‘here and now’ is a defining characteristic of what
constitutes a live performance, and Holt echoes: “The live experience is associated with
co-presence in the here and now, and the strict meaning involves a face-to-face relation in
the same physical space” (Holt, 2010, p. 245). The use of the term ‘live performance’ is
common throughout this thesis and developing a distinction between a live performance
and any other mode of performance is of increasing relevance to this discussion for both
context and scope.
The word ‘live’ started to be used in the 1930s to mean the alternative to recorded
material in radio broadcasts (see the Oxford English Dictionary, 1989). A sound
reproduction was defined as a copy in relation to an imagined original (Holt,
2010, p. 244)
Further to this, I have already established an understanding of the term ‘live performance’
as relevant to this investigation and the subsequent use of the term throughout this thesis
which has already been established in a previously published article:
Live performance can be defined in comparison to its opposite - recorded media -
as being an experience between performer and audience in the same space at the
40
same time. As many scholars have identified, CDs, recordings, and digital media
remain an important part of the classical music industry. Nonetheless, live music
performance is also important as it has the potential to not only physically and
emotionally affect the audience by engaging the senses and mind, but also to
create a shared yet simultaneously unique experience for each audience member
present. The visceral quality of experiencing a live performance as an audience
member cannot be replicated by a set of earphones or in isolation. (Di Marco,
2014a, pp. 24-25)
For classical musicians, it is acknowledged that engagement in live performance
activities may begin at an early age. Musical training exercises, educational activities,
performance competitions, and recitals all form a significant component of the learning
process of becoming a classical musician and significantly prepare a musician for future
professional activities (Gabor, 2009).
By the time a classical instrumentalist is in his or her late teens, he or she has
normally acquired considerable experience in live music-making. For those who
go on stage regularly, live performance-making becomes a totally natural activity,
a way of being and of becoming. (Dogantan-Dack, 2012, p. 37)
Given this understanding of the role of live performance activities within classical music
careers, the education of classical musicians will now be considered. Music education is
not a specific focus of this research investigation but forms an increasingly larger part of
the discussion surrounding classical music in the 21st-Century (Borgonovi, 2004; Buder,
41
2013; Freeman, 1996; Jacob, 1996; McKinnon & Lowry, 2012; Whale, 2008) and the
live performance contexts of classical saxophonists.
Classical Music Careers and Early Development
A long and intensive process, education and studies for classical musicians are
often conducted over many years or possibly decades of specialised study (Dogantan-
Dack, 2012). The development into a professional classical musician requires the
learning of superior technical ability on a chosen instrument/s, a strong sense of
musicianship and musical individuality, and the necessary management skills to maintain
an active career (Bennett, 2007; Mills, 2007). Jarvin and Subotnik state that for classical
musicians “technical proficiency is important and that it is essential to acquire it early”
(Jarvin & Subotnik, 2010, p. 81). In their study of conservatory faculty and the skills
required for success in the modern classical music industry, Jarvin and Subotnik (2010)
were able to isolate specific elements crucial to specific stages of a music career, as
identified by established, successful musicians:
We first discuss the factors perceived as being of the greatest importance in the
early stages of a musician’s development (analytical abilities, technical
proficiency, parental support, teachability, teacher–student relationship, external
rewards, persistence, intrinsic motivation), then move to those perceived as
gaining importance in the middle stages (knowing one’ s strengths and
weaknesses, self-promotion, playing the game, social skills, and self-confidence),
42
and review those that matter most in later stages and finally those that are viewed
as innate (risk taking, musicality, and charisma). (Jarvin et al., 2010, pp. 80-81)
What was also identified (and of significance to this investigation) was that “they
clumped together intrinsic motivation, persistence, and self-confidence as qualities
possessed by artists who come to their attention” (Jarvin et al., 2010, pp. 82-83). The
performance of classical music in a modern setting requires performers to negotiate a
balance between traditional and time-honoured routines with new and innovative ideas.
The dichotomy between maintaining traditional performance standards and creating new
musical traditions provides the industry with many new paths to explore surrounding
etiquette, presentation, repertoire choice, and venue choice. The changing musical tastes
and easy availability of a vast number of musical styles has created a musical melting pot
of which classical music forms just one small ingredient. This has, in turn, required
classical musicians to move away from earlier models of instrumental virtuosos focussing
solely on their craft and created a new breed of entrepreneurial musicians whose
“financial viability depends for many musicians not only on talent, but also on their own
‘portfolio’ skills such as in advertising, social media, merchandising, venue management
and ticketing arrangements” (Bartleet et al., 2012, p. 35). With many musicians finding
that a full-time performance career is unattainable, some are expanding their output to
incorporate other fields such as teaching, research, recording, composing, music
administration and conducting. This is consolidated by Hannan who suggests throughout
a portfolio career “the work musicians undertake may include performing, teaching,
composing, managing, administering and other music-related activities (Hannan, 2003)
43
across diverse music genres such as classical, pop, world music and jazz” (as cited by
Bartleet et al., 2012, p. 35). This is not exclusive to the CSM field:
Data strongly indicated that far from making a living by making music, the
majority of musicians finance music making by making a living. Commonplace
definitions of a musician as ‘someone who performs’ are not supported by
participants in this study. Rather, participants believe that musicians practice
within the profession of music. (Bennett, 2007, p. 185)
This suggests that the idea of live performance being a sole source of work or income is
unlikely for Australian classical saxophonists and consequently, other areas of work
including recording projects, engagement with the Internet as well as other positions
(education, arts administration) must be explored (Colón-Martín, 2015).
The full range of music activities and industries that make up the Australian
music sector is estimated to represent a turnover in excess of seven billion dollars
a year (Music Council of Australia, 2009; cf Guldberg & Letts, 2005). Music in
turn forms part of a much larger industry sector known collectively as the creative
industries … Estimating the scale and characteristics of the music workforce itself
is problematic because national census collections, including the Australian
census, record only the main source of income for each respondent; hence much
of the activity undertaken by musicians with diversified work patterns is not
captured. (Bartleet et al., 2012, p. 33)
Performance is not necessarily the primary output for these musicians. From a CSM
perspective: “The daunting question shared by many saxophone players for many years
44
has been, ‘what are the job outcomes for a saxophonist?’ Many professional saxophone
players have faced this question in their careers” (Tyson, 2004). Tyson interviewed a
number of leading Australian saxophone pedagogues (including specialists from both
classical and jazz idioms) who acknowledged that lack of performance opportunities for
saxophonists within the symphony orchestra and large ensembles can be a stumbling
block for younger musicians. The “poor musician” (Tyson, 2004) theory is therefore not
necessarily applicable to modern day saxophonists who “owing to the sometimes fickle
nature of the music world, [find] other employment opportunities” (Tyson, 2004). This
was echoed, in part, in Jarvin and Subotnik’s work where they identified that “self-
promotion and ‘knowing how to play the game’ were grouped together by most of our
participants and recognised as important for the middle and later stages in a musician’s
career but not at an early age” (Jarvin et al., 2010, p. 83). This was also found in the
writings of Crappell who stated: “a healthy network of contacts is a must for a successful
music career” (Crappell, 2011, p. 10) and a continual goal of a successful musician is “to
market ourselves accurately and effectively” (Crappell, 2011, p. 10).
Understanding marketing strategy and finding effective means of performance
promotion is a challenge for all musicians, and in particular those centred around live
performance activities (Beard & O'Hara, 2006). Soloist or chamber music ensembles are
not alone in navigating challenges presented by differing musical tastes. It is argued that
the industry needs to learn “how to loosen up old conventions and enhance the experience
for modern music fans” (Lee, 2003, p. 14). The proposal has even been raised that
45
compared to other musical genres and forms, classical music has “more intrinsic value…
because of its significance for our musical tradition and its intellectual complexity” (Lee,
2003). This intellectual value is also a leading cause of the elitism that has often plagued
classical music and fed the general decline in its popularity. There is also the viewpoint
that classical music has stagnated with constant performances of the same repertoire and
attempts to continue strongly European traditions even when in other continents provides
a reasonable explanation for lacking interest in the musical genre as a whole (Gann,
1997). Whilst this is not the case for all forms of classical music and is certainly not a
concept found in all countries around the world, it does show how individuals are
perceiving this genre. Macmillan writes: “No one believes classical music is going to
disappear. But many people in the field believe that it is set to undergo a potentially
tumultuous and painful transformation – one that in some areas is already underway”
(2010, p. 1)
A significant element of the current dynamics in the classical music industry is
the new repertoire currently being composed and performed and research has been
conducted in this field (Arblaster, 2002; Heaton, 2012; Keefe, 2009; Milne, 1985). The
entrepreneurial nature of saxophonists within the CSM field sees them currently engaging
in the development of new music by collaborating with composers. Furthermore, there is
currently a presence of performer-composers in the CSM field whereby saxophonists are
composing and presenting their own musical creations and this is acknowledged more
generally and historically in the classical music industry (Keefe, 2009; Weathersby,
46
2002). Previously, musicians would engage in a “traditional performer-composer
relationship where the written score remains on a socially constructed throne”
(Colangelo, 1996, p. 4). This is elaborated on further by Colangelo:
In a commonly-held view of tradition of Western Art Music, a performer is
obliged to treat a composer's score as a contract. If the composer specified a
metronome marking for tempo, the performer is duty bound to try to maintain that
tempo. If none is marked, then the performer may use his or her judgement.
Similarly, if specific dynamics are marked, they must be played as written.
According to this paradigm, the basis for all interpretative judgement by the
performer should come from the score. (Colangelo, 1996, p. 1)
The performance of classical repertoire therefore transforms the performer into an
interpretive vessel, bringing the music to life as the composer has imagined it. For
Edidin, "classical performers are indeed musical artists, who in some important ways
function as collaborators with composers in the process of bringing music to
performance" (Edidin, 2000, p. 317). This does not account for the fact that "even the
most detailed score cannot begin to indicate to the performer exactly how a work should
be performed" (O'Grady, 1980, p. 56). This spawns a twofold discussion: firstly, exactly
how should performers realise a musical composition in performance situations, and
secondly, how does a collaborative compositional process affect the final performance
outcome? A significant and highly subjective area, this has been investigated in this
thesis with a specific examination of the repertoire performed by Australian classical
saxophonists and their interaction with composers in the creation of new music.
47
21st-Century Music Consumers and the Performer-Audience Relationship
The challenge for current classical musicians is to explore the practice of
presenting music in a traditional format and navigating new choices and new options that
developing technologies and changing audiences’ interests provide. The experience of a
traditional classical music performance has been flagged as out of touch with
contemporary audiences (Eichler, 2006; Kozinn, 1997; Lee, 2003; Thorncroft, 1998).
This is not only limited to solo or chamber music performance: in terms of orchestral
performance, "tuxedo-clad orchestra musicians arrayed in neat semi-circles across the
stage - each paired with a gleaming trombone or handcrafted violin, and with five
centuries of prestige on their side - can seem invincible” (MacMillan, 2010, p. 1). For
those unfamiliar with the etiquette of a classical music performance, it can seem a
daunting task to attend a concert:
The concept of accessibility reaches beyond the physical capacity to gain access
to a performance; it may well relate to a perception of status and exclusivity from
which the audience feels alienated, or which is simply irrelevant to their everyday
cultural pursuits. (Craik et al., 2010, p. 25)
This brings forth a discussion to change the presentation of this music to create a more
appealing experience for new audience members “despite the fact that many presenters of
classical music are “scared of alienating their long time, tradition-bound concertgoer[s]”
(MacMillan, 2010, p. 1). This initiates a discussion of finding a balance between the two
and creating an industry that is sensitive to the needs and wants of the consumers whilst
48
balancing the artistic goals and outcomes of the performers. Further to this discussion,
financial considerations must be thought through to ensure performance activities are not
solely dependant on government or corporate funding or overly expensive ticket prices
(Gersch, 2007). This concept could be continued as a discussion of how classical music
can be interpreted as stable, unchanging element which has rarely, or only very slowly,
adapted to changing times. Eckersall, Gray, Menon, and Van Graan argue that the
success of one type of classical music - Opera - is that it has had to adapt to a changing
market and modern musical climate rather than focussing on the same presentation style
of previous decades:
In order for opera to survive it has to be demusealized; it has to be returned to its
status as a living organism in dynamic engagement with its changing cultural,
economic and political landscape. The cultural capital of opera has to be re-
imagined, dispersed, so that it may speak of timely issues through its sonorous
affective power. (Eckersall, Gray, Menon, & Van Graan, 2013, p. 45)
And whilst not every opera company can be viewed in this light, it does suggest that the
organisation of a live performance must be centred around this interaction: “A live music
concert is about communicating. Indeed, we are familiar with hearing musicians tell us
that the audience is as important to a successful show as the performers” (Cluley, 2009, p.
376). It certainly follows that a stronger focus needs to be placed on creating positive
interactions between performers and their audiences and the planning and management of
a live performance activity must consider this relationship with great care.
49
Audience development can be understood as an "activity which is undertaken
specifically to meet the needs of existing and potential audiences and to help arts
organisations to develop ongoing relationships with audiences (Barlow et al., 2007, p.
105). This is arguably a crucial aspect in maintaining a performance career in music. To
implement a program of greater engagement with potential audiences, Barlow and Shibli
state: "Successful audience development requires a strong commitment to working
beyond the usual channels of conventional arts marketing. A willingness to try new
approaches and undertake innovative advertising" (Barlow et al., 2007, p. 118). From the
perspective of CSM, this genre has been developing for a far shorter period when
compared to other genres of Western art music.
Visual Aesthetics: Choice and Artistic Vision
The visual element of live music performance has increasingly become a highly
discussed area of music research, and has been approached from many angles. It is
increasingly being acknowledged that “the role that auditory versus visual information
plays in performance evaluation is of particular interest to researchers, practitioners, and
educators” (Tsay, 2013, p. 1). Time honoured traditions have been rigidly accepted in
many circumstances, particularly in orchestral performance, where a uniform of black
and white is still readily adopted (MacMillan, 2010). It is increasingly being
acknowledged that the visual aspects of a performance can play a crucial role in the
experience of the audience present and impact upon the perceived success of this
performance (Griffiths, 2011; Kozinn, 1997; Tsay, 2013). This idea stems from the
50
valuation of products in everyday life and how we, as consumers, assess products based
on their aesthetic appeal.
We prefer the nicely wrapped holiday gifts (1), fall in love at first sight (2), and
vote for the politician who looks most competent (3). Daily life is littered with
examples of how visual information can have a powerful effect on social
cognition, ranging from interpersonal perception to consumer judgment. (Tsay,
2013, p. 1)
Particularly within the consumer experience, products are increasingly being improved
for their visual appeal: “vegetable peelers, wireless phones, car-washing buckets, and
lawn tractors are all being designed with attention to the aesthetic value of their
appearance” (Bloch, Brunel, & Arnold, 2003). From both a wider context and a classical
music perspective, visual aesthetics refers to a multitude of factors including but not
limited to colour, ornamentation, shapes, sizes, and materials used (Bloch et al., 2003). In
many cases, “such mundane but ubiquitous aesthetic considerations are so deeply woven
into the fabric of our mental lives that we seldom reflect on what our preferences are or
why we have them” (Palmer, Schloss, & Sammartino, 2013, p. 78).
Moshagen and Thielsch present the argument that “beauty is intrinsic, because an
object is perceived without any reasoning about expected utility. This feature of beauty
implies that aesthetic responses occur immediately at first sight, rather than being the
result of a long lasting cognitive analysis” (M. Moshagen & Thielsch, 2010, p. 689). The
concept that a response to perceived beauty is instantaneous can be seen to have
51
ramifications for live performers and musicians. Despite having the entire length of a
performance to make a positive impact upon their audiences, initial judgements may
prove to be the most important and long-lasting to audiences; therefore, musicians must
decide carefully how they present themselves and their entire performance on-stage. This
suggests that performing musicians may be able to negotiate their appearance to create
improved relationships with audiences. When discussing visual aesthetics, “four facets of
perceived visual aesthetics … were identified and validated in a series of seven studies:
Simplicity, Diversity, Colorfulness (sic), and Craftsmanship” (M. Moshagen et al., 2010,
p. 705). These are four characteristics which could be used to develop the visual
aesthetics of a concert or recital. The negotiation of these four facets can be applied to
clothing and dress, personal presentation, stage layout, appearance of the concert venue,
and the overall appearance of the concert. Musicians are trained in performance and
musical skills and the application of four straightforward facets to their planning of visual
aesthetics means musicians could make better choices.
Examining how classical musicians present themselves in live performance
activities can be analysed according to two clear concepts emerging in the literature: a
historically-based approach to presentation and a progressive-based approach. Kozinn
argues that the development of thinking in this area has been brewing for some time and
states:
Classical musicians and the impresarios who sponsor their concerts have been
thinking a lot lately about how performances look, and about what can be done to
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drag classical concerts toward the 21st century. Music, they argue, may be the
principal attraction and main event of the concert experience, but why not engage
the eye as well as the ear? Why maintain a tradition of unadorned stages, formal
dress and unvaried white lighting at a time when the young audiences that
musicians hope to attract regard that presentation style as uninvitingly dull, and
assume that the music is as well?” (Kozinn, 1997, p. 2)
This statement calls into play a plethora of choices to be made by classical musicians:
everything previously identified from clothing choice to stage lighting and the use of
amplification. Traditional classical music etiquette calls for “19th-century performance
protocol” (Lasserson, 2002, p. 10) and therefore the updating of these performance
practises “is a sensible evolutionary step” (Kozinn, 1997, p. 2) in modern times. One
example of this would be to compare an orchestral concert in a traditional concert hall to
a pop music performance at a large-scale stadium in a theoretical context; scenarios that
many music consumers would be familiar with. A symphony orchestra – dressed in full
concert blacks – enters the stage to calm and gentle applause; as they sit, the
concertmaster takes to the podium and tunes the ensemble. Following this, the conductor
confidently enters the stage, once again to gentle, polite applause. As the orchestra begins
to play, visual interest for the audience is the occasional bow flinging from the first
violins or overly dramatic gesture from the conductor. Lasserson states, “How could the
mind fail to wander in such a situation?” (2002, p. 10). This can be seen as a stark
contrast to a concert by a popular music performance. At a concert of this nature,
audience members are often packed in with standing room only. Shouting, screaming,
53
chanting and laughter all precede the concert and are welcome gestures throughout the
entire performance. When the star enters the stage, the screaming and chanting reaches a
high. The audience is addressed directly, drawn into the music and wowed by differing
combinations of elaborate costumes, dancing, pyrotechnics, and larger than life displays.
It is understandable to conceive that faced with the two choices, audiences would prefer a
more engaging and provocative performance and over time they have come to “expect an
interactive experience” (Torrance, 2007, p. 1).
Classical musicians conduct a number of different performance activities which
include a visual element such as recitals, festivals, and auditions, alongside non-live
activities such as promotional posters, CD covers and booklets, and websites. Despite
that many “professional musicians consistently report that sound is the most important
information” (Tsay, 2013, p. 1), and that visual cues are acknowledged as an important
factor in the judgement of a musical process. In some contexts, such as auditions,
musicians may be subjected to a ‘blind’ process where they perform behind a screen or
blockade from the auditioning panel and therefore anonymous in the execution of the
activity. This process is accepted in terms of ‘fairness’ and ‘equality’ in the auditioning
process but Tsay also describes this may be for “those who prioritize visually stimulating
choreography over the composer’s intended sound” (2013, p. 1). What cannot be ignored
is that musical training is based principally on the development of sound and expressive
interpretation - sound is “the foundation of the field” (Tsay, 2013, p. 1). Despite this, it is
54
increasingly being uncovered that the evaluation of musical performance, whether by an
experienced or amateur listener, is affected by visual cues and stimulation.
These findings suggest that there may be gaps between what we say we use to
evaluate performance and what we actually use. People may be unlikely to
recognize (sic) or admit that visual displays can affect their judgment about music
performance, particularly in a domain in which other signals are deemed to be
more indicative of quality. (Tsay, 2013, p. 1)
Tsay conducted an investigation into how experts and amateurs judge piano performance
with and without sound present, having been presented with videos of classical piano
performances. In her work she was able to conclusively state that “this set of seven
experiments … suggests that novices’ judgment mirrors that of professionals; both
novices and experts make judgments about music performance quickly and automatically
on the basis of visual information” (Tsay, 2013, p. 4). She continued to state:
Professional musicians and competition judges consciously value sound as central
to this domain of performance, yet they arrive at different winners depending on
whether visual information is available or not. This finding suggests that visual
cues are indeed persuasive and sway judges away from recognizing the best
performance that they themselves have, by consensus, defined as dependent on
sound. (Tsay, 2013, p. 4)
This study highlights the importance of visual aesthetics in live performance activities
and the need for classical musicians to acknowledge and respond to this understanding.
“Professional training may hone musicians’ technical prowess and cultivate their
55
expressive range, but in this last bastion of the realm of sound, it does little to shift our
natural and automatic overweighting of visual cues” (Tsay, 2013, p. 4).
One aspect of the visual aesthetics discussion is the dress and clothing choice that
classical musicians partake in. Crafting a positive professional image, as explained, is
invariably dependant upon personal appearance onstage and during performance. “This
impression depends upon our friendly manner, but it also includes the way we dress. …
the simple fact is that our appearance matters” (Crappell, 2011). Another perspective is
the use of promotional photos for publicity and creating a professional image. The
construction of this photo provides potential audiences with an insight into the musicians
and their music. Benching describes this:
Although your photo should be appealing, publicity photos for musicians
primarily need to communicate to the audience what you actually look like (on a
good day), as well as who you are as a musician and what your music-making is
like. (Beeching, 2005, p. 49)
The time-honoured saying that ‘a picture tells a thousand words’ is relevant in this setting
where a photo can be a strong tool for communication to audiences. Benching continues:
“An effective publicity photo is one that makes a memorable, positive impression, and
conveys the image you intend” (Beeching, 2005, p. 45).
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Place and Performance
Different venues for live performances can facilitate interesting and inventive
experiences for audiences and this been an area of interest within the classical music
industry (Cluley, 2009; Drake, 2003; Hoffman, 2002; Mencarelli & Pulh, 2006). The
concept of place within the context of the performance of classical music has increasingly
been contemplated from differing perspectives. Key concepts presented include the
impact of venue choice on audiences through prestige, expectations, and interpreted ‘road
blocks’ to the venue as well as the performers with emotional response, inspiration, and
community engagement. For listeners, making the decision to attend a live musical
experience over a personal listening device at home means a variety of factors come into
play: accessibility to the venue, ease of access, and an inviting atmosphere which
encourages regular and non-regular listeners to come along. Furthermore, the
presentation of classical music is often conducted in venues specifically designed for
music-making. What is currently being examined within the literature is the presentation
of live classical music in non-traditional venues and the resulting impact this has upon the
music in its presentation (Alioff, Warson, MacDougall, & Thompson, 1997). This can be
considered as: “How have new environments of performance reimagined 'high art'?"
(Eckersall et al., 2013, p. 31). For many, the problem in the choice of venue stems from
the “artistic prestige” (Craik et al., 2010, p. 14) of larger music halls that can leave
audience members feeling like a foreigner without a passport. In these circumstances,
Eichler suggests that “concert halls are too often seen as solemn temples of high art
governed by a formal, rigid, and altogether foreign code of etiquette” (Eichler, 2006, p.
57
1). Furthermore, “it is a larger sense that a new subculture must be learned before [the
audience] will be able to enjoy a live performance” (Eichler, 2006, p. 1).
To remedy this, the presenters of classical music are choosing venues that are
different from the traditional, large-scale concert halls in order to provide a sense of
comfort and security to the audience attendees in turn using the venue as a tool for
improving and enhancing the listening experience.
These are intimate spaces, small enough that no matter where you sit or stand
you'll have a good view. Where up close and personal is a given because there
isn't any other option. Where you'll leave feeling like you've seen and heard
something special, because you were close enough to feel it as well as hear it.
(Behe, 2008)
This choice of intimate venue is an intentional decision made in an attempt to provide the
audience with a connection to the music; they are encompassed by the music and receive
more than just a live performance of the music and are rewarded for their attendance with
a unique and innovative experience. The deliberate choice of venue is relevant to the
overall production of a music performance as “the physical setting represents the
background for the musical performance and the interaction between the musicians and
the audience. In general, the environment plays a crucial role in a service encounter”
(Minor, Wagner, Brewerton, & Hausman, 2004, p. 10). The use of a smaller or more
intimately conducted space for the presentation of music can also remove the pre-existing
expectations of some audience members. In these instances, those in “the front row of
58
seats [are] so close you could touch the performer” (Kanny, 2012) and are given a chance
to connect with the performer of the music in a manner unable to be provided by a
recording. This is especially inviting for “young or otherwise uninitiated listeners,
[where] a major barrier to entry is not the music itself but the packaging” (Eichler, 2006,
p. 1). This change of venue from the traditional large, shoe-box style concert hall is just
one solution to the classical music image problem in contemporary society; however, it is
a growing trend that is being explored in many countries and by many performers in the
classical music industry.
Stemming out from the relationship of audiences and place, research also suggests
that ‘place’ can play a more profound role on the artistic decisions of the performers as
well. In some cases, “a creative worker’s subjective, personal or emotional response to
place will affect how they may use the attributes of that place for aesthetic inspiration”
(Drake, 2003, p. 513). This affection can be as simple as choosing one piece of repertoire
over another or as complex as planning an entire production to suit and compliment the
choice of venue. This, again, provides performers with a multitude of choices and sources
of inspiration to present their work in and transform a venue from a mere platform for the
presentation of art into a resource and integral part of the artistic process (Drake, 2003).
The choice of venue for a musical performance is no longer considered only for its
“traditional factors” (Drake, 2003, p. 513) such as financial benefits, public accessibility,
and space but also for its creative influence on the production as a whole. As confirmed
in the Redefining Places for Art study: “arts organisations [are] choosing to engage with a
59
broader community; and the community [are] responding with increased interest in
diverse places for experiencing the performing arts” (Craik et al., 2010, p. 21). The
diversity of performance places also encompasses the technological side of music making
- that is, recorded music and its distribution amongst the community – and is becoming
increasingly relevant as more and more engage with music in a non-live format and,
again, redefine the concept of venue and place.
Recorded Music, the Internet, and Digital Engagement
The music recording industry represents a significant portion of today’s music
market and it is through recorded music that many consumers are engaging with musical
content and relying on digital media for music consumption. Hesmondhaigh argues that
“many people report that music plays a very important role in their lives. This role does
not appear to have diminished with industrialisation, commodification, and the mass
consumption of music; if anything, it has grown” (2008, p. 329). The increasing
digitisation of daily life has seen changing attitudes towards the live experience and a
push towards on-demand, 'anywhere, anytime' musical consumption fuelled in part by the
increasing availability of low cost, high speed internet services and portable, internet
capable devices. This is a significant transition away from earlier times where live music
was the central, and only, form of musical consumption possible.
In the new era of globalisation by digitisation, the music industry is at the fore. As
in many other industries, global corporations have emerged to create and exploit
global music markets. But the music industry goes further than almost any other:
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the entire transaction of purchasing and delivering music can now be completed in
non-material form over the internet (Letts, 2000, n. p.) (Bartleet et al., 2012, p.
34)
There is significant discussion about the role of digital music-making and engagement
with technology in the literature (Bartleet et al., 2012; Beeching, 2005; Cluley, 2009;
Crappell, 2011; Holt, 2010; Kozinn, 2000; Loveland, 2009; Marontate, 2005; Rolston et
al., 2002). Due to the nature of the research investigation and the scope of this PhD
research, this part of the literature review narrows in specifically on digital technologies
which impact on or relate to the live performance arena. The role of electronic music and
digitally produced sounds provide ample academic discussion but do not fit currently fit
within the realm of CSM. “Digital technologies and the creative practices associated with
them are transforming the lived experience of music in ways that have the potential to
reconfigure radically the relations between creators, mediators (e.g., record companies),
and publics” (Marontate, 2005, p. 1422). This sentiment can be identified in the writings
of other academics and music practitioners alike. The Internet has therefore changed the
musical landscape and no examination of live performance in the 21st-century could
ignore it. What is currently unknown within the industry is the ongoing ramifications of
continuing technological advancement and the impact for live performance. As Beeching
elaborates:
What the full impact of Internet technology will be on the music industry and on
individual musicians is not yet known. In the coming years, as Internet sound
quality improves, as broadband, high speed Internet access proliferates, as
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streaming of live concerts becomes more practical, and issues of copyright are
sorted out, musicians will have unforeseen opportunities. (Beeching, 2005, p.
111)
Constantly developing technologies also incite “students and recent graduates to listen to
a wide range of music, to participate in creative networks, and to share their work with
various publics” (Marontate, 2005, p. 1435) in a manner not previously possible. The
possibilities for music to unite different peoples and bring together audience members
with shared interests is now possible in the digital realm through disseminations of
recordings, websites, forums, and online fan bases. The connection between a particular
style or genre of music and an individual means a personal connection can be crafted
over time and this connection extended to groups of people sharing in the live
performance experience and having the opportunity to bond over a shared sense of
appreciation. Hesmondhaigh describes this phenomenon:
The continuing and perhaps growing importance of music in everyday life may be
based on two contrasting but co-existing dimensions of musical experience in
modern societies. The first is that music often feels intensely and emotionally
linked to the private self… the second is that music is often the basis for
collective public experiences, whether in live performance, or simply by virtue of
the fact that thousands and sometimes millions of people can come to own the
same recordings. (Hesmondhaigh, 2008, p. 329)
The availability of digital recordings and ability to listen to music online and connect
directly with artists and fellow fans allows consumers to develop meaningful
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relationships with the music and its performers. Moreover, the emergence of social media
has allowed for performers to create an elaborate digital presence which, outside of the
live performance arena, promotes themselves and their work. Altogether, this presents an
avenue of investigation which must be explored with the participants of this study.
This increased engagement with recorded music, has spawned an era of greater
musical interest spread across all genres and levels from amateurs to the highest level of
professional musicians including media “from home videos on YouTube to talent shows
on TV and beyond to the streaming of concerts across multiple media platforms” (Holt,
2010, p. 244). In this sense, music audiences or ‘fans’ have changed their methods of
participating in music-making as “[t]he arrival and expansion of the Internet have
changed music fandom quite significantly, at least in the ways in which some fans engage
with the live music experience" (Bennett, 2012, p. 545). Technology has allowed the live
experience to transcend the physical presence and incorporate music consumption on the
go, often in solitary ways (such as with headphones and with the personal consumption of
music) and in increasingly public ways through social media by connecting like-minded
listeners. It also appears to have transitioned performers’ focus away from producing
CDs for profit and instead on building new audience bases by engaging interested
listeners, especially given the low sales reported for classical music recordings (Duncan,
1994). The live performance of music is no longer the only method for social interaction
with music, digital technologies have provided new outlets for expression, discussion,
interaction, and differing developments in fan (audience) bases.
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Before the advent of electronic media, live performances in such locations as
private homes, concert halls, opera houses, and churches formed the backbone of
social interaction. These live performances still provide an important
entertainment and social role. (Minor et al., 2004, p. 7)
Exactly how digital changes are taking place has been the source of some discussion in
the literature and the question to be asked is: ‘Are digital media practices boosting
interest in live music?’” (Holt, 2010, p. 244).
The Internet is a powerful tool for the dissemination of work and “managers,
musicians and union officials [have] explored the option of offering their product directly
to consumers in cyberspace, minus the commercial hand of recording companies”
(Rosenberg, 2000, p. 1). Whilst the digital dispersion of music has definitely impacted on
the method of consumption, it has numerous other positive effects for musicians and
music professionals which aid the live performance process. Personal websites provided a
space for musicians to present their work and accomplishments with relative ease and at a
low cost; social networking sites including Facebook, Twitter, YouTube, Soundcloud,
Vimeo, MySpace all provided even further opportunities to disseminate recordings, work
samples, photos, biographies, accolades, and more; and music consumers can easily
search for their favourite musician, CD, recording, or find a new interest at the touch of a
few buttons as “it seems that for many classical fans, the Web is taking up the slack”
(Horsley, 2001, p. 2). As noted by Horsley in 2001, “the virtual explosion of Web sites
for classical information, streaming audio, live radio feeds and MP3s continues to belie
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the notion that global interest in Grieg and Glinka and Glass is on the wane” (p. 9). The
explosion continues today.
The increasing dominance of the Internet into daily life has also required that
musicians ensure they have a digital presence to communicate with audiences, drum up
support, and ultimately engage with the music community as a whole.
Most businesses have realized (sic) that some kind of cyberspace presence is a
competitive necessity, and marketers are realizing (sic) that creating an effective
Web presence requires more thought than throwing up a simple billboard on the
Information Superhighway. Even elaborate Web sites with seemingly endless
features can be confusing, if not well-planned. (Fisk, Grove, & J., 2000, p. 26)
Audiences and music enthusiasts now have the opportunity to engage with classical
musicians in cyber space in new and increasingly easier ways. “In the twenty-first-
century context, social network capability includes the capacity to exploit the affordances
of social media and other digital platforms” (Bartleet et al., 2012, p. 36). Social media
platforms, particularly Facebook or Twitter, engage a perpetual conversation between
performer and audiences and connect to people on a personal and daily level. “Online
social networking is influencing our daily communication with friends, family and
coworkers, and its power and scope is still expanding” (Crappell, 2011, p. 10). This
constant development and ever-changing digital landscape has arguably changed the
methods by which classical musicians communicate with their audiences outside of the
performance sphere. There are now ample opportunities for younger and less recognised
65
classical musicians to build a strong online following, promote their work, and advertise
live performances at no or very little cost. What is not clear in the literature is how
Australian classical saxophonists are using social media platforms to their advantage as
research has previously focused more generally on the music industry, rather than on a
specific group of musicians.
Another interesting advantage of social media is the ability to connect the live
experience with the digital through websites such as Twitter.
The use of mobile Internet and social networks such as Twitter and Facebook has
not only allowed fans to find and connect with each other at shows, but also to
tweet concert set-lists and other information as they happen, thereby allowing
non-attendees around the world to feel part of the event. (Bennett, 2012, p. 545)
This is particularly the case in popular music performances where many audience
members are able and generally encouraged to interact with their smart phones, recording
devices, and other tablet-based equipment with mobile phones generally the most highly
used device (Bennett, 2012). This scenario sees that “media penetration is greater than
ever before” (Holt, 2010, p. 252). The documentation of their live experience in real time
has proven effective in creating an online atmosphere for the concert. Bennett argues that
"these online tools are involving individuals who are not physically present at the show,
seemingly incorporating them into the real-time ‘live’ experience” (Bennett, 2012, p.
545). This calls into question the definition of a live event where participants can engage
without being physically present. "Fans are using social and mobile media in an attempt
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to contest and reshape the boundaries of live music concerts, a practice that works to re-
appropriate ideas of immersion in ‘liveness’” (Bennett, 2012, p. 545). The appeal of a
live performance that embraces a digital presence is explained by Holt:
[W]e can understand the live music show as a performance that features the artist
and repertoire known from the media. Media activity around the event heightens
the sense of magnitude and the social performance of media culture and its own
sense of reality. The combination of experiencing a unique performance and being
part of a major media event is powerful. (Holt, 2010, p. 255)
Whilst many classical musicians – and particularly musicians operating in the CSM field
– may not have the interest of mainstream, large-scale media, media involvement on
some scale is sure to play a part in the staging of a live performance. Engagement with
local radio stations or specialist classical music stations, digital marketing including
Facebook campaigns, as well as corporate sponsorship may play a role in the production
and marketing of a classical music performance. This media engagement has the potential
to create a field of interest and anticipation prior to an event. The networking
opportunities of social media and online forums provides classical musicians with ample
marketing opportunities at no or minimal costs. This, in combination with the marketing
factor of live events and public based appearances is a powerful combination for building
status, creating an artistic persona, and continually building positive relations with an
audience base. This is seen, in particular, from a popular music perspective: “live public
performance is a key site for discovering, assessing and promoting popular music artists,
and live music events are increasingly used as marketing events” (Holt, 2010, p. 245)
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Music streaming services are also changing the face of music consumption with
on-demand music services providing unlimited access to recordings. “The scope of the
Naxos Music Library is mind-boggling for a service primarily devoted to a single,
specialized genre: It currently claims to offer 52,000 CDs containing more than 750,000
tracks, and it adds 800 new CDs per month” (McElhearn, 2011, p. 66). It can be surmised
that a subscription to a service such as this can provide consumers with a greater musical
experience and greater ‘bang for their buck’ compared with a live recital performance.
This even extends to classical radio stations that are also being affected. At this point in
time, “…the transition to the age of downloading has arrived” (Swed, 2006, p. 40).
Live streaming is rapidly making broadcast radio superfluous – suggesting that
the slump in classical radio might not be that big a deal. Replacing it are instant
gratification downloads that allow classical lovers to store and listen to virtually
anything on the face of the earth, often for free… and other sites offer generous
samples of classical CDs for the choosy shopper. It's all there, and like other areas
of the Web, these sites are encouraging more and more classical fans to stay home
in their computer chairs and steer through the world at their own pace. (Horsley,
2001, p. 9)
Through the constant developments and improvements in technology, the invention of the
iPod and mp3 devices, and the ever-increasing speed of the Internet, music has evolved
into two clear formats. Firstly, a live and interactive art form, which physically, mentally
and emotionally engages the audience creating an inclusive environment where all
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listeners are drawn in collectively and secondly, it has its digital counterpart, purely
engaging with its audience via a computer or device promoting the consumption of music
individually, in your own time, and in your own space. So how does this new method of
consumption pertain to the classical saxophone genre? Unfortunately, this answer is not
well documented within the literature; it is unclear whether there is a relationship
between recorded and live classical saxophone music. CSM has the potential to grow and
expand to satisfy the greater community at large as “new recording technologies offer
new options for creation, but musicians still seek to position themselves within
established taste cultures to find audiences and achieve recognition” (Marontate, 2005, p.
1429), particularly in the field of classical music where live performance is a crucial
element to maintaining an active career.
Musician Satisfaction through Performance
The final area of investigation in this literature review is the consideration of
performer satisfaction gleaned from the live performance arena. Looking through the lens
of the classical music, permanent or tenured positions in live performance are limited
with symphony orchestras and defence force bands viewed as some of the major
employers of graduating classical musicians globally (Beeching, 2005; Loveland, 2009;
Trezona, 2012). As a saxophonist, these potential ensemble positions dwindle when you
consider the lack of a permanent saxophone position in the symphony orchestra (Koval,
1999; Vanderheyden, 2010). When considered in combination with current thinking in
the portfolio career model, understanding how performers glean satisfaction from the
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performance process is challenging given that so many classical musicians may not
include live performance activities as the bulk of their workload. Adding to this the fact
that many practitioners enter the classical music profession due to their 'love of music' or
creative personality rather than specifically for financial success or job stability
(Parasuraman et al., 2000). With the high number of artistic professionals active across
the arts sector and the limited number of highly paid or stable positions available, job
satisfaction could be seen as a major contributing factor in the decision to pursue a career
in the arts. This presents a potential concept that performing musicians are gaining more
personally in their work than they are financially gaining. This is certainly an emerging
area in the literature and the investigation of job satisfaction and motivation of musicians
and artists is building. This research area is focussed on uncovering the specifics of how
these careers are broken down and where the satisfaction is derived from. With a great
deal of research focussing on both employment and unemployment levels within the arts
(Abbing, 2002; Menger, 2001) as well as broader analyses of job satisfaction within the
symphony orchestra industry (Parasuraman et al., 2000), and audience satisfaction
(Minor et al., 2004). This literature review also draws on broader studies of job
satisfaction in the arts (Mogelof et al., 2005; Steiner et al., 2013) and thinking around job
satisfaction and work performance (Streimikiene et al., 2009). Specific research into the
understanding of performer satisfaction is currently lacking and has left room for this
investigation to fill.
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As a musician’s career evolves in a constantly changing industry, many will look
for different ways of generating a substantial income or maximising their personal work
output. As previously discussed in this literature review, this will involve the
development of portfolio careers that allow musicians to take on multiple roles including
performance, composition, education, and more resulting in the maximisation of their
personal talents. Consequently, this results in no two portfolio career musicians having
the same career path (Loveland, 2009, p. 207). The management of a portfolio career
calls for numerous non-musical skills and administrative tasks which the performer may
not have been trained for bringing numerous challenges, hurdles, and complications for
today’s professional musicians. This ultimately begs the question: why do musicians
engage in careers in the arts industry in the 21st-century? Whilst portfolio careers offer a
level of stability and financial security, the difficulties in maintaining the necessary
workload provoke the question as to whether they are satisfied with their profession and
whether this is their motivating factor in the pursuing of a career in the arts (Steiner et al.,
2013). Essentially, Steiner and Schneider hypothesised the lower pay rates and higher
unemployment levels are counteracted by a superior level of job satisfaction (Steiner et
al., 2013). This study was labelled as “...the first direct empirical investigation into
artists’ utility derived from their work” (Steiner et al., 2013, p. 225) and outlines self-
reported job satisfaction levels from artists. Steiner and Schneider’s work alongside other
studies highlight that artists report higher levels of job satisfaction than those in other
professions (Abbing, 2002; Menger, 2001). This poses the suggestion that the work
undertaken in pursuing a career in the arts is conducive to greater worker satisfaction. In
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the case of musicians, engaging in specific activities such as performance or teaching
may be the motivating factor in satisfying the musicians.
Within the understanding of artist satisfaction comes the understanding of the
motivations to pursue a career in the arts. Motivations and intentions have been
considered in the literature and stressed as an important factor within a career in the
creative arts (Jarvin et al., 2010; Parasuraman et al., 2000; Steiner et al., 2013). This
discussion often focusses on the arts generally rather than a specific focus on musicians,
visual artists, dancers, or any other number of art specialists. In his book, Why Are Artists
Poor? The Exceptional Economy of the Arts, Abbing discusses the concept of two
different kinds of artists: the “commercial artist” and the “noncommercial artist”. These
two definitions cover the two main rationales for a person to pursue an artistic career:
The well-being of a commercial artist depends on external rewards like money,
recognition, fame and not on the ‘making of art’. A noncommercial artist, one
‘selflessly’ devoted to art, on the other hand, is only concerned with the ‘making
of art’. There are no external rewards. (Abbing, 2002, p. 82)
While this dichotomy presented by Abbing is used to provide a rationale for each artist, it
fails to entirely take into account job satisfaction and especially in the case of musicians,
fails to establish the satisfaction derived from each specific musical performance. Or, as
Dogantan-Dack states: “In other words, performers may value the opportunity to perform
but not particularly love or enjoy the music they play” (2012, p. 44). This is particularly
evident in orchestral musicians.
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Within symphony orchestras, research has been conducted investigating the
satisfaction and mental health of these musicians within the larger ensemble. These
investigations of the satisfaction have examined financial reward and job security,
amongst other areas of satisfaction (Mogelof et al., 2005). Research conducted by
Parasuraman and Purohit suggested that “three stressors - social tension, lack of artistic
integrity, and work environment - are positively related to job dissatisfaction”
(Parasuraman et al., 2000, p. 79). It can also be seen that:
Whereas their education prepares them for solo performance and emphasizes (sic)
creativity, the job of a symphony musician requires coordinated teamwork and the
submergence of one's identity and creativity in the collective sound. Typically,
symphony musicians rehearse 20 hr or more a week under the close supervision
of the conductor. The authoritarian leadership styles of some conductors and the
lack of participation in program selection make many musicians feel that their
skills are undervalued and underutilized. (Parasuraman et al., 2000, p. 74)
The authors concluded that “low artistic integrity was found to exacerbate distress,
boredom stress, and job dissatisfaction” (Parasuraman et al., 2000, p. 80). This is of
particular interest to this investigation as the role of artistic integrity is a central
component of live performance.
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Ultimately, it is apparent that the investigation of job satisfaction in musicians is
overwhelmingly lacking in academia, particularly from the perspective of chamber
music, solo artists, and classical music in general.
Despite the fact that there are more than 1,000 symphony orchestras in the United
States (most of them small), there is little research on stress among symphony
musicians. More attention has been devoted to examining the economic, financial,
and administrative issues related to orchestra management. (Parasuraman et al.,
2000, p. 75)
This suggests that research is needed in the field of performer satisfaction and this relates,
particularly, to this investigation of live performance activities. This thesis has the
potential to make a positive contribution to academic knowledge in the Australian CSM
field and, in particular, to younger musicians entering the industry. A comprehensive
understanding of performer satisfaction within Australian classical saxophonists is
invaluable to younger musicians in helping to shape positive, engaging careers that are
sustainable both financially and emotionally. This investigation will therefore take this
literature as starting point and build a theoretical framework which incorporates this data
and builds the foundation of the research investigation to follow.
Conceptual Framework
In conclusion, in order to unify the discussion and consequently develop a
methodology appropriate for this study a unique framework has been developed from the
multiple dimensions of the literature review which to operate. The literature highlighted
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that there are four key streams of live performance activities in the classical music
industry that, collectively, fall pre-, during, and post- performance. These were identified
as: Logistical Considerations, Artistic Relationships, Digital Engagement, and Performer
Satisfaction. It must be acknowledged that there are a multitude of factors that play into
the live performance process; however, these four streams can effectively incorporate the
vast majority of these and would be able to be ratified or debunked depending on the
results of work with the participants. In essence, my developed theoretical framework is
the theory that the multitude of issues and negotiations required to execute a live classical
music performance successfully depends on the successful navigation of the four
identified streams. This allows musicians to manage and continue successful and long-
lived performance careers in the modern classical music industry. Future research may
highlight that there are more streams that do not fit into these four criteria. My research,
therefore, explores how this model works and how practitioners can implement them in
the field for more satisfying and successful careers. This framework will be tested on a
variety of performance contexts that Australian classical saxophonists engage with: these
will include recitals, small scale concerts, conferences, festivals, educational
performances, and other contexts that have been reported by the participants. Further
discussion of the exact performance contexts used by participants will occur in the
methodology chapter (Chapter 3). The exact performance context is not crucial to the
analysis of each category but does play a role and this will be discussed further on the
research document. The table below presents the four streams and provides detailed
information about the areas of discussion which fall under them.
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76
Individual Performance
Contexts
Collaborative
Performance Contexts
Educational Performance
Contexts
Logistical
Considerations
Instigation
Funding
Choices: Repertoire,
Venue, Dress
Instigation: Application
process
Choices: Repertoire,
Dress
Possible Travel
Instigation
Funding/Payment/Fee
Choices: Repertoire,
Venue, Dress
Potential Audience
Educational Outcomes
Artistic
Relationships
VRA Triangle: Venue –
Repertoire – Audience
Choices: Repertoire
Australian Music
VRA Triangle: Venue –
Repertoire – Audience
Choices: Repertoire
Australian Music
Networking
VRA Triangle: Venue –
Repertoire – Audience
Choices: Repertoire
Australian Music
Networking
Digital
Engagement
Technology in/during
performance
Digital marketing
Social Media
Recordings/CDs
Career Development
(Exposure)
Technology in/during
Performance
Digital Marketing
Social Networking
Recordings/CDs
Career Development
(Exposure)
Technology in/during
Performance
Digital Marketing
Social Networking
Recordings/CDs
Career Development
(Exposure)
Performer
Satisfaction
Self described
satisfaction
Career "milestones"
Audience
interaction/connection
Self described
satisfaction
Career "milestones"
Audience
interaction/connection
Self described satisfaction
Career "milestones"
Audience
interaction/connection”
Table 1. Cross-Examination of Conceptual Framework and Application of Australian
CSM-Specific Data
Developing the framework in this manner has allowed for the four major areas of the
research to be clearly organised and defined and has acknowledged the different
performance contexts these musicians engage in. This theoretical framework, developed
from the literature, has provided a clear starting point from which the research took place
and presents the four major chapters which will follow: Performance Management and
Logistical Considerations; Artistic Relationships; Digital Music-Making and
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Technological Engagement; and Performer Satisfaction. The data has been analysed to
understand whether the hypothesised framework above correlates with the actual practice
of the participants.
Chapter 3 - Methods
In order to investigate the performance activities of Australian saxophonists
specialising in CSM this study employs a qualitative methodological approach. In
particular, it has used qualitative methods including interviewing, non-participant
observations, and a reflexive field journal. Many methodological texts acknowledge the
need to combine the use of different tools for more thorough data collection and the
development of this methodology has incorporated these ideas combined with a varied
participant pool (Bryman, 2012; Creswell, 2007). Without being able to base the research
design of this study on relevant, previously conducted research in the Australian CSM
field, the theoretical framework provided a focus for the qualitative nature of the work.
This chapter will fully outline the methods undertaken and justify the use of the chosen
methodological tools through the theoretical framework created for the research.
The investigation of live performance in previous studies has involved the use of
qualitative, mixed-method human research (Dobson, 2010; Dogantan-Dack, 2012;
Heaton, 2012; Tsay, 2013). The use of different techniques such as interviewing,
observations, as well as the building of case studies of participants provides an insightful
and inclusive survey of current music industry practices. Due to the small pool of
geographically separated participants in the Australian CSM field, I decided to focus
specifically on identified leaders in the field and their current career practices. The
resulting case studies therefore represent current practices of highly active Australian
CSM practitioners in order to avoid larger generalisations that are not reflective of other
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saxophonists who may not subscribe to the same ideas in their practice. The study also
draws on my own personal practice as a classical saxophonist to round out the
methodological approach. The inclusion of my personal experiences as a saxophonist
specialising in Australian CSM was to provide my perspective as an artist building a
profile and engaging in live performance activities and reflect on how my research is
influencing my practice. This investigation has gathered firsthand information from the
Australian CSM field and, in particular, how Australian CSM practitioners are
approaching the planning and execution of their live performance activities.
Instruments
For this research plan, the specific choice of methodology is multifaceted
including one-on-one interviews with Australian classical saxophonists; email interviews
with major CSM event organisers; a reflexive journal of my own work as a freelance
classical saxophonist; and non-participant observations of live classical saxophone
performances. The data collection was developed to contain a central stream of
investigation with the Australian classical saxophonists and saxophone ensembles with
supplementary data being collected from major industry event organisers and myself,
personally. The final component of the data collection is the examination of the public
profiles of the Australian classical saxophonists and saxophone quartets involved in the
study.
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Tool Participants Involved Notes
Interviews Australian Classical
Saxophonists/Saxophone
Quartets
One primary interview
(confirmed) plus one
follow up interview where
possible depending on the
participant’s availability
Non-Participant
Observation
Australian Classical
Saxophonists/Saxophone
Quartets
One observation to be
conducted following the
primary interview, pending
the participant’s
availability
Reflexive Field Journal Researcher (Emma Di
Marco)
Reflexive journal kept to
document my own
practices as a classical
saxophonist
Email interviews Organisers of Major CSM
Industry Events
One interview over email
to discuss their work as
organisers of major events
(conferences, festivals) and
the connection with
Australian classical
saxophonists
Public Profiles Australian Classical
Saxophonists/Saxophone
Quartets
Researcher collecting data
from publicly available
sources about the
participants including
professional websites,
Facebook pages and
YouTube videos.
Table 2. Methodological Tools employed in the Research Design
The figure below demonstrates the organisation of the data collection tools, as
utilised in this research investigation. The core stream of data collection is centralised
around a three-step process with Australian classical saxophonists and saxophone
80
ensembles. The tools chosen (two interviews and a non-participant observation) are based
on previous studies in the literature and the decision to craft a qualitative approach to the
methodology.
Figure 1. Diagram of Data Collection Tools and Organisation of Work
The core component of the data collection involved interviews and non-
participant observations conducted with current, professional Australian classical
saxophonists. The process saw each participant approached for an in-depth interview and
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subsequently approached to complete a non-participant observation of a live performance
activity and follow up interview, depending on their availability. A first interview –
herein referred to as Interview 1 – was conducted with each participant in the study.
Interview 1 was a one-on-one discussion that closely discussed the topic of classical
saxophone performance and their choices in conducting a classical saxophone recital.
This interview was the first face-to-face discussion with participants regarding the
research topic. Semi-structured in format, Interview 1 was designed with twenty one
questions for the participants to answer and included room for further conversation and
discussion of tangential topics. Interview 1 was recorded using an audio device and
transcribed following the interview. The interview questions were formulated under
specific categories: musical background, planning and logistical concerns, artistic
choices, audience, marketing, venue, and performance success. The choice of interviews
as the first major data collection tool was due to the personable and qualitative nature of
the format and allowed for specific questioning; the chance for detailed response by
participants; and the ability to discuss anecdotes and obtain further information. These
interviews were received positively by the participants. The first interviews covered the
key research topics and included questions which explored the participants professional
background and a line of questioning grounded in the literature review and subsequent
theoretical framework. Interview 1 was the first and principal method of data collection
with the Australian classical saxophonists and was conducted with all nine participants.
The information gleaned in these interviews was used as a foundation for the next phase
of data collection.
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Interview 1 was followed by non-participant observations of a single live
performance of each interview participant; this is, I observed actual classical saxophone
recitals in order to document the practices discussed in the interview process. The central
element in the construction of the observation process is the separation of the researcher
and the performance; in essence, I am only observing the events from outside the process.
Non-participant observations were chosen in order to allow me to effectively gain insight
into how the participants conducted their live performance activities without my presence
altering any specifics of the event or impacting upon the attitudes or responses of the
participant. This included observing pre-performance preparations; logistical planning
and preparations; the full performance and post-performance proceedings as allowed by
the research participants. Pre-performance preparations included any rehearsals and
practice of the repertoire to be performed, dress rehearsals or run-throughs in the venue
of the performance as well as management and planning tasks required before the
performance where possible to be observed. Logistical preparations included the choice
and booking of the venue; planning of the repertoire and concert proceedings;
organisation of stage requirements; as well as financial management of the performance.
Finally, the performance post-concert proceedings consisted of stage layout; personal
presentation of the performers; execution of the repertoire; sound and lighting choices;
interaction and connection with the audience; body language; use of humour and
emotion; and physical interaction with the space. Field notes were kept with the specific
intention of noting commercial, artistic, and educational elements that are key to the live
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performance activity. These non-participant observations provided a better understanding
of the working processes and procedures of these research participants’ live performance
activities.
A second and final one-on-one interview was conducted to discuss the
observational findings from the second phase and final, research-informed questions.
This interview contained a selection of predetermined questions that structured the
discussion and further investigated the topics from Interview 1. The second interview was
an additional step in the research process as it better contextualised the observations that
have been made and provided some broader perspectives from the research participants.
Due to the busy schedules of the interview participants it was not possible to conduct the
second interview with every participant; however these interviews provided a high degree
of insight into the data. Through the combination of the literature survey, the interviews,
and the observations, the data was combined to form a valid and current picture of
classical saxophone performance in Australia.
As outlined earlier, two additional areas of data collection were conducted which
contribute to this central stream of investigation: interviews with major industry event
organisers and a reflexive journal kept by myself reflecting on my work as an early career
saxophonist. Structured interviews have been conducted with organisers of both the XVI
World Saxophone Congress (Mr Michael Brogan) and the Australasian Saxophone and
Clarinet Conference (Mr Justin Ankus) in order to better understand how performances
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are conducted in these collaborative performance contexts and gain a perspective of
major industry players that are not performance based. Finally, I have kept a reflexive
journal of my own performance activities within a one year period. Focussing specifically
on my involvement in the Barega Saxophone Quartet as both Soprano Saxophonist and
ensemble co-manager, this journal presents an insight into the practices and application
of a classical music performance career in the early stages. As this journal is a personal
activity, it reflects the views and opinions of myself only and not all members of the
saxophone quartet. This journal is an event by event breakdown of the planning,
execution, and follow up required to maintain a performance career. The journal
represents 18 months of the data collection process from July 1, 2013 to November 1,
2014. Barega is an independent, freelance quartet specialising in CSM and maintains an
active profile engaging with Australian composers in the development of new music. The
second half of the journal documents my work as a classical saxophone soloist and
activities in developing, promoting, and continuing my solo career parallel to other
musical work.
Participants
This investigation incorporates two groups of participants covering multiple areas
of the classical saxophone industry and combines this with a reflexive journal kept by
myself. The two participant pools consist, firstly, of Australian classical saxophonists and
saxophone ensembles, and secondly, organisers of major industry events such as
conferences and festivals. I also included myself, as an early career classical saxophonist,
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into the study by keeping a reflexive journal for 18 months which documented the
performances I engaged in not only as a soloist but as a part of my professional ensemble:
the Barega Saxophone Quartet. In all cases, participants were contacted via email and
consequently, an interview time, ethical concerns and project involvement all were
discussed electronically.
This participant pool included both individual saxophone soloists alongside
saxophone ensembles to reflect the diverse nature of Australian classical saxophonists.
These participants are also recognised within the community as leaders in the field of
Australian CSM. The saxophonists involved in this participant pool collectively
incorporate a variety of personal and musical backgrounds and cite a number of different
influences on their musical development. This broad mix of participants was felt by the
researcher to be crucial to the study in order to provide the most illuminating and
accurate case studies. In the development of the participant pool, guidelines were set up
for the inclusion of participants: primarily, a saxophonist or saxophone ensemble eligible
for inclusion needed to principally be a current, professional Australian classical
saxophonist. For the purposes of this project, the term ‘current professional Australian
classical saxophonist’ is defined as a musician working full time in the musical field
either in performance, education, research or another associated role with a specialisation
in the classical saxophone genre. The term professional is difficult to define in the current
industry and, in this instance, the most influential factor in the selection of potential
candidates is the specialisation of the candidate in the genre of classical saxophone music
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and their involvement in the Australian classical music industry. Also, the expansion of
the potential participant pool to incorporate professional classical saxophone quartets, not
only individuals, is a key feature of this research as each individual member of the
ensembles can be recognised under the earlier definition for inclusion in the study. The
quartets selected for inclusion in the study each consist of four professional saxophonists
who each are engaged within the music industry as professional individuals who have
come together to form an ensemble. Whilst this project is focusing on classical
saxophone music “in Australia”, the participants in this project are centralised around the
Australian capital cities, currently including Melbourne, Sydney, Brisbane, Hobart, and
Perth, and consequently the project is centralised around those locations. One possible
explanation for the geographical “hotspots” of classical saxophonists is the apparent
proximity to conservatorium and higher education institutions that offer strong and well-
established classical saxophone study programs however this is not a conclusive reason.
Further investigation into the geographical position of the classical saxophone industry is
an issue for another study.
The Australian classical saxophonists and ensembles were approached to be
involved in a three-step research study consisting of two interviews bookending a non-
participant observation of a performance. In selecting potential candidates for this
project a number of considerations surrounding professional practices were taken into
account and final selection came down to the potential participants meeting a number of
key factors. The participants for this study must be identified as current practising
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musicians specialising in the genre of classical saxophone music as well as being
Australian. This was a non-negotiable factor in selection for the research. Once it could
be established that this requirement had been met, then a further examination of the
potential participants professional practice was undertaken to ensure they met the
following criteria:
Regularly engaging in performance activities in Australia and/or abroad?
Active in the professional community as a classical saxophonist?
Involved in academic or tertiary institutions or involved in Classical saxophone
education in anyway?
Recognised by their peers as a professional and highly regarded ensemble? (For
saxophone ensembles only)
National standing as a successful classical saxophonist through a career history of
performances in a wide variety of contexts?
Each participant in the research was identified as being able to answer yes to each
of the above questions and consequently was invited to take part in the research project
by email. Following the initial email approach, participants that were willing to take part
in the research investigation were presented with informed consent materials as
prescribed by the university ethics guidelines under which the project was approved
(QCM/10/12/HREC).
Participant Name Classification Location
Katia Beaugeais Soloist Sydney
Barry Cockcroft Soloist Melbourne
Michael Duke Soloist Sydney
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Jabra Latham Soloist Hobart
Ben Price Soloist Hobart
Erin Royer Soloist Perth
Matthew Styles Soloist Perth
Continuum Sax
Martin Kay
Christina Leonard
James Nightingale
Nicholas Russoniello
Saxophone Quartet Sydney
Nexas Quartet
Jay Byrnes
Michael Duke
Nathan Henshaw
Andrew Smith
Saxophone Quartet Sydney
Table 3. Participants: Australian Classical Saxophonists and Saxophone Ensembles
To supplement the data collection, organisers of large-scale major industry events
within the CSM community were approached to conduct an interview regarding their
management and undertaking of these conferences. During the period of the research
investigation three major CSM events were held globally: in 2012, the XVI WSC was
held in St Andrews, Scotland; in 2013, the Australasian Saxophone and Clarinet
Conference was held in Sydney, Australia; and in 2014, the North American Saxophone
Alliance Biennial Conference was held in Urban-Champaign, Illinois, USA. Whilst there
were undoubtedly a large number of individual persons involved in the planning and
execution of these events, leaders in the organisation were identified and approached via
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email for their involvement in a one-on-one interview. The below table illustrates the
industry event organisers that were able to be contacted during the research period:
Event Name Participant Name Role
XVI World Saxophone
Congress
Michael Brogan Event Organiser
Australasian Saxophone and
Clarinet Conference
Justin Ankus Event Organiser
Table 4. Participants: Organisers of Major Industry Events
As a member of the organisational team for the North American Saxophone Alliance
Biennial Conference was not able to be interviewed during the research, I have included a
reflexive journal of my participation at this Conference as part of the data collection.
The final participant included in the data collection is myself. As previously
described, I am an early career saxophonist and a specialist in the Australian CSM genre
with a Bachelor of Music (Honours) in Advanced Performance. Over the past few years,
through performance and teaching activities, I have established myself as a regular on the
industry conferencing scene and emerging performing artist within the Australian
classical music industry. I am also a founding member of the Barega Saxophone Quartet
which I assisted to grow from a student ensemble in the Queensland Conservatorium
Griffith University chamber music program to a professional, internationally regarded
quartet. The inclusion of my own experiences within the data collection was to provide a
reflexive element and compare the data collected from successful, established industry
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leaders against the work of an early career musician with the intent to provide useful
insights to young musicians and the Australian CSM community.
Procedures and Timeframe
Data collection in this research project began in May 2012 following ethical
clearance from the university and was concluded in October 2014. There were several
stages and varying methods employed which took place in an overlapping fashion and
exact scheduling was largely dependent on the availability of the research participants.
The table below presents an overview of the data collection and the different dates and
locations in which this has occurred.
Interviewee Date Location
Interview 1: Australian Classical Saxophonists and Saxophone Ensembles
Katia Beaugeais 11 July 2013 Café in Sydney
Barry Cockcroft 19 October 2012 Café in Melbourne
Michael Duke 14 June 2012 Sydney Conservatorium of
Music
Jabra Latham 12 July 2012 Café in St Andrews,
Scotland (WSC XVI)
Ben Price 1 September 2013 Café in Hobart
Erin Royer 25 June 2013 Via Skype
Matthew Styles 21 June 2012 Via Skype
Continuum Sax
Martin Kay
Christina Leonard
James Nightingale
Nicholas Russoniello
16 May 2012 Via Skype
Nexas Quartet
Jay Byrnes
Michael Duke
Nathan Henshaw
Andrew Smith
15 June 2012 Sydney Conservatorium of
Music
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Non-Participant Observations: Australian Classical Saxophonists and Saxophone
Ensembles
Katia Beaugeais 6 September 2014 Solo Concert, Sydney
Conservatorium of Music
Barry Cockcroft N/A This participant did not
partake in a NPO
Michael Duke 1 March 2013 HD Duo Recital,
Queensland
Conservatorium of Music
Jabra Latham 31 August 2013 Opus House Recital, Hobart
North Uniting Church
Ben Price 13 July 2013 ASCC (Conference),
Sydney Conservatorium of
Music
Erin Royer N/A This participant did not
partake in a NPO
Matthew Styles N/A This participant did not
partake in a NPO
Continuum Sax
Martin Kay
Christina Leonard
James Nightingale
Nicholas Russoniello
13 July 2013 ASCC (Conference),
Sydney Conservatorium of
Music
Nexas Quartet
Jay Byrnes
Michael Duke
Nathan Henshaw
Andrew Smith
13 July 2013 ASCC (Conference),
Sydney Conservatorium of
Music
Interview 2: Australian Classical Saxophonists and Saxophone Ensembles
Katia Beaugeais 7 September 2014 Sydney Conservatorium of
Music
Barry Cockcroft N/A Participant was not
available for this interview
Michael Duke 16 July 2014 Via Skype
Jabra Latham 15 July 2014 Via Skype
Ben Price Email Interview, 2014
Erin Royer Email Interview, 2014
Matthew Styles N/A Participant was not
available for this interview
Continuum Sax
Martin Kay
Christina Leonard
James Nightingale
Email Interview (with Kay, Nightingale, & Russoniello),
2014
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Nicholas Russoniello
Nexas Quartet
Jay Byrnes
Michael Duke
Nathan Henshaw
Andrew Smith
Email Interview (with Smith), 2014
Interview: Industry Event Organisers
Michael Brogan Email Interview, 2013
Justin Ankus 11 September 2014 Sydney Conservatorium of
Music
Reflexive Journal: Author
Emma Di Marco 2013 - 2015
Table 5. Summary of Data Collection (Dates & Locations)
The execution of the research plan progressed smoothly with only minor
challenges arising throughout the process. In particular, the main challenge to be
navigated was the availability of the research participants (Australian classical
saxophonists and saxophone ensembles) to conduct the observation and second interview.
As seen above, this was not possible in all cases as the availability and activities of a
select number of research participants were unavailable to complete these activities.
Analysis
The analysis of the differing forms of data required a comprehensive approach.
From the literature survey, some preliminary themes were observed, namely: the
promotion of classical saxophone music; classical saxophonists championing ‘new’
music; increasing audience attendance of classical music performances; venue choice of
classical music performance; review of concert etiquette; the impact of the recording
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industry on live performance; and the role of the internet. This research attempts to cross-
examine these themes against the data collected looking for similarities and unanticipated
concepts. The method of analysis selected in the project was a three-step thematic
analysis searching for key elements within the data that may or may not align with the
identified areas of discussion. This required an extensive coding process and examination
into how specific data points do or do not correlate between each different facet of the
research. The ultimate result is that the analysis process yielded conclusions consistent
with the framework developed in Chapter 2 and also presented several points – raised by
participants – that may require further research. The data was subjected to three rounds of
intensive coding, following coding systems identified in the literature and in
methodology texts; these were, Attribute coding, Thematic analysis (Open and Axial
coding), and Descriptive coding (Saldana, 2013).
To begin the analysis process, the Attribute coding was applied to the data in
order to provide clarity and structure to the responses. This was a process of labelling
responses and organising the data across five major categories. Attribute coding can be
understood as:
the notation… of basic descriptive information such as: the fieldwork setting (e.g.,
school name, city, country), participant characteristics or demographics (e.g., age,
gender, ethnicity, health status), data format (e.g., interview transcript, field note,
document), time frame (e.g., 2010, May 2012, 8:00-10:00a.m.), and other
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variables of interest for qualitative and some applications of quantitative analysis.
(Saldana, 2013, p. 70)
Through the Attribute coding process, a better understanding of the varying
demographics are easily identifiable and an organisational framework is created for the
intensive coding rounds to follow. This has provided an important basis for the analysis
of major issues through a clear understanding of how the participants view the topic and
how the discussion has led to the information they have provided. The Attribute coding
process was an important first step in the analysis process and organisation of the data but
ultimately was followed by intensive and rigorous coding rounds of more analytical
coding. The key and most fruitful method of coding used was the thematic analysis
undertaken using different methods of coding including Open, Axial, and Descriptive
coding (Bryman, 2012). This process was applied to all of the data collected and was
undertaken to concisely analyse the different themes present in the data collection and
succinctly break down each different theme into key elements, as reflected by the
participants which would present results under the four major areas identified in the
theoretical framework. Open coding was applied to all the data collected and undertook
the following process, as presented by Neuman:
The researcher locates themes and assigns initial codes or labels in a first attempt
to condense the mass of data into categories… Open coding brings themes to the
surface from deep inside the data. The themes are at a low level of abstraction and
come from the researcher’s initial research question, concepts in the literature…
or new thoughts stimulated by immersion in the data (Neuman, 1997, p. 422)
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Once the process of Open coding was completed, a considerable amount of time was
spent following through a process of Axial coding to further investigate the themes
presented in the data. This saw the continuing unpacking of the themes presented by the
research participants through the examination of “causes and consequences, conditions
and interactions, strategies and processes” (Neuman, 1997, p. 423). The final element of
analysis was the undertaking of Descriptive coding – or Topic coding as it is sometimes
referred to (Saldana, 2013) – and was a process which “summarizes (sic) in a word or
short phrase – most often as a noun – the basic topic of a passage of qualitative data”
(Saldana, 2013, p. 88). The process of descriptive coding was undertaken on all of the
data collected, and in particular, was conducted using the coding results from the
previous rounds of open and axial coding. The process followed saw short, one word
codes applied to pieces of data within each of the major codes formed during the open
coding round, specifically to align the themes presented in the work with the exact
language used by participants, providing an authentic method of presenting the results in
the final dissertation.
Ethics and Limitations
Under the university guidelines, human ethical clearance was required for the
completion of this research project and this was initiated on April 4, 2012, with the
Human Research Ethics Committee of Griffith University granting full ethical clearance
for the project on April 18, 2012. The ethical requirements of this project saw the
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comprehensive preparation of informed consent materials for the interview candidates.
Under the ethical clearance given by the University, research participants were approved
to be identified in the final thesis and were given prior warning of any possible concerns
before their entrance into the research project. Participants were also asked to specifically
nominate their approval to be identified on the consent form which accompanied the
project informed consent materials. All research participants involved in the data
collection agreed to be named in the final document.
Chapter 4 – Australian Classical Saxophonists
In order to introduce the participants in this study, this chapter will explore the
background and significant influences of the saxophonists featured in this study. Moving
through the Australian classical saxophonist participants, this chapter will therefore
examine the background influences and milestones which have impacted their
development as a musician and current career paths. The information presented in this
chapter was extracted from publicly available data, mostly on or from the internet, which
represents the musicians listed combined with interview questions discussing their music
background. The profiles of the Australian classical saxophonists presented herein have
all been taken from publicly presented promotional materials which have been listed
online. Further, a profile of myself and my ensemble Barega Saxophone Quartet are also
included in this chapter, given my reflections included in the data collection. The purpose
of this chapter is to provide some insight into the participants and contextualise their
involvement in the study. This chapter therefore provides further information regarding
the participants professional activities and will add depth to later discussion in the thesis
regarding their interview question responses and observational data. The participants are
herein discussed in alphabetical order of surnames (for the soloists) followed by the
saxophone ensembles.
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Katia Beaugeais (Sydney)
Figure 2. Photo taken from http://www.newmusicblock.com/gallery/premiere-of-terra-
obscura-concerto-for-saxophone/
Katia Beaugeais is a saxophonist and composer based in Sydney, Australia. One
of three performer-composers within the participant pool, Beaugeais has established
herself as a leading soloist and innovator in the field of Australian CSM repertoire
through her contemporary compositions and regular performance of her own works.
Beaugeais’ compositional style has been known to frequently incorporate contemporary
techniques on the instrument and she often drives inspiration from her surroundings, for
example, her work Sounds from Bondi based on her experiences living in Sydney.
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Beaugeais, herself, describes her compositions as “innovative and unique repertoire
ranging from solo saxophone to full orchestra, promoting new Australian music to an
international audience” (Beaugeais, 2014). As an educator, Beaugeais “teaches
composition and chamber music ensembles at the Sydney Conservatorium of Music”
(Beaugeais, 2014). Her considerable experience as a classical saxophone soloist and her
insights as a performer-composer are a valuable contribution to the research.
Beaugeais’ training began with tertiary study in the field of classroom music
education before pursuing performance in a Graduate Diploma program. She states that it
was during her postgraduate study that she engaged with saxophonists Mark Walton and
Margery Smith and was encouraged to pursue her love of compositions by putting
“works of my own in the recital and [other concerts]” (K. Beaugeais, personal
communication, Jul 11, 2013). Her performance career also includes recitals at the
Australian Embassy in Croatia and World Saxophone Congresses. Throughout the period
of this research project Beaugeais performed at multiple international conferences and
composed and premiered her first saxophone concerto at the Sydney Conservatorium of
Music in 2014.
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Barry Cockcroft (Melbourne)
Figure 3. Photo taken from http://www.reedmusic.com/composers/cockcroft-barry/
Barry Cockcroft is a Melbourne-based saxophonist and composer with an
international reputation as a leader in the Australian CSM field. Cockcroft has had an
extensive career as a soloist and is also well known as a composer for saxophone and
other wind instruments. Cockcroft has a professional relationship with pianist Adam
Pinto and together forming the acclaimed classical group: Rompduo (Rompduo, N.D.).
Cockcroft is also a member of the International Saxophone Committee and the only
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Australian saxophonist to hold this position. Cockcroft’s biography boasts performances
“in more than 40 countries” (Cockcroft, N.D.) and “one of the most internationally
performed and recorded composers of his generation” (Cockcroft, N.D.). His
compositional style is “captivating, quirkily humorous and technically demanding”
(Cockcroft, N.D.) with his works included in programs such as the Australian Music
Examinations Board syllabus. Cockcroft also maintains two high-profile endorsements
being “a Selmer Artist and a D’Addario International Artist (RICO Reeds)” (Cockcroft,
N.D.).
Cockcroft cites several of his former teachers as influential in his musical
development including Peter Clinch, Marie-Bernadette Charpentier, and Jean-Marie
Londeix. Having studied both in Australia and abroad in France, Cockcroft’s approach to
CSM is ratified by his extensive performance career and recognition as an industry leader
by other saxophonists internationally. When asked about significant career milestones,
Cockcroft describes his path as a gradual process. He elaborates:
[I]t tends to be a little bit more … Where things continue one from another rather
than arriving at a certain point like, ‘I graduated! – now I’m a saxophone player’
It’s much more gradual. So each thing affects the next thing… I wouldn’t put any
single point down … that’s the key. (B. Cockcroft, personal communication, Oct
19, 2012)
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Cockcroft maintains an active and influential position within the Australian CSM
community where his expertise as both a performer and composer provides a valuable
perspective to this research.
Dr Michael Duke (Sydney)
Figure 4. Image taken from http://www.michael-duke.com/live/
Dr Michael Duke is currently Senior Lecturer in Saxophone at the Sydney
Conservatorium of Music and a specialist in the CSM field. His work to date, amongst
other activities, includes performing with accomplished pianist David Howie in the
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chamber ensemble, ‘HD Duo’. The saxophone-piano combination has seen them engage
regularly with composers on the production of new Australian music (Duke, N.D.-b).
Both musicians are currently on staff at the Sydney Conservatorium of Music. As an
educator, Duke is a leader in the field of Australian CSM and currently holds the “first
ever full-time classical saxophone lecturer [position] in Australia at the Sydney
Conservatorium of Music” (Duke, N.D.-a).
Duke boasts an impressive list of former teachers including Eugene Rousseau,
Thomas Walsh, Jean-Yves Formeau, Arno Bornkamp, and George Garzone. Duke has
received invitations “to perform at numerous North American Saxophone Alliance
National conferences, three World Saxophone Congresses, and has lectured at the
Australian National Band and Orchestra Clinic” (Duke, N.D.-a). He also has “three solo
recordings on the Cala (“Australian Portrait”) and Saxophone Classics (“Duo Sax” and
“Incandescence”) labels” (Duke, N.D.-a). Duke cites a variety of milestones throughout
his career as influential, in particular, the teaching positions he has held. For Duke,
“being able to have to formulate and articulate your ideas and being able to teach and be
a performer… Working out how to teach and perform at the same time” (M. Duke,
personal communication, Jun 14, 2012). His experience as an educator and lecturer in
saxophone at the Sydney Conservatorium of Music also influences his personal
performance style as “being in an environment where there are lots of other high level
performers too … has influenced the way I think and look at people and … watching
what they do and how they do it” (M. Duke, personal communication, Jun 14, 2012).
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Jabra Latham (Hobart)
Figure 5. Image taken from http://www.opushouse.com.au
Jabra Latham is a classical saxophone soloist based in Hobart, Tasmania. With
several accomplishments to his name including a “Fellowship from the Winston
Churchill Memorial Trust, a Bachelor of Music with First Class Honours, and a
Licentiate of Music Australia with Distinction” (University of Tasmania, 2012), Latham
is widely recognised as a leading classical saxophone specialist and currently holds a
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position at the Conservatorium of Music, University of Tasmania where “[h]e is an
instructor in classical saxophone, chamber music and performance” (University of
Tasmania, 2012). Latham boasts an impressive record of performances as a soloist and
orchestral musician having worked both domestically and abroad. Throughout the period
of this research, Latham was the artistic director of Opus House, an ensemble which
debuted in 2013 with a focus on new, local music and crafting engaging experiences for
Hobart audiences. The Opus House ensemble presented a variety of concerts of new and
unusual repertoire and showcased Latham’s ability on the saxophone in interesting and
collaborative ways.
Latham has previously studied with saxophonists Elliot Dalgliesh, Barry
Cockcroft, and Margery Smith. When discussing early influences, Latham highlighted
the importance of diversity that has led him to the path of music-making he currently
takes. This included being motivated by the connection and sense of community that
comes from ensemble playing to the influence of colleagues at the Conservatorium of
Music. For Latham, he describes his career milestones as “moments” where “you are
playing and you just, all of a sudden, feel utter joy… that’s why you do it” (J. Latham,
personal communication, Jul 12, 2012). Latham takes musical inspiration from the
Rascher Quartet and in particular the performance styles of Carina Rascher, Elliot Riley,
and John-Edward Kelly; with Latham being one of only two participants in this study
who identified this as a key source of inspiration. Latham uses this musical inspiration to
create a unique performance style.
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Ben Price (Hobart)
Figure 6. Image taken from http://benpricemusic.wix.com/music#!about/c10fk
Ben Price is also a Hobart based saxophonist and a former student of the previous
participant, Jabra Latham. Despite his young age, Price has already achieved a number of
notable performances both as a soloist and as a member of the ensemble ‘22SQ’. He “has
recorded several CDs; Gilmour’s XI Duos with Jabra Latham, two albums with the
saxophone quartet 22SQ, and broadcast live on 3MBS Melbourne and ABC Hobart in
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addition to performing for the scores to several short films” (Price, 2014). During the
period of this research, Price and Latham went on to perform tracks from their album at
the XVI WSC in St Andrews, Scotland. Price has also had solo engagement at the 2013
Australasian Saxophone and Clarinet Conference in Sydney, Australia where he
cemented a position as a young leader in the field.
Price’s musical development was greatly influenced by his teacher Jabra Latham,
and similar to Latham, he finds great deal of musical inspiration from the Rascher
Quartet. Price stated that he prefers to perform on vintage instruments that fit within the
Rascher school of saxophone performances as “having access to that instrument and
feeling as if all the boundaries of the normal instrument [have] completely disappeared”
(B. Price, personal communication, Sep 1, 2013). The discussion with Price surrounding
his musical development and influences on his personal performance style have
illuminated a forward-thinking and engaged young musician who is rapidly building a
profile as an independent soloist. Similar to Erin Royer, Price has chosen to partake in
further study internationally for a short period of time during this research project,
travelling to Europe to study with other teachers and mentors.
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Erin Royer (Perth)
Figure 7. Image taken from http://www.erinroyer.com/gallery/files/page6-1000-full.html
Erin Royer is one of the younger participants included in the participant pool and
specialises in solo tenor saxophone performance. Royer had a stand out solo recital at the
XVI WSC in St Andrews, Scotland “where she was selected to perform as the youngest
Australian delegate a 30 minute recital of self commissioned works for tenor saxophone
and piano, to showcase local Western Australian compositions” (Royer, 2013). This
performance consequently saw Royer build an international profile and become
recognised as a leading young tenor saxophonist. She followed up her major international
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performance with the release of her debut album at the following XVII WSC in
Strasbourg, France in July, 2015. Royer has studied at the Western Australian Academy
of Performing Arts with Dr Matthew Styles and completed Honours research which
explored “career pathways for the twenty-first century classical tenor saxophonist”
(Royer, 2013). In 2013, during the research process, Erin moved from Perth to the United
Kingdom for a short period where she was undertaking a Masters program at the Royal
Northern College of Music. Royer states in her professional biography that she “is
determined, as a life goal, to make Perth, Western Australia a sought after place to study
saxophone” (Royer, 2013), a demonstration of her commitment to Australian CSM.
Royer cites several influences on her performance style including her previous
teacher Matthew Styles, UK saxophonist Andy Scott, and tenor saxophonist James
Houlik. Additionally, she states that an opportunity to briefly learn from American
saxophonist Otis Murphy encouraged and nurtured in interest in becoming a dedicated
tenor saxophone specialist. Royer’s dedication to the tenor saxophone has seen her
commission new repertoire for the instrument and, in 2015, release a debut album
showcasing the work.
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Dr Matthew Styles (Perth)
Figure 8. Image taken from http://mattstyles.com.au/cpt_photoalbums/photo-album-
2/playing-at-waapa-lt-web/
Dr Matthew Styles is Perth based soloist, educator, and academic who describes
his music as “classical, jazz and ‘cross-over’” (N.D., 2013b). Styles has a significant
level of experience teaching and performing both domestically and internationally “with
20 years teaching at primary, secondary and tertiary levels” (N.D., 2013b). Styles is an
endorsed artist with Selmer (Paris) and Vandoren and maintains a high level profile as an
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innovative and engaging performer having performed with a variety of international
artists including other instrumentalists and well-known singers, including “Ben Folds,
Diana Ross, Dave Weckl, Ben Lee, Paul Grabowsky, Kate Cebrano, Olivia Newton-John
and The Manhattan Transfer” (N.D., 2013b). Styles is currently pursuing research in the
saxophone field and “has been awarded an Early Career Research Grant, enabling him to
identify, arrange, interpret and record Australia cross-genre works for the saxophone in
2014” (N.D., 2013b) showing a strong interest in the academic study of saxophone
music.
When asked to identify influential people in his musical development, Styles felt
that his teachers – from his flute teachers (the instrument he studied prior to learning the
saxophone) to his teacher Kyle Horch at the Royal College of Music in the UK – were
incredibly influential in shaping his development as a musician. It appears that Styles’
holistic approach to music performance is mirrored in his musical influences as he states
“it's a whole gamete of people not just saxophone but everything, every style … people
who really helped to form my own opinions” (M. Styles, personal communication, Jun
21, 2012). When describing significant influences on his personal performance style,
Styles continued discussing his holistic approach stating that pianists, flautists, and jazz
musicians have all played a role in developing his performance style. Styles has also had
a significant amount of experience studying and working internationally; he describes his
entrance into the Royal College of Music as a significant milestone, as is his first position
in the UK at “Brunel University and that was, that was sensational at the age of 25 and
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then I was offered full time in charge of one of the departments there” (M. Styles,
personal communication, Jun 21, 2012). Styles is now head of the saxophone program at
the Western Australian Academy of Performing Arts and a leading saxophone educator in
Australia. Throughout the period of this research Styles has engaged in solo recitals,
chamber music activities, and both speaking and performance engagements at
international industry events such as the XVI WSC in 2012, the Australasian Saxophone
and Clarinet Conference in 2013.
Continuum Sax (Sydney)
Figure 9. Image taken from http://continuumsax.com
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Continuum Sax is a saxophone quartet based in Sydney, Australia, often regarded
as Australia’s leading saxophone quartet. The ensemble is comprised of four successful
Australian classical saxophonists: Christina Leonard on soprano saxophone, James
Nightingale on alto saxophone, Martin Kay on tenor saxophone, and Nicholas
Russoniello on baritone saxophone. The ensemble had originally been founded with a
different line up of musicians: Margery Smith on soprano saxophone, James Nightingale
on alto saxophone, Martin Kay on tenor saxophone, and Jared Whitbourn on baritone
saxophone. The founding formation of the ensemble performed together successfully for
many years until Smith handed over the soprano saxophone position to Christina Leonard
and Whitbourn passed the baritone saxophone position to Nicholas Russoniello. This
current line up of the ensemble were recruited into the research study and have been
involved in all three steps of the investigation. Despite the personnel changes across time,
the ensemble has consistently maintained core values including the commissioning and
dissemination of new Australian music and championing the live performance of new
music. The dedication this ensemble has shown to Australian music has been a key factor
in their incorporation into this research alongside their reputation for outstanding
performances and extremely high level of saxophone performance execution.
Continuum Sax maintains a strong position as a leader in the Australian CSM
field and are actively engaged within the industry in live performance activities.
Continuum boasts a long history of domestic and international performance engagements
at festivals, conferences, ABC Classic FM broadcasts, as well as independently organised
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performance activities. Their repertoire is drawn from a long list of collaborations,
commissions, and dedications with leading composers such as “Rosalind Page, Margery
Smith, Erik Griswold, Damien Ricketson, Brian Howard, Robert Davidson, Stuart
Greenbaum, Paul Stanhope, Barry Cockcroft, and Matthew Hindson” (Continuum Sax,
2011). Continuum Sax have also contributed to the recorded repertory of CSM by
recording “a large number of educational works for reedmusic.com” ” (Continuum Sax,
2011) and releasing two CDs of their own repertoire.
Nexas Quartet (Sydney)
Figure 10. Image taken from http://www.nexasquartet.com
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Nexas Quartet is a Sydney-based saxophone quartet specialising in the CSM
genre. The ensemble consists of four soloists: Michael Duke on soprano saxophone,
Andrew Smith on alto saxophone, Nathan Henshaw on tenor saxophone, and Jonathan
‘Jay’ Byrnes on baritone saxophone. Much like Continuum Sax, the ensemble was
founded with a different constitution of members – Sydney based saxophonist Ben Carey
originally on soprano saxophone - however, Michael Duke is the current soprano
saxophonist and officially joined the ensemble in 2012. Nexas Quartet are regularly
performing around Sydney at a variety of different performances and in 2014 instigated a
highly successful concert series of four themed concerts with guest artists at each event.
The concert series was found to be so successful that they had to schedule an encore
performance of their third concert in August 2014 and continued their concert series in
2015. The group’s success in live performance ventures, and in particular their acclaimed
annual concert series, has led to them becoming a major figure in the Australian classical
saxophone community and an example of entrepreneurship and musical talent combining.
Nexas Quartet describe themselves as an ensemble that is “focused on promoting
the musical plurality of the saxophone, showcasing its versatility and ability to cross
genres” (Nexas, 2015). The early years of the ensemble saw them take inspiration from
David Miller, Mark Walton, and interestingly, fellow participants Continuum Sax (Nexas
Quartet, personal communication, Jun 15, 2012) but ultimately focussed on “finding
something different and unique” (Nexas Quartet, personal communication, Jun 15, 2012).
For the ensemble, “the exposure to classical saxophonists who took chamber music, and
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quartet in particular, as their main artistic opportunities really affected the way that we
approached quartet … it became [a] more important focus on our opportunities to
perform” (Nexas Quartet, personal communication, Jun 15, 2012).
Emma Di Marco (Brisbane)
Figure 11. Image taken from http://www.emmadimarco.com
I am currently engaged in a varied portfolio career, working as a solo saxophonist;
chamber musician with the Barega Saxophone Quartet; educator at primary, secondary,
and tertiary levels; and an adjudicator for local and state competitions, amongst other
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roles. Born and raised in Brisbane, Australia, I am still based there as I develop my career
and complete my doctoral studies. At this early point in my career, I have been fortunate
to perform both domestically and internationally with solo recitals at large-scale industry
events such the Australasian Saxophone and Clarinet Conference (2013) and the XVII
WSC (2015) in Strasbourg, France. Further, 2014 saw my first solo tour of Australia with
performances in Brisbane, Sydney, Melbourne, and Hobart and musical collaborations
with many of the participants featured in this study, coinciding with the release of my
debut EP ‘Charisma’. I am also grateful to be an endorsed artist for D’Addario
Woodwinds having been a long time champion of Rico and Reserve reeds and
accessories.
Important influences in my musical life have come from other saxophonists. The
most important musical influence is saxophonist Barry Bobart, whom I studied with as an
undergraduate student at the Queensland Conservatorium Griffith University. Further, my
time as a student at Universite Europeene de Saxophone in 2010 and 2011 gave me the
opportunity to learn from leading international saxophonists such as Claude Delangle,
Arno Bornkamp, Vincent David, Damien Royannais, Masataka Hirano, and ensembles
such as the Diastema Saxophone Quartet and the Habanera Saxophone Quartet. By
having such a diverse group of saxophonists in my formative years, I was able to hone
my skills as an instrumentalist whilst having encouragement and guidance to find my
own voice as an artist. Barega Saxophone Quartet, the ensemble I have been performed in
for nearly ten years has also been a central part of my development as a musician.
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Working with close friends and colleagues in the creation, commissioning, and
dissemination of new Australian music has been a central part of my musical life.
Barega Saxophone Quartet (Brisbane)
Figure 12. Image taken from https://www.facebook.com/baregasq/photos_stream
Whilst I perform as a soloist, my work with the Barega Saxophone Quartet is
some of my most enjoyable and artistically satisfying. The group was formed in 2007
with saxophonists Ashleigh Porter, Matthew Fellows, and Robert Mathews and over the
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years has evolved and changed to the current line up of myself, Sarah Henderson,
Samantha Mason, and Andrew Ball. With beginnings as an ensemble for assessment as
undergraduate students, the group has successfully transitioned to one of the most
celebrated young Australian chamber music groups and is now internationally
recognised. Barega performs regularly in Brisbane and across Australia, having just
recently completed the Colossus Tour in Brisbane and Sydney in 2014 with special
collaborative performances with clarinettists Andrew Kennedy and Annie Larsen. The
group has enjoyed a number of collaborative performances and some notable examples
include Australian jazz trio Trichotomy and Dutch saxophonist Niels Bijl. Barega is a
regular fixture in the CSM community with performances at industry events such as the
Crossbow Festival in 2012 and 2014; the Australasian Saxophone and Clarinet
Conference in 2013; and most notably, recitals at the XVI and XVII World Saxophone
Congresses in 2012 and 2015 respectively. Also in 2015, Barega released their debut
album ‘Three Serpents’, a specially curated collection of Australian music composed for
and commissioned by the ensemble.
Chapter 5 – Performance Management and Logistical Considerations
This chapter presents the data collected in the area of performance logistics and
the practicalities involved in organising live performance activities by the participants.
The execution of a live performance activity is impossible without the coordination of
different logistical factors and planning. This is due, in part, to the need to structure the
event which will take place; the advertising required to ensure interested parties are
aware of the event; and finally, the “on the day” co-ordination to ensure that everything
runs smoothly. In this sense, the use of the term “logistical” is specifically referencing the
planning and organisation. Live performance activities for the musicians are reported as
almost entirely self-managed and they are regularly engaging in the different planning
and management tasks. The plethora of choices to be made by Australian classical
saxophonists is extensive and provides these musicians with the opportunity to express
individuality within either traditional or more contemporary performance situations.
It was originally hypothesised that the issues falling under the Logistical
Considerations banner would be: instigation, dress, venue, repertoire, funding, and travel.
The issues included in the hypothesis were found to be consistent with the data analysis
and therefore the hypothesis was correct in identifying major elements relevant to this
category. There is more than one approach to any organisational challenge and looking at
the differences in how these musicians approach these different elements provides insight
on two fronts: firstly, the data analysis reveals exactly how their career differences impact
their organisation approach to logistical requirements, and secondly, the differences in
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their approach to these areas provides readers with the potential to identify strategies for
their own use which are proven effective.
Instigation and Rationale
A key focus of investigating live performance was to uncover the exact instigating
factor of live performance activities undertaken by the participants. The instigation and
rationale for a live performance has a strong influence on a number of choices to be made
during the planning of a live performance including venue choice, repertoire choice,
visual aesthetics, and audience response amongst others. For the purposes of this
research, a distinction is made between performance instigation and performance
rationale. The term performance instigation is used to refer the method by which a live
performance activity is undertaken whereas performance rationale is the reasoning for the
performance to take place in a specific way. An example of this relationship would be an
Australian classical saxophonist performing a self-produced recital of newly
commissioned works. In this case, the performance instigation is that it is self-organised
and instigated by the performer and the performance rationale is the goal of performing
the newly commissioned works for the first time. Sixteen types of instigation that have
emerged from the data are presented in the table below:
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Category Method of Instigation
Self-initiated
(Saxophonists as the primary instigator)
Applications
Call outs
Conference hosting
Connections
Major works and repertoire
Personal effort*
Touring
Instigated by a third party Agents
Artistic bodies
Conservatoriums
Invitations*
Musica Viva
New Music Network
Outsourcing
Postgraduate Study
Study
Table 6. Types of Instigation Identified by the Participants
The methods of performance instigation can be clearly divided into two
categories: saxophonists as the primary instigator of a live performance activity and
instigation of a live performance activity by a third party. Regarding the first of these
categories, each of the nine research participants reported themselves as the primary
instigator of the majority of their live performance activities. This was often followed by
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a remark that they felt they needed to be the driving force behind most of their
performances to ensure they maintained an active and satisfying career. The participants
are organising independent live performance and engaging in non-musical or
administrative activities to ensure the successful production of the performance. This
finding that the majority of the participants’ performances are self-instigated
demonstrates the industrious nature of the participants who are actively working and
presenting music to their audiences. It also provides an insight to younger musicians that
they may need to follow this example and self-produce their own performance activities
to further their careers and profile within the industry. Each of the participants had
slightly different rationales for engaging in self-instigated performances. Some, like Dr
Matthew Styles, felt that he is increasingly engaging in more self-instigated performances
due to the freedom to plan the performance in the exact way he would like. This was
echoed by both Nexas Quartet and Continuum Sax. Other research participants, such as
Barry Cockcroft, felt that in many cases he was the driving force behind his performances
as “no one was going to do it for me” (B. Cockcroft, personal communication, Oct 19,
2012) and he took full responsibility for his career development; correlating with the
literature that suggests classical musicians need to take further responsibility and
investment in their career.
The second type of instigation, as seen in the table above, was performances
instigated by third parties. The analysis of the different types of third party instigations
illuminated that ‘invitations’ to perform were the most common for the participants.
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These saxophonists could be receiving invitations from artistic organisations, private
companies, educational institutions, music clubs, theatre companies, and more. In these
instances, saxophonists are performing “on the coattails of other people who’ve organised
things” (M. Styles, personal communication, Jun 21, 2012). These types of performances
vary significantly from self-produced events, particularly given that the third party is
often responsible for all logistical and organisational concerns including venue hire,
programming, marketing, and general production of the event. An example of this can be
seen in the participants working with the New Music Network or Musica Viva. In these
events, they are not required to undertake major administrative tasks but instead are able
to focus on their music-making. Third party instigated performances can also be
attributed the role of supporting saxophonists by providing opportunities for exposure
and growth. Nexas Quartet provided a clear example of this when discussing the Sydney
Conservatorium of Music providing them with a venue in the early days of the ensemble
whilst the members of the ensemble were still undergraduate students. This demonstrates
that whilst some organisational tasks (in this case managing the venue) will be
undertaken by a third party, there is still an artistic responsibility of the group to maintain
the organisation of issues such as rehearsals, personal preparation, and performance
standard.
When comparing to this to my own practice, the findings correlate directly with
the live performance activities undertaken by my ensemble, the Barega Saxophone
Quartet. Being a group of young musicians, developing a profile in the industry has been
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a long process and, therefore, a large proportion of the live performance activities the
ensemble has undertaken have been self-instigated and self-managed. Solely over the
period of this research, the ensemble’s self-instigated activities have ranged from small,
intimate recitals, collaborations with other musicians and visual artists to a multi-state
tour and two international engagements at the XVI and XVII World Saxophone
Congresses. Given this personal experience in the field, it was not a surprising result to
find that other Australian saxophonists are facing the same requirement to be the driving
force behind their live performance activities. What could be argued from this data is that
more significant training in event management and planning live performances is
required. The literature suggests that this is increasingly becoming a component of
tertiary programs (Bartleet et al., 2012; Bennett, 2007; Tolmie, 2013) and with the
correlation by the participants in this study, it becomes more vital for young saxophonists
to not only study their instruments but also learn how to instigate and plan live
performance activities. I would also argue from my own practice that the need for
planning skills extends more broadly and requires the instigation of a variety of
performance contexts.
Finances
An underpinning element of a sustainable portfolio career is a musicians
capability to maintain financial stability. Australian classical saxophonists are not
stepping into positions which provide 100% of their income through live performance
activities, therefore, examining how they do manage to maintain the financial success of
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performances is relevant information for younger musicians. Consequently, classical
musicians and particular Australian CSM artists are now looking for new and inventive
ways of funding their performance activities to ensure sustainability and longevity in the
music industry as well as supporting themselves financially. Each of the research
participants are engaged in portfolio careers and as independent musicians they do not
have luxury of a record company or management firm to assist in the production of their
live performance activities. This requires that live performance activities must often be
self-funded implying the possibility of uncertain takings at the box office or the need for
government grants to support the production of an event. Looking outside of their live
performance activities found other modes of employment to pay bills and living expenses
and therefore sees these musicians engaged in teaching and arts administration roles. This
situation is illustrated clearly through the revelation that none of the research participants
in this investigation receive the largest portion of their total income from live
performance activities. Some perspectives provided by the research participants on this
concept included the feeling that the funding of performances is very insular and
dependant on ticket sales to cover costs as well as feeling that pursuing live performance
activities is rooted in a mission to create and disseminate music that these saxophonists
are passionate and connected to.
When asked to report how they fund their live performance activities, the research
participants responses are illustrated in the figure below with the exact funding sources
reported and the number of participants that reported it present. Research participants
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were able to report multiple funding sources and, as such, there was a wide spread in the
results. The numbers along the bottom of the graph show how many participants reported
each item as a funding source.
Figure 13. Graph of Funding Sources for Live Performance Activities
The two methods of funding that clearly stand out from the above graph are ‘Box
office ticket sales’ and ‘Grants’. To understand these two methods further, box office
ticket sales refers to the money made by selling tickets to the live performance. In cases
where this is the primary method of funding, participants will often outlay the initial costs
of staging a performance from personal or previously earned funds and then rely on ticket
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sales to cover costs and potentially make a profit. Several research participants including
Continuum Sax, Jabra Latham, Benjamin Price, Nexas Quartet, Matthew Styles, and Erin
Royer all reported that can fund the initial costs of staging a performance themselves
making them their own “biggest investors” (Continuum Sax, personal communication,
May 16, 2012). This is directly in line with the previously reported results. What is
noteworthy is how the participants are approaching the management of performances that
require box office ticket sales. Interestingly, many of the research participants reported
that they are more than willingly to invest personal funds into the production of their live
performance activities, creating an investment in themselves as musicians. For
Continuum Sax, the creation of “fighting fund” (Continuum Sax, personal
communication, May 16, 2012) of money the group has earned from other, third party
instigated performances has been collected and they have used this money to fund the
initial costs of staging self-instigated performances. This approach provides the ensemble
with a stable pool of money from which to fund potential performance activities and
appears to provide a level of financial stability to any projects. This was echoed by Erin
Royer who spoke of a similar system in her previous work with a Perth-based saxophone
quartet:
We have a kitty going where we would pull money from that to solidify the venue
and make sure that we've promoted it and sold enough tickets to cover venue
costs. So that we can be paid as well. (E. Royer, personal communication, Jun 25,
2013)
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The fact that this concept was raised in the situation of saxophone quartets suggests the
viability of this as a funding strategy is dependant on cooperation. Whilst this strategy
may work for soloists, it does not appear to be currently employed by any of the solo
participants. Further, it is dependant on the collection of fees from third party instigated
performances which do not comprise the bulk of these musicians’ outputs and this
suggests it may not be simple for early career musicians to execute this financial strategy
for their own benefit. In correlation with the portfolio career model these musicians
employ, many of the participants reported that they do not make a significant amount of
money from their performance activities and instead find the bulk of their income in other
work. This suggests that the “box office” (B. Cockcroft, personal communication, Oct 19,
2012) style of operation where “ticket sales and things like that cover whatever costs
we’ve spent” (Nexas Quartet, personal communication, Jun 15, 2012) can be successful
for these participants to maintain the financial stability of their performance activities.
This appears to be due to their independent status within the industry, not having a larger
artistic body that funds their work. When discussing this, Price stated that “mainly it’s
just privately through myself or from the group that … we’ll pay for the venue, or I’ll pay
for the accompanist … normally it’s just all privately funded” (B. Price, personal
communication, Sep 1, 2013).
Many of the research participants reported that the financial goal of a performance
will be to break even or just cover the overhead costs in staging a performance. Overhead
costs, in this instance, refers to venue hire, accompanist fees, and marketing costs (J.
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Latham, personal communication, Jul 12, 2012) and they are usually recovered through
the box office method described previously. None of the research participants reported
that they are approaching live performance activities as a means to “pay for the rent for
the week or to buy the groceries” (Nexas Quartet, personal communication, Jun 15,
2012), instead, appearing to be focused on creating sustainable performance activities by
ensuring they are not at a personal financial loss post-concert. This was described best by
the Nexas Quartet: “we all love to do it and then hopefully we can show that to an
audience … we don’t look at making money, we look at trying to break even for a
concert” (Nexas Quartet, personal communication, Jun 15, 2012). Despite the wide
variety of funding methods, the overwhelming presence of a ‘breaking even’ mentality
suggests that an overarching goal or mission is superseding the pursuit of financial
success. Cockcroft took this further stating: “I’m a bit more of a believer that we should
try and find ways to … make events stand on their own two feet… That’s a good
challenge in itself, that’s a business challenge” (B. Cockcroft, personal communication,
Oct 19, 2012). Duke described his work with HD Duo as having this sense of purpose
overriding financial motivations:
It would be nice to be making lots of money out of performing, but that's not
really our goal in what we're doing. Our goal is to perform and get new music
written, typically Australian [music], and to break even. That's really what we're
looking for more than anything. (M. Duke, personal communication, Jun 14,
2012)
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In the light of this, Australian classical saxophonists are branching out to explore
different financial options including grants and corporate funding. Whilst not always
successful, some saxophonists are turning to grant applications to fund performance
activities. The main issue with this approach, and in many cases with sourcing grant
funding, is finding a way to best present to the board that decides what will be funded and
“what [funding bodies] want you to give them as far as information and community
outlook and so forth” (M. Styles, personal communication, Jun 21, 2012). When
successful, organisations that saxophonists have been affiliated with include the
Australian Music Centre, the New Music Network, and the Australia Council that have
supported them to facilitate live performances and recording projects. Whilst not the
primary source of financial support, external grant funding does represent a potential
source to be further tapped into by classical musicians and this potential also extends into
philanthropy and corporate funding which the participants reported as the most difficult
to obtain.
Similar to the way performances are instigated, the methods of funding live
performance activities discussed by the participants appear to correlate with what many
independent classical musicians would report in their own practice and it certainly aligns
with my own. For my own self-instigated performances, the box office method has been a
manageable way to engage in self-produced events and has been a centrepiece of early
projects for the Barega Saxophone Quartet. What is not represented in the participants’
responses is the amount of careful consideration needed when taking on the financial
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management of performances. The box office method is effective but requires an
understanding of the limits of a live performance activity and the creation of an
appropriate budget; for example, booking a venue at a low cost, creating a marketing
strategy and budget, factoring any travel costs for tours, and any other performance-
related costs. Young musicians at an early stage in their career may not have the initial
funds required for staging a live performance. With this knowledge, the “fighting fund”
(Continuum Sax, personal communication, May 16, 2012) concept raised by Continuum
Sax makes for a much more practical solution. Young musicians are able to create a pool
of funds over time from other work in their developing portfolio career and create a
financial base for their performance activities. An example of this can be taken from
Barega Saxophone Quartet, in the early years of the ensemble, the group would pool
money taken from other performances – for example, educational workshops that had a
set fee or prize money from local competitions – and was able to use these funds to
commission new repertoire and pay deposits on venues. Without putting together this
fund, many of the early opportunities that launched the ensemble would never have been
possible. In fact, many of the decisions made as a young ensemble were on the advice of
our teachers and mentors and, with experience, we learnt to plan and execute live
performances for ourselves. One such decision, in which we have changed our approach
over the years, was our approach to visual aesthetics – the topic which will now be
discussed.
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Visual Aesthetics
For many saxophonists, developing the visual aspects of their performance skills
are not a high priority with the musicians instead choosing to focus primarily on sound
(Continuum Sax, personal communication, May 16, 2012). The data in the literature
review has reinforced the idea that the connection between audience and performer is
strengthened through the visual presentation on stage (Griffiths, 2011; Tsay, 2013). In
essence, performers can build the relationship with their audience by ensuring that the
audience will have a visually pleasing performance to watch. The data has presented two
different areas of discussion: Personal and Physical. Personal visual aesthetics include
any decisions made which affect the visual presentation of the performer themselves
including clothing, presence on stage, and personal appearance and was the most highly
discussed by the participants with clothing choice being the most discussed facet of
visual aesthetics. The second area of visual aesthetics is the Physical elements of visual
aesthetics, referring specifically to the presentation of the venue and stage area.
In any performance context, the presentation of the musicians involved is “vital
and important” (M. Styles, personal communication, Jun 21, 2012). For many musicians,
the presentation of a professional image is not about conforming to concert etiquette
ideals but instead about showcasing a personal pride in their work. Furthermore, the
clothing that a performer chooses to wear onstage can have a strong impact on how the
musicians and the music itself is perceived by the audience. The participants presented
two different approaches to clothing choice: traditional and individual. Traditional dress
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can be understood as clothing which is all black or black and white including suits which
is formal in nature and include clothing choices which are reflective of the history of
Western art music. Individual dress is more reflective of the performer’s personality and
as the individual clothing choices that the performer makes including colourful pieces,
jeans, and more casual items. There was no clear decision by the research participants
about whether one choice was better than the other, instead highlighting that it is a
personal choice and one that must be considered in reference to the type of presentation
they would like to make and their comfort level while playing their instrument. Clothing
choice therefore becomes a challenge to find the right combination of variables.
When unpacking the data presented by the participants, it became apparent that
there is a strong element of personal preference involved. Whilst is was accepted that
there is a standard or traditional method of dressing for a classical music concert within
the greater classical music industry, this was not always seen to be an image consistent
with the identity of these saxophonists, as Continuum Sax explains:
When it comes to things like dress, we’re conscious that we’re never going to be
as hip as a rock band, so we’re not going to show that rock out dress, but we also
don’t want to be as stuffy as a symphony orchestra and we also don’t want to be
sort of anonymous … That’s where you don’t want any musicians to sort of stick
out from the crowd, you all want to be uniformly hidden in a way … I’ve
certainly thought about and expressed my view that we shouldn’t all dress all in
black … I find that too anonymous and boring and neither should we try to hate
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the symphony orchestra where everybody has to try to dress the same... So we try,
in the way we dress, we respect each others ways of doing things. (Continuum
Sax, personal communication, May 16, 2012)
This quote highlights the sentiment that traditional clothing choices such as all black
attire are not reflective of the personalities of the ensemble and these musicians are
actively attempting to circumnavigate this result. Continuum Sax exemplified this
approach to clothing choice in their observed performance at the Australasian Saxophone
and Clarinet Conference in 2013 as well as providing an anecdote of their usual concert
dress in their first interview: “Christina was wearing jeans, Martin in the safari suit, and I
wore my black suit with the colourful shirt, no ties. It expresses different personalities…
we all dressed quite differently” (Continuum Sax, personal communication, May 16,
2012). This was continued by Duke who highlighted the potential for individual clothing
choices to impact upon the perception of the musical content stating: “If there's
somebody standing in there in leather jacket, leather pants, you've put some preconceived
ideas - before you've even played a note - in their head as to what they're going to hear”
(M. Duke, personal communication, Jun 14, 2012).
Some participants were extremely detailed in giving descriptions of clothing for
their performances, particularly where clothing choice has had a negative impact upon
the performance. Nexas Quartet provided one such anecdote. In a particular past
performance, the ensemble chose to each wear a shirt of a different colour without prior
co-ordination. In this instance, the shirt colours were not complimentary to each other
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and the overall look of the ensemble created “a poor attempt at a Christmas concert in
June” and “ a bit of a [Wiggles] approach” (Nexas Quartet, personal communication,
Jun 15, 2012). Whilst individuality and expression in the ensemble was valued by Nexas
Quartet, it appears from this anecdote that careful consideration needs to be taken to
ensure that personal presentation reflects a polished, professional image that is satisfying
to the musicians. This is especially the case in regards to ensembles where differing
personalities and, therefore, differing choices need to be managed. Latham elaborated on
the clothing choice process in his contemporary music ensemble Opus House:
We all sit around before [the performance]: “What are we wearing? Blacks?
Black and white? T-shirts? Are we going to wear jeans? Be a bit funky with a
black Bonds tee?” … I like to be comfortable ... I think you do need to respect
people, respect the audience. (J. Latham, personal communication, Jul 12, 2012)
This discussion was continued with Latham who outlined his personal preference for
individual clothing choice stating he prefers “jeans and a t-shirt and comfortable shoes”
(J. Latham, personal communication, Jul 12, 2012) suggesting a strong link between the
“comfort” (J. Latham, personal communication, Jul 12, 2012) and the “respect” (M.
Duke, personal communication, Jun 14, 2012) paid to the audience.
Some participants, however, were happy to choose a more conservative approach
to clothing which they felt reflected the music which they were performing: “So visually,
we try to dress in a manner which fits in the tradition of chamber music; which is either
dressing black or uniform … in dark suits or something like that” (M. Duke, personal
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communication, Jun 14, 2012) in order to “go a bit more traditional” (M. Duke, personal
communication, Jun 14, 2012). Cockcroft felt that there is “a dress that’s generally
perceived to be the correct thing to wear” (B. Cockcroft, personal communication, Oct
19, 2012) and whilst he acknowledged that musicians may chose an alternative, many
musicians do follow this ideal. Another participant who described a more traditional
approach to dress was Matthew Styles, highlighting the connection between clothing and
repertoire:
I think what you wear is incredibly important. And I think [for] most recitalists
you’re wearing all black or a suit and a tie and that sort of thing… Depending
what venue you’re in … that can work but there’s something to said for matching
what you wear to what you’re going to play. (M. Styles, personal communication,
Jun 21, 2012)
Styles spoke directly of traditional clothing choices and the respect that can be portrayed
through a more traditional approach to concert dress, a further participant to highlight
how clothing can show respect to an audience:
If you’re going to present a traditional program, you don’t necessarily have to
wear a puffed wig and a cravat and a top hat and a cane but I think it’s very
important that you do demonstrate... Well firstly, I think you need to respect your
audience with what you wear, very much so and I think you also need to reflect
the venue and reflect the music. (M. Styles, personal communication, Jun 21,
2012)
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This discussion has centred on the pillar of personal presentation and it is evident that
there is an overriding goal of the performers “to look professional” (Nexas Quartet,
personal communication, Jun 15, 2012). Understanding this goal to look professional and
simultaneously portray a sense of individuality, my own experiences have varied
concerning clothing choice. When performing with Barega Saxophone Quartet, our
clothing choices have gradually evolved over the years from the choice to wear all-black
to a more individual ‘free-dress’ approach. In the earlier years of the group, Barega
would choose to wear all black clothes as a way of creating a formal, unified look. Years
later, as we began to carve our own niche within the Australian CSM community, we
decided to switch strategies and dress in our own, unique way. With each member of the
ensemble being free to dress comfortably within their own sense of professional style, it
has provided a more relatable aspect to our performances.
More than just clothing choice, crafting a professional image also extends also to
the surroundings within the performance venue as discussed by Dr Matthew Styles: “I
think that’s very important that what they see is also valid side of stage… You walk into
a music auditorium and there’s stands and chairs and [miscellaneous items] everywhere,
well, what’s the audience going to think?” (M. Styles, personal communication, Jun 21,
2012). The presentation of the venue itself connects with the concept of ‘place’ and
stimulates thought around the interaction of the physical space in which a performance
takes place and the resulting influences that place makes on the performance. The second
area of discussion concerning visual aesthetics, ‘physical’ visual aesthetics was not
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discussed as frequently. What was emphasised was that “...people want to come along
and see you” (M. Styles, personal communication, Jun 21, 2012) and “whatever
structures you want to put it in, they’ve got to be able to see you clearly and what’s
behind you and around you is incredibly important (M. Styles, personal communication,
Jun 21, 2012). The use of the stage to ensure good sight lines is important in any context
of performance. In many circumstances the choice of venue is not always left up to the
performer and in those instances it is up to them to maximise the potential of the venue.
Achieved through different methods, performers wanting clear sight lines to the audience
may be looking to increase their own connections with the audience thereby increasing
their own sense of satisfaction from the performance; Styles uses his music stand: “My
stand is right down because I think I want to eyeball the audience too and I want to be
able to see them” (M. Styles, personal communication, Jun 21, 2012).
It became apparent in the data that the management of visual aesthetics is not
always considered a high priority. Some participants expressly stated that they are
prioritising sound and music production over considerations such as clothing choice.
Given the data present in the literature suggesting the importance of visual aesthetics
(Tsay, 2013), it is surprising to find that practitioners in the field are not considering the
effect of visual aesthetics more carefully. There are two possible explanations for this
which may shed some light on the reasoning for not prioritizing visual aesthetics. Firstly,
music is undoubtedly the focus of any live performance activity and therefore these
musicians are choosing to ensure their practice is of a high standard. This means that
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issues such as visual aesthetics may only be considered after the music is at a sufficient
level of preparation. Secondly, being self-managed artists, their time and resources need
to be maximized appropriately and time spent managing elements not related to the music
production may be seen as improper. Finally, Latham identified another key aspect that
musicians are not often trained in the management of visual aesthetics and how to
approach this area of management:
[A]t the moment, with the project I’m working on, I’ve actually employed a
marketing consultant and we’ve just gone to them and said, “Can you choose
what to wear?” Because I play the saxophone, I don’t know how to choose what
to wear (J. Latham, personal communication, Jul 12, 2012)
This suggests that while Latham is prioritising the music and his knowledge in this area,
his delegation of the management of this area to experienced, trained professionals
presents his priorities. Unfortunately, not all the participants, and by extension not all
saxophonists, have the ability to consult with specialists in visual aesthetics. This requires
a personal exploration of how to dress for a live performance. My own ensemble has
experimented with different clothing options and has found that each live performance
calls for a slightly different approach. Whilst we firmly subscribe to the opinion that
clothing choice needs to be reflective of individual personalities, we try to balance the
formality of our dress choices with the formality of the performance. Ultimately, the
visual aesthetics of any live performance are going to impact upon the presentation and
reception of the performer.
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Venue Choice
The literature review highlighted the “complexity already existing in relationships
between performance and place” (Craik et al., 2010) and how the environment of a live
performance activity plays a significant role in cultivating a positive relationship between
performers and their audiences (Minor et al., 2004). It is argued that those unfamiliar with
the etiquette of a classical music performance can be easily perturbed. In this sense,
“[t]he concept of accessibility reaches beyond the physical capacity to gain access to a
performance; it may well relate to a perception of status and exclusivity from which the
audience feels alienated” (Craik et al., 2010, p. 25). Further to this, the audience’s
understanding of the practices and etiquette of live classical music performance is seen as
a potential barrier and a key point of discussion (Airey, 1998; Craik et al., 2010; Dobson,
2010; Lee, 2003). Venue choice, therefore, must be made with considerations of both the
appropriate place for music-making and repertoire alongside considerations of how the
venue will impact upon the expected audience.
The participants stated that the specific choice of venue is dependent upon the
main organiser: either the research participants themselves or a third party tasked with
producing the performance. In the event of the latter occurring, “quite often the venues
are forced upon you or … if you’re doing something off your own bat you choose the
venue” (Nexas Quartet, personal communication, Jun 15, 2012). When the participants
are engaging in self-instigated live performances, they are wholly responsible for venue
choice and the subsequent management needed – an important note for younger
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musicians to acknowledge and endeavour to gain experience dealing with. Another factor
to be considered in this discussion is the performance context of the activity in question:
whilst recitals and individual performance contexts allow more freedom in venue choice,
collaborative and educational performance contexts afford much less choice. Individual
performance contexts, by definition, focus on the presentation of a select performer/s in
one small to medium sized performance event. With this in mind, a performance venue
must be chosen which facilitates a suitable stage area for the performer and intimate,
accessible seating for the audience. This suggests a range of possible venues may be
suitable for the individual performance context, such as recital halls, open plan
performance spaces, churches, or art galleries. As an example, during the period of this
research, Barega Saxophone Quartet gave performances which can be classified as
individual performance contexts in venues ranging from recital halls in two Australian
states, a school oval, an art gallery, a shipping container, a multipurpose arts studio, and
three major music festivals.
The participants clearly identified that a number of performances instigated by
third parties took control of the venue and production of the event, thereby removing
them from the venue decision. This meant that the participants are not always concerned
with how the performance will be conducted in the specific venue or whether there will
be any acoustical issues. As Nexas Quartet elaborates: “we don’t really think about it
though; I think we get to the venue and go ‘oh ok we’ll have to play this this particular
way because of the venue” (Nexas Quartet, personal communication, Jun 15, 2012). The
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ensemble continued to emphasise that in these situations, the venue itself may be
completely unknown to them: “a lot of the time it is a secondary thing … we get booked
to perform and play stuff like that and we may not necessarily know the venue” (Nexas
Quartet, personal communication, Jun 15, 2012). This appears that venue choice, when
not under control of the research participants, can be a positive experience but does put
limitations on the production of the performance. This seems in correlation with the
findings within the “performance instigation” category where the instigator of a
performance is responsible for performance management and production.
Further to this, it was evident for the participants that venue choice must be
reflective of the anticipated size of the audience. Large venues for a small scale
production are not practical, expensive, and there will undoubtedly be empty seats. The
question is, where is the line between realistic and cynical? As the expected audience of a
performance may be limited or large in numbers depending on the specific occasion,
some research participants reported that they felt an element of realism is needed in the
approach to venue choice as “you wouldn’t be likely to try and book out a like a $3000,
3000- seat concert hall” (Nexas Quartet, personal communication, Jun 15, 2012). and this
was echoed by Cockcroft, stating:
If you can play in an empty room - even if there’s 200 people there but it seats
2000 - it feels empty and you don’t get the same sort of critical mass from
audience reaction. People need to be tightly packed to get that; so, it’s better to
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have an overflowing room, regardless of the size, than a half empty room. (B.
Cockcroft, personal communication, Oct 19, 2012)
This suggests that performers are conscious of the number of audiences members
expected at a performance and are attempting to be realistic about their audience base and
then relating this back to their venue choice. Interestingly, Royer felt this was not such an
issue given the chance to perform to a core, loyal audience:
If there's a venue available we'll go there. If it seats 800 people and we only get
70, it doesn't feel like such a big deal, just because we've got somewhere to play
and there is a select amount of people who are coming to watch us who are really
enjoying it. (E. Royer, personal communication, Jun 25, 2013)
The realities of venue choice were also brought forth by XVI WSC organiser Michael
Brogan who provided a unique perspective to the discussion. Brogan suggested three key
variables which were considered in the management of venue choice at the WSC in St
Andrews, Scotland:
1) Riders. We were occasionally limited by equipment available in each venue.
For example, any music featuring electronics or A/V equipment tended to be
scheduled in the Byre Theatre which is designed to host such events.
2) Programming. If a performer was chosen to perform some baroque music or
solo repertoire, we felt it would be appropriate to schedule their performance in a
church or more intimate venue. Acoustically, it suited the music much better, and
it also helped to establish an appropriate sense of mood or atmosphere.
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3) Reputation. It is simple fact that some more established performers will draw a
large crowd. So, we made sure these performers were given an auditorium with a
larger audience capacity. (M. Brogan, personal communication, 2013)
These three factors highlight the apparent need to manage venue choice alongside other
variables that may or may not come into play in a live performance activity.
The concept of a venue being inaccessible to a non-classical music enthusiast is a barrier
to potential new audience members (Craik et al., 2010; Arts Council of England, 2008).
This has been articulated in the literature but not as widely identified by the research
participants. The only research participant which explicitly articulated accessibility as a
concern within venue choice was Jabra Latham:
Are they going to be warm? Are they going to sit in the round? Are the chairs too
comfy so they’re going to fall asleep? Are they too painful? You know, how close
is the coffee? How close is the beer? Can they move if they want? Do they have
to stay for the whole performance? … All of these questions I think are really
related to the venue. (J. Latham, personal communication, Jul 12, 2012)
The thinking presented by the participants concerning venue choice has developed from
the dependence of who is instigating the performance to the relationships it appears to
maintain with other live performance elements. This has raised and answered many
questions in this field including:
Who is choosing the venue?
How is the venue crafting an “experience”?
Venue choice requires the organiser to be realistic but not afraid to occasionally
diversify
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What accessibility needs to be negotiated?
These points present the beginnings of a framework for the choice of venue for a live
performance activity. By considering the questions provided above, performers and live
performance organisers can choose appropriate venues which cover a variety of bases.
Repertoire
In the discussion of repertoire choice, the data analysis in this investigation
presented two major areas of thinking: firstly, the CSM field (repertoire, history, and
national schools) which influences the participants and secondly, the development of
repertoire within the live performance arena. The repertoire these performers have to
choose from is all from the same pool and therefore it was hypothesised to expect some
overlap in their exact choices. The focus on development and creation of new music in
the CSM genre was also hypothesised to be a motivating factor in their choices. The data
analysis revealed a huge variety of responses and ideas within this area. The following
discussion includes the exact choices being made, the exact influences impacting upon
the musicians and problems and issues that arise in this process. By following through the
presentation of these two streams by the research participants, a clear understanding of
how repertoire choice is negotiated by these musicians will be attained as well as
providing the underpinnings of the discussion to take in the next chapter where artistic
relationships between repertoire, performers, audiences, and venues is to take place.
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A text analysis on the research participants’ responses found fourteen motivating
factors that influence the participants’ choice of repertoire within their live performance
activities and these are presented in the figure below:
Figure 14. Participant Responses Regarding Repertoire Choice for their Live
Performance Activities
As the participants were able to report multiple factors, a wide variety of
responses were provided. As evidenced above, the two most widely reported factors were
musical taste and new music. Musical taste in repertoire choice refers to compositions
which are satisfying to the taste of the participants. In these cases, repertoire is chosen
because of the preferences of the participants. Secondly, new music refers to the
0 1 2 3 4 5 6 7
NewMusic
MusicalTaste
BuildingPrograms
Commissioning
SheetMusicCollec ons
"StumbleAcross"
Arrangements
Collabora on
Concerto
Submissions
Sugges ons
Theming
Timing
Variety
Par cipantResponses
Par cipantResponses
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repertoire choice to include newly composed music into a live performance. To unpack
these further, the five research participants that reported musical taste as a factor in their
repertoire choices were Nexas Quartet, Jabra Latham, Barry Cockcroft, Katia Beaugeais,
and Ben Price. It was suggested by the Nexas Quartet that their repertoire choice is often
a balance between individual musical tastes and between the different members of the
ensemble: “Even within the group, you realise how different peoples musical ideals are
and it’s quite hard to satisfy all four parties” (Nexas Quartet, personal communication,
Jun 15, 2012). The quartet elaborated in this further:
[F]or the group, it really hasn’t done come down to ‘new music’ or
‘transcriptions’ or ‘standard repertoire’. It’s kind of like: ‘do you like the piece?’
‘does it work well for the ensemble?’ Great, let’s do it!’. And I don’t think we go
‘oh well, we have to play a piece that was written in the last six years in every
concert’ or something like that. (Nexas Quartet, personal communication, Jun 15,
2012)
Complimentary to this, Cockcroft and Price were both direct in their discussions of
repertoire choice, stating categorically that personal preference plays a strong role in their
choices by stating that “I generally play things I want to” (B. Cockcroft, personal
communication, Oct 19, 2012) and “I’m gonna [sic] play the music that I want to play”
(B. Price, personal communication, Sep 1, 2013). Katia Beaugeais suggested that her
interests as a performer-composer influence her preferences concerning repertoire and
this consequently impacts upon her repertoire choice:
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I just keep doing what I’m influenced with [and[ what I like doing. And I’m
always now doing Australian music; I just keep plugging it, it’s my thing … as a
composer I want to support other composers because I know what it’s like. (K.
Beaugeais, personal communication, Jul 11, 2013)
Collectively, this suggests the strong presence of musical tastes and personal preferences
as a motivating factor in the development of a performance. As well as hinting at the
strong influence of Australian repertoire within their choices.
Alternatively, several of the participants discussed new music as an important
component of their repertoire choices including Beaugeais, Cockcroft, Duke, Latham,
and Royer. As identified initially in the literature review, the development of new
repertoire within the genre forms a major component of many CSM artists careers (Frigo,
2005). With this knowledge, it can be understood that the development and consequent
performance of this new Australian music would also form a significant component of
the research participants’ activities. The six participants already identified as discussing
this idea all stated, in differing ways, how new music and the performance of newly
composed music was often a goal. The dissemination of newly composed music is a
strongly reoccurring point of discussion with the research participants. Their interaction
with composers and focus on the creation of new music in the Australian CSM genre
highlights an important prerequisite for entering into the field. Each of the nine research
participants discussed their involvement with new music and framed their discussion in
the area around the need to develop new repertoire within the CSM genre. It became
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apparent that the participants have a strong interest in newer repertoire. Price stated: “I
just find it more exciting, I have never really wanted to listen to old music anyway… I
don’t think I’ve played anything earlier than 1980s probably except for Berio, it’s just ... it
doesn’t interest me” (B. Price, personal communication, Sep 1, 2013). This was backed up
by Beaugeais who felt “I actually like to put a newish piece in the program” (K.
Beaugeais, personal communication, Jul 11, 2013) and felt that as a performer-composer
she was able to incorporate new compositions in specific occasions. This was particularly
the case in one anecdote:
For this … recital for the Australian Embassy … maybe they have heard a
classical saxophone but they’d be more used to the jazz … I did all Australian
music by Ross Edwards, ‘Raft Song at Sunrise’, and I also wanted to do an
extended technique piece because I just thought, “You know what? I’m just going
to do what I’m into and that’s my style. They might, you know, they’ll like it or
they won’t. But I thought, “Oh, I’m there and it’s representing Australia.” So I
actually wrote a piece specifically for them called ‘Sounds from Bondi’ … I
based the ‘Sounds from Bondi’ [on] a lot of circular breathing, a lot of rippling,
classical passages ... they said that was their favourite piece in the program. They
knew about Bondi Beach, they knew that it was an iconic venue. (K. Beaugeais,
personal communication, Jul 11, 2013)
What this comment suggests is the continuing theme that repertoire choice can foster
positive relationships with audiences whilst simultaneously providing new and innovative
outlets for the performer’s musical expression. In Beaugeais’ case, this was through an
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opportunity to craft a new Australian CSM composition and premiere this work at a live
performance. This was approached from a different angle by Duke in his ensemble HD
Duo who used careful programming and theming to present new music in a way which
would be sympathetic to audiences unfamiliar with the repertoire:
[W] did a program and it was a long time - it was a full hour and a half with an
intermission - so it was a big concert. We split it up half French impressionist
music and the other half was Australian contemporary music that was written for
us … The nature of the pieces seemed to tie in really well. It meant that the
audiences obviously felt very at home with the French impressionist stuff, even if
it was composers they'd never heard of ... Then when we came to play Australian
stuff, they could hear the tie-ins and it just set it up for them to enjoy it. (M. Duke,
personal communication, Jun 14, 2012)
This particular method of presenting new music continues to illuminate a connection
between repertoire choice and expected audience at a live performance activity.
Some research participants, however, felt that the performance of new music is
accepted and appreciated by audiences and felt that including it in performance programs
is often acceptable. In these circumstances, the presentation of a new or newly composed
work is an interesting addition to the live performance.
I only really like listening to music as well that’s surprising, you know, I don’t
want any predictable chord structures or anything like that. I think that’s
something that audiences do appreciate anyway. Most of the time they will come
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away thinking, “Oh that was different, I didn’t expect to hear something like that.
(B. Price, personal communication, Sep 1, 2013)
This idea was also suggested by Latham and the Nexas Quartet who felt that new music
is appreciated by performers and audiences alike. Along with Styles, these three
participants also brought into the equation the involvement of local composers and the
benefits or working locally. Performing with composers who were also colleagues and
friends formed an early component of Nexas Quartet’s activities:
One of the things we did in our early years when we were at the conservatorium:
… quite a lot of our good friends are composers so they wanted to write for their
friends and we wanted to play our friends music so that kind of early stage, a lot
was premiering and workshopping heaps of [repertoire] and that was a massive
part of our early years. (Nexas Quartet, personal communication, Jun 15, 2012)
This was reiterated by Styles who felt proximity to local, talented composers fostered the
creation of new Australian CSM repertoire.
The cool thing about that, of course especially in Australia, is the guy who wrote
[the piece] is probably 5 kilometres away and three coffees later there is a new
piece or there’s a section you’ve got some suggestions about and they’re really
happy to listen to that. (M. Styles, personal communication, Jun 21, 2012)
Ultimately, Continuum Sax presented the clearest and most straight forward analysis of
why these musicians are engaging with new repertoire within their live performance
activities: “I think it’s also important to keep pushing ahead as musicians … to work with
composers now and try to find new ground and find new worlds for the saxophone. I think
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that’s the way we keep ourselves relevant” (Continuum Sax, personal communication, May
16, 2012).
Some strong motivations were found in the participants responses that contributed
further to the understanding of repertoire choice. Two concepts – theming and program
building – were brought forth as motivating factors in the participants’ selection of
performance repertoire. These two concepts present an interesting developmental process
for these musicians as they engage in live performance activities. Theming, in this
instance refers to the development of concert programs which are all centred around a
specific theme or idea that binds each of the works together. Theming was presented by a
number of participants as a way of developing a suitable program for a live performance
which creates an interesting collection of music and provides the audience with a logical
flow through the music. An example of this was provided by Duke who described a
concert entitled The Fairer Sax which brought together music by different female
composers:
[The concert[ was all music of female composers; so that was the thread that tied
everything together. We had a commission in there that we did and then we
looked at repertoire and I pulled out different pieces that I'd played in the past and
we read through them and we pulled together a program that we thought would
hang together well in terms of, well not only fitting the concept, but also the
length of the pieces, the style of the pieces … You've got different set, different
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timbres, different styles, the lengths of the works and how they all fit together in
an order too. (M. Duke, personal communication, Jun 14, 2012)
The use of a theme in this instance provided the audience with a specific lens through
which to understand and receive the music. This “clever and thoughtful” (M. Duke,
personal communication, Jun 14, 2012) method of choosing repertoire is useful for
developing a stronger rapport with audiences and creating a positive environment for the
consumption of the music. Duke elaborates,
If you do a theme, you give the audience something to think about while you're
playing this music. You give them a context to listen to this music in. If you don't
give them a context then they don't know what they're listening to or how to listen
to it. (M. Duke, personal communication, Jun 14, 2012)
Theming therefore represents a method of framing each of the works presented in a live
performance for the audience, particularly those that may not be familiar with the music
or the performer. The use of theming by these artists helps with the specific repertoire
choices to be made.
The research participants did flag some issues in choosing repertoire for live
performance activities which suggest a level of complexity. These problems were
identified in the data analysis and whilst they were discussed by some participants, it
does not appear as a major theme across all the data collected. Three out of the nine
participants referenced a problem or problems within the area of repertoire choice such
as:
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A dislike for specific repertoire (including major works or regularly
performed works)
Performing for other saxophonists and the difficulty of programming
interesting and satisfying repertoire for this audience
Matching repertoire to venue and/or audiences (a difficulty to be discussed in
the next chapter)
With the comparative youth of the CSM genre compared to the full history of the
Western classical music tradition, musicians operating in this genre may find that the
bulk of their repertoire extends from the 20th century and is French in origin (Frigo,
2005). Continuum Sax highlighted that “most of it is just your Neo-Classical French stuff
it’s a music of a time and a place and it’s quite limited in what it is and there’s not that
much you can do with it” (Continuum Sax, personal communication, May 16, 2012). For
saxophonists working in 21st-century Australia, operating as independent artists, this
repertoire may not represent their own interests as musicians nor their environment. This
concept extends further to major works within the CSM canon which may be regularly
performed by students, at industry events, and have been recorded by saxophonists
around the world meaning that the repetition of the same works sees that artists engaging
with this music on a regular basis may not perform music with which they have a
connection or an “affinity” (Continuum Sax, personal communication, May 16, 2012).
With the strong tradition of saxophonists performing for other saxophonists at industry
events and through community support (Continuum Sax, personal communication, May
16, 2012), programming for specific audiences becomes an increasingly important issue.
A remedy for this, as suggested by Latham, was through effective advertising: “I will
market and advertise and invite people accordingly ... I might not be so broad with my
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advertising, I might be very specific” (B. Cockcroft, personal communication, Oct 19,
2012).
Marketing
A key factor in the successful management of a portfolio music career is the
ability to self-promote and engage networks as identified by a variety of sources in the
literature review (Bartleet et al., 2012; Beeching, 2005; Loveland, 2009). What is
unknown is how Australian classical saxophonists are promoting their live performance
activities and engaging with different marketing tools and techniques. It was
hypothesised that the participants would be utilising a range of different tools; however,
the broad range of tools across digital and other platforms was not anticipated. The wide
diversity in the approach to marketing suggests that the participants are focussing on
specific methods they feel garner the best results rather than selecting a broad range of
tools.
The research participants identified a number of tools which they use in the
marketing of a live performance activity and these are presented in the table below. The
tools are broken down into two categories: Non-Digital and Digital. A somewhat
surprising result from the analysis was that participants are engaging in more non-digital
methods of marketing in today’s increasingly technologically based world. The research
participants identified a large number of personal methods of marketing (such as business
cards, family recommendations, personal invitations, invitations to students, and word of
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mouth) as extremely useful in their marketing as comparable to social networking sites or
email mailing lists.
Each of the identified marketing tools will now be explored in further detail. The
following table presents each marketing tool identified by the research participants
accompanied by a brief description.
Tool Description
Non-Digital Marketing Tools
Business Cards Professional business cards created by the participant
and distributed to potential audience members and
interested members of the general public before,
during, or after performances
Family Using personal networks through family members to
distribute concert information. Connected to word of
mouth marketing.
Mail Outs Sending printed materials promoting the concert via
postal mail to potential audiences
Networking Personally connecting with other individuals in the
industry to promote performances
Pamphlets Printed flyers or booklets advertising a live
performance activity that are then distributed to
potential audiences
Personal Invitations An invitation from performer to potential audience
member to attend the live performance activity
Posters A printed poster which is displayed publically to
advertise the performance
Print Media Printed promotional materials either exclusive to the
performance (posters, flyers, booklets) or other,
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general forms of media (newspapers, magazines)
Record Label Promotion is conducted by the record label
representing the performer
Students Advertising the performance to current or former
students of the performer
Word of Mouth Communication between performer and audiences
and between audience members about an upcoming
performance and the quality of the performer
Networking Professional networking and forming connections to
boost exposure of a live performance activity
Digital Marketing Tools
Emails Sending out promotional materials and performance
information via email, often through a dedicated list
of recipients who have registered their interest
Facebook The creation of posts, events, and status updates
which present the performance information. Posts
can also be targeted to towards new contacts that may
be interested in attending
MySpace Similar to Facebook, posts, events, and status updates
are used to promote performances
Pozible Participants have used the crowd-funding platform
Pozible to source funding for projects and thereby
increase exposure of their activities
Press Kits The creation of a small package of digital files,
usually containing professional head shots and a
biography which are available online or distributed
before a live performance
Radio Interviews, broadcasts of recordings, and any public
promotion of a live performance on a relevant radio
station
Social Media The use of any social media platform to promote a
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live performance. In this research, Facebook, Twitter,
and Myspace have been reported highly
Twitter Similar to other forms of social media, updates and
tweets are used to promote the performance to a
wider network of people and often link back to
another social media site, such as Facebook
Table 7. Breakdown of Participant Marketing Methods
The following discussion will unpack each marketing tool presented by the
research participants and address how the participants are utilising the tool to their
benefit. Understanding each of these marketing methods and how the participants utilise
them is particularly important given the previous discussion surrounding funding and
tight budgets these musicians have to deal with. This requires the participants to have the
ability to maximise low or no cost forms of advertising. This particularly resonates with
early career musicians who are endeavouring to build a stronger profile within the
industry.
Networking refers to the relationships forged within the industry which push
forward the participants’ careers and there are several elements which relate to this
marketing tool. This was presented by Katia Beaugeais who stated:
I remember Matthew Hindson actually said to me in one of my composition
lessons … he was saying, you know, “Just take advantage ... as a composer,
you’ve got to take advantage of the people you know, the relationships. Try and
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establish relationships because they will really help you ... and then it’s just easier
[to receive] support. (K. Beaugeais, personal communication, Jul 11, 2013)
Further to this, Word of Mouth marketing is undoubtedly an important aspect given that
audiences will likely discuss positive or negative experiences following an event and this
has the potential to impact upon future audience numbers. This was considered “the most
important marketing [tool]” (J. Latham, personal communication, Jul 12, 2012) by some
participants and an essential component of operating as a performing musician. Latham
emphasised that word of mouth marketing is about creating a positive experience for
audience members that they feel excited or compelled to share within their personal
networks.
So you have to create an experience for them where, like I said, they’ve
discovered something, they’ve found the familiar and they’ve had an experience
... and then they take that out and they share that… It might be the music, it might
be the personality of the people on stage, the confidence, the security, it might be
the venue, it might be some quirky or unusual little thing that ... it might be the
quality of the wine, but you need to give them something to make sure that they
remember that and they talk about it (J. Latham, personal communication, Jul 12,
2012)
Family is connected to the use of word of mouth promotion. This was suggested as a
method of connecting with personal networks and building an audience base from a
personal level outwards. Royer stated: “I use my family as a huge way of promoting...
my Mum's friends and the other quartet members go through their parents' friends …
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that's our target audience really is the older generation” (E. Royer, personal
communication, Jun 25, 2013). An interesting proposal made by Erin Royer, the
marketing area labelled Students is the suggestion that a participants’ students may make
up a large selection of the potential audience for a live performance and therefore it is
important to promote live performance events to them. It was surprising that this was not
raised by other research participants given they are all active educators and would have a
student base that they may promote live performance activities to. Royer stated that “I
have a lot of students so I have a lot of young people that I can bring along to my
concerts; make it compulsory for them” (E. Royer, personal communication, Jun 25,
2013) and therefore find a strong potential pool of attendees including her students and
their friends and family. Personal Invitations, in a similar fashion to family or word of
mouth, is the personal actions of the performer in inviting specific audience members to
the live performance activity. This is clearly not a common method within the participant
pool, having only being discussed by one participant, Jabra Latham. In a very brief
sentence he described that he will invite “invite people personally” (J. Latham, personal
communication, Jul 12, 2012) to a live performance. Whilst this would undoubtedly be an
excellent way to connect personally with potential audience members, it is time
consuming and not practical on a large scale. This is where printed promotional material
can be of great benefit.
Print Media describes printed promotional materials either specific or non-
specific to the performance activity which are distributed to promote a live performance
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activity or the performers, more generally. Including the marketing tools of mail outs,
pamphlets, and posters, print media also covers the use of newspapers and magazines to
promote a live performance activity. This was particularly discussed by Jabra Latham and
Ben Price who, both being based in Tasmania, feel a great deal of support from local
publications in the promotion of their performances. Latham said: “the Mercury
newspaper in Hobart ... is great. They’ll either run a feature article or they’ll run a feature
article in their Pulse section, so that’s good” (J. Latham, personal communication, Jul 12,
2012). Also based in Hobart, Price reiterated this:
As a young person in Hobart, you can just call up the Mercury, the main
newspaper in the city, and you can get a half-page article on a Thursday with a
photograph and everything about your upcoming concert. Because it’s such a
small community, they are very willing to support things (B. Price, personal
communication, Sep 1, 2013)
Alternatively, Business Cards help build relationships for further performances (E.
Royer, personal communication, Jun 25, 2013). By providing a professional token to
audiences engages them in conversation, building rapport, and provides musicians with
an opportunity to advertise future events. Royer particularly discussed this in regards to
post-performance networking:
If I can give them a business card or if I could tell them where we're playing next
… doing more gigs and stuff like that - just it's really popular, everyone loves it.
You can say at any concert, ‘we're playing here next’ and then they'll come along
and you start building that relationship … So I think just them getting to know
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you as well as what you're playing is really important. (E. Royer, personal
communication, Jun 25, 2013)
Further to this, Mail Outs can be helpful for distributing information about the
performance and give a physical product in the hands of potential audience members
rather than a digital notification which can more easily be ignored. This method does take
prior organisation and planning to be effective. Nexas Quartet described this in detail
outlining that the financial and time investment needed in engaging with this marketing
technique is paid off in the response received by audiences.
I do a lot of snail mail… printing stuff and mailing it to people… if I get stuff
printed and mail it to somebody or give it to them, they can put it on their fridge
and they wont forget. Whereas I’ve got twenty-eight events pending in my
Facebook and I couldn’t tell you what twenty-seven of them are… the best results
I’ve had for events has been printing and mailing and it’s a risk… You’ve got to
pay for the printing, you’ve got to pay for the postage. (Nexas Quartet, personal
communication, 2012)
Beaugeais also acknowledged the use of mail outs in her marketing and correlated the
need to invest in this method as she often will send a flyer to schools to advertise her
performance (K. Beaugeais, personal communication, Jul 11, 2013). Mail outs as a
marketing measure, therefore require both financial and time investment for a positive
return. This is similar to pamphlets where a physical advertising tool is printed and
distributed. Participants reported flyers and promotional booklets being distributed prior
to an event. Duke has had experience with advertising by the Sydney Conservatorium of
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Music who have “booklets that get mailed out to thousands of people” (M. Duke,
personal communication, Jun 14, 2012). Posters were discussed by four participants who,
interestingly, spoke hesitantly about them. Whilst Royer clearly stated that she feels
posters are “really good” (E. Royer, personal communication, Jun 25, 2013) for
marketing a live performance activity, three research participants (Duke, Styles, and
Latham) felt that posters were not as effective and required further promotional activities
to ensure the performance was effectively marketed.
I think [posters] need to be a follow up rather than your first port of call because
there’s so many posters now, you know what I mean? It looks like graffiti on a
wall, you see ‘oh there’s a nice colour, there’s a saxophone on the wall, that’s
lovely yes’ and you just keep walking on and you don’t really take in what it’s
saying. (M. Styles, personal communication, Jun 21, 2012)
Ultimately it appears that posters may not be a sufficient marketing method individually:
“I tend not to put up posters because I really don’t see the amount of work that the …
feedback is enough” (J. Latham, personal communication, Jul 12, 2012).
Record Label was a marketing strategy only discussed by Michael Duke
regarding his work with HD Duo and the marketing undertaken by their label following
the release of a CD. Duke emphasised that “we're on a record label for this new CD that's
coming out they have marketing that they do. We will get help through them” (M. Duke,
personal communication, Jun 14, 2012). This assistance appears to extend only to the
dissemination of his CD rather than his live performance activities. Despite this, the
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creation of a digital product was identified as beneficial to his live performance activities
as ongoing promotion of himself as an artist and active industry member.
With the illumination of the broad spectrum of tools being utilised by the research
participants, it was a surprising discovery that the participants are engaging in more non-
digital means of promoting live performance activities. This was also highlighted in the
apparent distrust in digital methods such as Facebook for disseminating information on
live performances and motivating potential audiences members to attend an event. Based
on their responses, it seems that this distrust stems from the feeling of online saturation.
For the participants, including digital marketing tool in a suite of marketing tools is
important, but getting results from non-digital methods is just as important. Ultimately,
the methods which the participants discussed suggested a ‘tried and true’ approach where
they are engaging in different tools that they feel are providing the best results. In
combination with the previous performance factors which have highlighted the
independent, autonomous nature of these musicians, it is by no means shocking to find
that they are engineering marketing strategies to their best advantage. So how does this
relate to an overall strategy for the marketing of a live performance activity? When
speaking more broadly on the subject of marketing, it appeared that research participants
are attempting to target the promotion of their event to the most likely audience members
and are facing specific challenges in doing so.
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With each of the research participants maintaining active roles as performers
within their portfolio careers, it became apparent that building a loyal, interested audience
base that attends events regularly is vital to ongoing success. The participants are
experiencing success bringing new listeners into the fold and building a listener base
which will be interested in regularly attending live performances and maintaining an
engaged relationship with the performers. This process requires the musicians to push
outwards from their personal networks and begin to build relationships with interested
audiences, often being a challenge for independent artists without large marketing
budgets. An ongoing challenge faced by the participants is the ability to push through
“the six degrees of separation” (Continuum Sax, personal communication, May 16,
2012) as “it’s very hard to get beyond the first degree” (Continuum Sax, personal
communication, May 16, 2012). Whether operating in smaller areas such as Latham and
Price in Hobart or in larger cities such as Continuum Sax, Nexas Quartet, and Michael
Duke in Sydney, marketing tools are used “to get people happening” (B. Price, personal
communication, Sep 1, 2013) and over time, the participants have their audience (K.
Beaugeais, personal communication, Jul 11, 2013).
Furthermore, whilst there is a strong case made for building a loyal and engaged
audience base, the path to success in this endeavour can be challenging. Events promoted
through social media may fall victim to a saturation of events, advertisements, and
promotional materials. This point was raised by the Nexas Quartet members who felt that
they personally receive a large number of event invitations through media such as
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Facebook and subsequently felt that their own social media campaigns need to stand out
from the crowd. When these artists “get saturated by those Facebook ones and end up
stop paying attention to them” (Nexas Quartet, personal communication, Jun 15, 2012)
they find a talking point for their own marketing and promotional activities.
There is email lists though which is quite social media but you’re right it is so
easy just to click you know or ‘that looks interesting, delete’ you know. But if you
have that piece of paper that’s sitting around, if it doesn’t make it into the bin
straight away. (Nexas Quartet, personal communication, Jun 15, 2012)
This suggestion from the Nexas Quartet, is to engage with a multifaceted marketing
strategy which allows social media strategies to shine through, supported by other print
and other strategies. This approach is individual to each performer and requires an
understanding of who is attending their live performances. By tailoring their marketing
strategy to their expected audience they are maximising the potential attendance.
With just these little things that you do yourself, you’re going, “I’m going to do a
recital,” or, “I’m going to do a little quartet project,” or, “We’re going to do an
ensemble thing,” or something. But now I’m sort of starting to … think
specifically about target market, you know, where are the people who you want to
attract? Who are the people ... and how do you get to them? How much money do
they have? How much time do they have? What venues do they go to? (J. Latham,
personal communication, Jul 12, 2012)
This approach, however, is dependant on the musician’s best judgement as “we’re not
marketing people” (J. Latham, personal communication, Jul 12, 2012). It also requires an
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understanding of how the repertoire to be performed, the venue the performance will take
place in, and the audience expected to attend are connected. The triangle created by these
repertoire, venue, and audience is theorised in Chapter 6.
Educational Outcomes
The final point of discussion in this chapter is the role of educational outcomes
within the live performances of the participants. The literature suggests that audience
education may play a role in the better understanding and appreciation of the classical
music genre (Flowers & Murphy, 2001; Jacob, 1996) and it was hypothesised that
education would factor into the performances conducted by the participants. Exactly how
this would be achieved was unclear. The educational component could include promoting
the musical genre of the performance (CSM, Australian music, or classical music more
broadly) or a more general educational experience involving the instrument, music, or the
performers. It became apparent that the research participants, when engaged in individual
or collaborative performance contexts, do not generally approach a live performance
activity with any education-based goals in mind and it is the underlying purpose of the
performance that is dictating their approach. When considering educational performance
contexts, these performances call for the undivided focus of the performers in educational
goals, such as working with students in masterclasses or workshops. These performances,
by definition, include an educational component and a specific focus on education rather
presentation of repertoire. For the purposes of this discussion, the participants are
focussing on individual and collaborative performance contexts which do not necessarily
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require an educational focus. The discussions with participants therefore focussed on how
an educational outcome may or may not benefit a live performance activity in these
contexts.
Education of the audience was considered a priority in performance by four of the
participants: Beaugeais, Continuum Sax, Royer, and Styles. They identified that
educational outcomes within a live performance have a reasonable purpose and can be
easily carried out. Within educational performance contexts, performers are able to focus
their attention and the structure of the performance appropriately. This was reinforced by
the suggestion that the participants often tailor the educational outcomes in a performance
to a younger audience in attendance. Duke discussed this in terms of his role as a
Lecturer at the Sydney Conservatorium of Music:
If I'm in an educational context, like the Conservatorium, I'll think about that.
Educationally, it would be really good for the students to hear [HD Duo] play the
Creston or the Heiden Sonata, or the Desenclos [Prelude, Cadence, and Finale], or
some of these pieces that they're always preparing and performing… definitely in
this context I think it's a good idea. (M. Duke, personal communication, Jun 14,
2012)
Styles reiterated this in regards to his role at the Western Australian Academy of
Performing Arts, in particular, that performing for his students provides an opportunity to
present an “academic exercise” (M. Styles, personal communication, Jun 21, 2012)
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which demonstrates many of the performing characteristics that he may want his students
to embody.
I used to create recitals that I thought would be good for me to play for my
students … it used to be very educational a lot of the time. I would realise, firstly,
that I didn’t really enjoy it and the audiences were very polite but they didn’t
always enjoy it that much. (M. Styles, personal communication, Jun 21, 2012)
This statement suggests that performing for purely an educational purpose may remove
some of the artistic creativity which drives the musicians in the first place. Whilst this is
not a binary for the participants in question, there is some difficulty for them to combine
artistic and educational motives in planning a performance. Styles’ use of the term
“academic exercise” (M. Styles, personal communication, Jun 21, 2012) implies that the
frame of mind and approach to performance for an educational performance context is
vastly different to that of any performance. In this sense, whilst providing an educational
focus in a live performance activity may benefit audiences, it may not always benefit the
performer. The use of term also highlights a disparity between the repertoire that
saxophone students are studying at university and the repertoire that their teachers find
creatively satisfying. As Styles feels that these performances are not always enjoyed by
the audiences in attendance, it suggests a disconnection between performer, student, and
audience. If a professional musician feels that the repertoire programmed into these
educational performances is not the repertoire that they would usually choose to engage
with, could it be anticipated that their students would enter the professional world with a
gap in their education? Further, would studying the repertoire that a professional classical
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saxophonist would engage with more regularly be of benefit to these students? My own
personal experiences suggest that this is the case; however, no other research participant
made reference to this particular discussion and more research would be required to
develop this thinking further.
Royer approached this from a different perspective by discussing the younger
audiences involved at educationally focussed performances she takes part in:
We've done some concerts for schools where we go around - for younger kids -
and then for those kinds of concerts we're showing this is a baritone saxophone,
this is an alto saxophone. We actually do little bits in between to promote the
instrument as well as telling them about what music we're playing so that they get
an idea of what we're doing. Then maybe hopefully they'll want to pursue it as
well. (E. Royer, personal communication, Jun 25, 2013)
As a final point, Beaugeais presents the case that audiences may be unfamiliar with the
saxophone, particularly in regards to contemporary techniques on the instrument. In these
cases, live performances provide an opportunity to explain different processes and provide
further insight into the work of the musicians:
I’m always sort of into showing audience about these extend techniques and when
I’m actually talking I always go into just very briefly what is an air sound.
Because you think it’s quite obvious to someone but ... they actually don’t really
know what an ... air sound is on sax and how to do it and how to produce it and
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they would find that interesting too. (K. Beaugeais, personal communication, Jul
11, 2013)
This suggests that performing can have educational aspects without an intended
educational focus.
From an alternative perspective, some performers felt that educational outcomes
should not be a priority within individual or collaborative performance contexts. If the
intention is to share the music and the repertoire or create an experience for the audience
then educational outcomes should not be considered a high priority. In this sense,
educational outcomes could not be considered a motivation behind conducting a live
performance activity. It was also presented as a choice to be made by participants as to
whether they engage in this sort of performance or not:
My answer to your question is no ... there’s moving people in that sort of kind of
emotional, melancholy way, then there is ... the adrenaline, joy, excitement,
response and then there is that intellectual engagement which is where I put, if
you’re doing that, then there’s the education thing… I, just for the moment, don’t
want to be involved in that and so that’s a choice. (J. Latham, personal
communication, Jul 12, 2012)
Latham went on to say articulate this further in his perspective as a performing musician
and industry member:
It’s something that I’ve read and then from talking in the interviews people will
either be like, you know, “We need to educate about classical music, we need to
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prove our worth, almost,” is kind of one viewpoint and then there’s another
viewpoint that says that, “Art speaks for itself”. (J. Latham, personal
communication, Jul 12, 2012)
Price continued on this line of thinking stating that he is not trying to educate his
audience, instead he is “performing a programme, it’s always something I just like to
play, or want people to hear” (B. Price, personal communication, Sep 1, 2013). He
continues:
I just think, this is cool and if you feel like it then we can share that, you can be
my audience and I’ll play it. But I don’t need to educate the audience, I don’t
think. If they want to talk about it after, then great, but that’s not why I’m there.
(B. Price, personal communication, Sep 1, 2013)
This continues with the suggestion that a performance does not need to have an
educational component. This suggests that participants are focussing in purpose and
intent of a live performance activity in order to determine its goals and shape the overall
structure. Educational outcomes are, therefore, not viewed as a key purpose for engaging
in a live performance activity with the only exception of specialised events. The
educational aspect is not viewed as a formalised component of the live performance
activity but instead can be a side effect of engaging with a genre not widely disseminated
amongst the population. The participants’ presented a separation between “being an
advocate for yourself and being an advocate for your music and being an educator”
(Continuum Sax, personal communication, May 16, 2012). For some, they “look at it
much more entertainment rather education as far as performance comes and if education
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slips in there, great” (Nexas Quartet, personal communication, Jun 15, 2012). In
summary, there is a dichotic approach to live performance activities where the
participants are either actively pursing an educational focus or not. The opportunity to
share information about the repertoire and the performer’s connection with it can be seen
as the most common educational component of the participants performances, as
described by Royer:
Depending on where we're playing … they want to know stuff about the pieces,
they want to hear where it's come from, who's written it and so it's really
important for us to research and find out about our pieces. For me I think it is
really important to say stuff about the music you're playing because then you get
to build that relationship with your audience as well by doing that. So I think it is
really important. (E. Royer, personal communication, Jun 25, 2013)
Instead of focussing on an outcome which may present an opportunity for the growth of
their audience base, these musicians are championing artistic outcomes over educational
ones.
Chapter 6 – Artistic Relationships
The previous chapter explored the practical considerations of staging a live
performance activity and, within this discussion, highlighted different elements such as
repertoire, venue choice, audiences that intersect. For these performers, the different
elements intersect past totally logistical choices and into much deeper levels of
consideration. From the analysis, I was able to identify two important artistic
relationships within the responses, these were: the VRA triangle (Venue - Repertoire -
Audience), and National Identity. Initially, the literature review provided evidence that
repertoire choice, place, national identity, and performer preference all play a crucial role
in audience development. When comparing this to the data, it was clear that the concept
of important artistically-based connections between the performer and the venue,
repertoire, audience, and their sense of identity were central to their live performance
activities.
The first section of this chapter titled ‘Venue – Repertoire – Audience’ theorises
the VRA triangle. This triangle explains the intricate relationship between three key
aspects of a live performance. The literature presented interesting data to suggest that
place and repertoire impact upon audiences of live performances, and the participants’
responses highlighted a complex triangle with which they regularly engage. Each side of
triangle represents a connection that needs to be negotiated for the ultimate success of the
performance. A balanced VRA triangle therefore represents a balance of differing
interests and attending to each side with equal care. The second section of the chapter
will unpack national identity within Australian CSM and how the participants relate to it.
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This will examine how the participants are connected to the repertoire they perform and
feel a sense of community with other saxophonists specialising in Australian CSM. The
repertoire forms a significant component of the participants identities and this will be
examined further.
Venue – Repertoire – Audience Triangle
The most intricate relationship that emerged in the data was the triangle formed
between venue, repertoire, and audience. The Venue – Repertoire – Audience triangle (or
VRA triangle, for short) is based on the understanding that the three elements of venue,
repertoire, and audience are strongly connected within the planning and management of a
live performance. This means that variables concerning one element can impact upon the
other two either positively or negatively. Decisions to be made regarding performances
therefore must take into consideration the impact it will have on the remainder of the
triangle. Examples of this include programming choices, venue choices, and the ongoing
development of an audience base. Beginning with the Audience – Repertoire line, the
discussion will then move around the triangle to address Audience – Repertoire,
Repertoire – Venue, and Venue – Audience respectively. The Audience-Repertoire line
has presented interesting areas of discussion including programming choices, audience
interests, and strategies in repertoire choice which was partly discussed in the previous
chapter. The Repertoire-Venue line has presented perspectives on the choice of repertoire
and how the venue can impact the choice and performance of the repertoire. Acoustical
considerations and presentation issues arise when performing repertoire in varying
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venues, particularly within different performance contexts or where the specific choice of
venue is not controlled by the performer. Finally, the Venue-Audience line focuses on the
role of place, as presented originally in the literature review, and how the choice of venue
may impact upon the intended or expected audience and their experience at the live
performance activity.
Audience and Repertoire
The discussion around Audience - Repertoire connection showed a significant
area of interest for the participants and is “something you’re always, always thinking
about” (Continuum Sax, personal communication, May 16, 2012) and recognised that
“there are a number of interesting … connections” (Continuum Sax, personal
communication, May 16, 2012) within this area. When examining Audience - Repertoire
relationships, it became apparent that repertoire choice is increasingly being linked to the
expected audience at a performance. With this information, it can be understood that
repertoire choice is a flow on effect from how a performer anticipates the audience to be
in attendance. Styles explains how repertoire choice becomes a balance between the
performer and audience:
Nowadays, I’m putting on recitals that I think play to my strengths. And like any
of us, if you play to your strengths the audience gets more from it and I’ve sort of
been talking to quite a lot of people and I’m starting to get the idea of what people
want to hear. (M. Styles, personal communication, Jun 21, 2012)
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Performing music purely for the satisfaction of the musicians may not be a successful
approach to the undertaking of live performance activities; instead, mindfulness and
consideration of what interests an audience base therefore becomes an important
component of an active performance career. Repertoire choice which is insensitive to
audience tastes may not be successfully received and “would go down like a lead balloon
in a lot of ways” (Continuum Sax, personal communication, May 16, 2012). The
participants addressed the need to actively consider the audience and that their repertoire
choice “depends on the audience” (K. Beaugeais, personal communication, Jul 11,
2013). For Cockcroft, “I’m pretty open to considering the audience always – if you play
the wrong music for the wrong people it’s a disaster” (B. Cockcroft, personal
communication, Oct 19, 2012). From this point of view, it is about addressing what
audiences will enjoy in a live performance and choosing repertoire accordingly. This
speaks to the performers underlying motivations in engaging in live performance
activities: are they performing for their own enjoyment, for the audience’s enjoyment, or
a combination of the two? Beaugeais described this process as taking the audience on a
journey and surprising them with the repertoire that she performs. For her: “[the] aim is,
to show them a little ... something a bit unusual but really pretty and really amazing” (K.
Beaugeais, personal communication, Jul 11, 2013). Price, who felt that repertoire choice
has the potential to inspire and interest his audiences, echoed this:
I only really like listening to music as well that’s surprising, you know, I don’t
want any predictable chord structures or anything like that. I think that’s
something that audiences do appreciate anyway. Most of the time they will come
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away thinking, “Oh that was different, I didn’t expect to hear something like that.
(B. Price, personal communication, Sep 1, 2013)
In performing to live audiences, it is important to ensure that repertoire choice does “not
alienate them in what you play and how long you play” (M. Styles, personal
communication, Jun 21, 2012). This creates an interesting balance between their interests
and dislikes: You don’t want to alienate your audience but at the same time you don’t
want to necessarily dumb things down for them … there’s certainly different choices of
repertoire for different concert venues and for different concert occasions” (Nexas
Quartet, personal communication, Jun 15, 2012).
This discussion of repertoire choice has so far focussed exclusively on choosing
repertoire for audiences and has yet to examine the role of performance context.
Cockcroft introduces this concept when he distinguished a difference in repertoire choice
for a collaborative performance context such as a conference and an individual
performance context compared to an independent recital. The nature of industry
conferences, such as the World Saxophone Congresses, suggests an audience base of
industry professionals, colleagues, fellow saxophonists, composers, and audience
members invested and interested in the CSM genre. With this in mind, repertoire choice
at these events is undoubtedly different to an individual performance context with a
broader audience.
One really common [scenario] with saxophone is the saxophone audience... you
play a concert and it’s only saxophone players and that’s common because there’s
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a strong conference system around the world of saxophone players... So you’ll
often find saxophone players playing for other saxophone players and that’s
where you’ll hear a lot of the pedagogical repertoire and things that saxophone
players might study they might then hear in the concert so in those settings,
generally speaking, saxophone players will play music that saxophone players are
familiar with or comfortable with but often the general public have no interest in
that (B. Cockcroft, personal communication, Oct 19, 2012)
A saxophonist performing for other saxophonists was an interesting point raised by
Cockcroft which emphasised the frequent conferences and festivals which these artists
are engaged in where they perform for other industry members.
Moreover, another element of the Audience – Repertoire connection is how the
time of the performance impacts upon the choice of repertoire. Royer provides a detailed
description of how timing impacts upon the repertoire choices of her saxophone quartet:
If it's a Sunday afternoon generally the crowd will be middle aged, older people
that want that old classics and stuff like that … we'd have a mix. We'd have
classical, we'd have a little bit of crossover jazz, we'd have a bit of popular tunes
… so everyone has something that they're looking for. But for an afternoon - a
night time concert you'd be a little bit more serious and it'd be more on the new
music and pick music from Perth and Australian composers and stuff like that
because it feels like it's a bit more formal. (E. Royer, personal communication,
Jun 25, 2013)
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This time-dependant decision making is particularly the case where the musicians may
wish to build a number of different audience bases or expand outside of their usual
performance activities. With Continuum Sax, they have tried to build “a new music
audience as well as a broader classical music audience” (Continuum Sax, personal
communication, May 16, 2012) it does take slightly varied programs at times”
(Continuum Sax, personal communication, May 16, 2012). Understanding repertoire
choice can now be considered from a broader perspective, within the VRA triangle, that
correlates the idea repertoire itself is a motivating factor for audiences to attend live
performances with the strategic planning of repertoire to further build an audience base.
With this acknowledged, musicians need to pay careful attention to how they negotiate
repertoire choice as a balancing act between their own artistic ambitions.
This line of the VRA triangle can be considered through the lens of my own
practice as an early career classical saxophonist. Between mid-2013 and late-2014,
Barega Saxophone Quartet partook in a wide variety of performances including recitals,
festivals, educational concerts, collaborative performances, and a multi-city tour. For the
live performances which were centred around Barega – such as the self-instigated recitals
and the multi-city tour – the ensemble chose repertoire which was increasingly “serious”
or more reflective of the artistic identity of the group. These performances, where the
audience is intending to hear and engage with Barega, were programmed with the
intention to present Barega’s interests and artistic goals. This repertoire included music
by tenor saxophonist and resident composer Andrew Ball as well as commissions and
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dedications from Australian composers. By comparison, educational performances
conducted including a workshop day at a Toowoomba school and headline performance
at the Queensland Clarinet and Saxophone Society ‘Super Saxophone Day’ presented
music which was more palatable to a younger, student-based audience. Repertoire which,
whilst still exemplary of the CSM genre, was lighter in the harmonic and rhythmic
language used. This stems from the idea that the ensemble “[wants] people to come back
and so [are] not going to play a whole bunch of pieces that are fantastic for the saxophone
world but rubbish for the audience” (M. Styles, personal communication, Jun 21, 2012).
One reflection on this from my reflexive journal was the discussion of repertoire choice
for a performance at Concordia Lutheran College in Toowoomba. After a day engaged in
masterclasses with the local students, Barega was asked to perform as the opening act of
the school’s gala music night. In this performance, “three pieces were chosen for their
audience appeal, suitability as an opening act for the music department concert (we were
to be followed by student ensembles), and their relationship to other repertoire we were
working on at the time” (Di Marco, 2015). This management of repertoire choice as a
negotiation of audience appeal and interest can also be attempted through theming of
differing programs, developing a context through which the music can be appreciated.
Theming can be considered a simple yet effective method of packaging repertoire
for live performance audiences and has already been raised earlier in the thesis as a
component of the participants’ repertoire choices in Chapter Five. Theming was also
actively observed in the performance observation of Michael Duke in early 2013. Duke,
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along with pianist David Howie, were performing in their HD Duo format at the
Queensland Conservatorium of Music. Presenting a featured recital to an audience of
Conservatorium students, saxophone music enthusiasts and local saxophonists they
presented a program which only featured the music of female composers. Closely tied to
their album under the same concept, it was the one thread which connected the repertoire
which was sonically very different. With this in mind, the audience was able to process
the music with the understanding of how the pieces of music had been selected and were
able to connect with the music further with the CD available for purchase post-
performance. This was discussed in my observational notes of the performance:
This theme provided the audience with a linear path through the music and whilst
the pieces weren’t always musically similar, with a variety of styles, harmonies,
and musical influences present, the connection between the composers was
evident. This was supplemented by talking from the performers - Michael mostly
- who discussed the pieces in some detail … providing a brief explanation of their
journey to learning the piece of music and the style and background to the pieces
which contextualised it further for the audience members. (Di Marco, 2013c)
Theming as a programming tool is clearly a high priority for Duke who actively
acknowledges the connection theming facilitates between audience and repertoire: “If you
do a theme, you give the audience something to think about while you're playing this
music. You give them a context to listen to this music in” (M. Duke, personal
communication, Jun 14, 2012). This sense of context can be seen as an educational
component, particularly if the audience is unfamiliar with classical saxophone music, or
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in the case of Duke’s program, classical saxophone music by female composers. Another
listening context described by the participants is the performance of local music to local
audiences. With all of the classical saxophonists in this study actively engaging with
Australian music, is important as “it going to grab your everyday audience people
because they're like oh wow, that's music from Perth or that's music from somewhere else
in Australia” (E. Royer, personal communication, Jun 25, 2013). This concept was
presented from a unique perspective by Michael Brogan in his work organising the XVI
WSC. He felt that acknowledging the Scottish orchestras involved and creating a
marketing strategy aimed at music lovers and the Scottish people, different audience
members would be engaged with WSC performances:
A WSC is always going to be principally aimed at saxophonists. Therefore, we
selected applications which would cover a broad range of
styles/influences/nationalities to ensure it was as inclusive an event as possible.
However, some events, such as performances featuring the Scottish Chamber
Orchestra or Scottish National Jazz Orchestra were also marketed to local town
members and music lovers across Scotland. We felt it would be a positive step to
create a festival atmosphere that didn’t purely cater for saxophonists, but would
also open up music to new audiences. (M. Brogan, personal communication,
2013)
The Audience – Repertoire line has so far presented a number of crucial points which
underpin the VRA triangle. Adding the venue into the discussion once again highlights
the important role the audience plays in the management of live performance activities
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and decisions made by these musicians are, sometimes unconsciously, based around the
concept of the VRA triangle.
Repertoire and Venue
Repertoire and venue maintain a strong connection with the acknowledgement
that “the choice of repertoire depends on the venue” (E. Royer, personal communication,
Jun 25, 2013). The exact implications of this include the audience expected at a particular
venue; performing in music-specific venues; and negotiating acoustical concerns in
known or unknown venues. Whilst the Audience – Repertoire line centred around the
audience reception of the repertoire chosen, the Repertoire – Venue line instead
negotiates the variables of venue choice, particularly in situations where the musicians
may have no control over the exact venue. Whilst in many cases the musicians will
“know [their] audience from what venue [they’re] going to have” (E. Royer, personal
communication, Jun 25, 2013), the exact venue will impact further including how the
music will be received acoustically and how the performer can conduct the live
performance activity. This is particularly the case where the performer may choose to
speak directly to the audience within the performance:
[Venue choice] affects how we're going to talk to the audience because obviously
sometimes when you're doing a full on, serious classical music concert the
audience wants to know a bit about the music you're playing so that if they don't
quite understand that genre that they then have something to grasp onto. So
usually for those kinds of concerts we'll prepare things to say about the works …
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so the venue does influence what we do - how we present our concert, what we
say, what we wear… it is all connected (E. Royer, personal communication, Jun
25, 2013)
Some of the research participants presented the case that they are actively performing
music in specifically designed venues which facilitate an appropriate atmosphere and
expectation for the music which they want to perform. Duke states that “most of the
venues that I play in as soloist are concert venues” (M. Duke, personal communication,
Jun 14, 2012) and therefore is choosing to maintain a connection between the repertoire
and venue which is reflective of the genre’s history and connection to Western Art music,
rather than presenting the music in unusual or atypical environments. Moreover, it must
be acknowledged that good programming of repertoire can make for an effective live
performance in any venue. The repertoire choice in more traditional performance spaces
instead becomes an exercise in programming effectively for the greatest audience and
performer satisfaction. Nexas Quartet has been working in a similar fashion, where the
venue does not impact upon the exact repertoire choice but instead may affect some
acoustical and musical decisions to present the repertoire in the best possible way. For
Nexas, they “don’t really think about [venue] though; I think we get to the venue and go
‘oh ok we’ll have to play this this particular way because of the venue’” (Nexas Quartet,
personal communication, Jun 15, 2012). Acoustical concerns were acknowledged by a
number of participants as one of the principal elements contributing to the Repertoire –
Venue relationship. This is due to the fact that “certain pieces don’t work in certain
venues” (Nexas Quartet, personal communication, Jun 15, 2012) depending on the
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musical requirements of the repertoire in question. Nexas Quartet provided an interesting
anecdote of one such situation:
It’s essentially a cathedral and we did the Greenbaum Five of One, Half a Dozen
of the Other and the third movement of that: bom (pause) bom... The first note
went boooooomm! … And we just went ‘right’. It was better when the audience
came in, but before the audience came in we were just kind of petrified by the fact
that it just rang off so much… And vice versa with concerts were we’ve gone in
and it’s been a completely dead acoustic and we’ve played like the Bozza
Andante or something and it’s awful. (Nexas Quartet, personal communication,
Jun 15, 2012)
Three other participants, Styles, Royer, and Cockcroft, brought forth the idea that
performing in a cathedral or similar space would provide additional challenges due to the
open and resonate nature of such a venue. In these cases, performers must think “what
can we do with the resonance here?” (M. Styles, personal communication, Jun 21, 2012).
“Hopefully you’ll be playing in venues that are built for music and everyone can hear and
it works” (B. Cockcroft, personal communication, Oct 19, 2012)
What was of particular interest is that Royer was the only participant to speak of
using such a resonate and reverberant acoustic to her benefit. Whilst it could easily be
hypothesised that the other participants have used the acoustical elements of a venue to
their advantage when choosing repertoire, Royer provided an anecdote of when the
acoustics enhanced the live performance to a positive response from the audience.
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We did a recital with more of that Jan Garbarek stuff in a chapel and everyone
loved it because it was expected that we'd be doing that kind of really early music
that's not necessarily written for saxophone. But just the resonance in the room -
we wanted to play it because of the acoustics that we were going to be working
with. It sounded awesome because of it. (E. Royer, personal communication, Jun
25, 2013)
In situations where the venue is unknown to the performers, particularly in the case of a
third party instigated performance, repertoire choice may have been previously
confirmed. In these situations, “unless you've been to where you're going previously you
don't really know what it's like until you walk in. You're not very likely to be changing
repertoire the day that you're there” (M. Duke, personal communication, Jun 14, 2012).
The practicality of swapping or substituting repertoire on the day of a performance is
very low and as such, performers must maintain an awareness of how their repertoire
may be presented in a variety of different spaces and be able to adapt quickly and
appropriately. In these situations, the musicians must “pick a program and then we
discover the venue and then have to adjust the way in which we might perform that piece
but we generally stick to a program” (Nexas Quartet, personal communication, Jun 15,
2012). Styles describes, in great detail, how this may be negotiated in a variety of live
performance scenarios:
The minute you choose a venue or you’re offered a venue… you’ve got to make
sure that all the things we talked about before like your dress, like you know the
instruments you’re going to use and in particular the music that you’re going to
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play does … reflect the venue to a point but you’ve still got to be true to yourself,
that’s the hard part, and at the same time there’s nothing wrong with kind of
pushing, making, playing something that doesn’t seem to really fit in that venue. I
think that’s kind of ok as long as the whole recital isn’t like that and I think …
audiences are really changing now because they don’t necessarily just want to sit
down in the rows in front of you, they want to sit down or stand at the bar or at a
table and have a drink, you know, maybe I don’t mind if there’s a bit of a chat
here and there in some of the venues that are more suited for that. I think the
flexibility in the venue and then everything that comes around it, I don’t think the
venue determines what you play or the artistic choices but it’s definitely a factor
and the audiences themselves are really changing and we have to go with that. (M.
Styles, personal communication, Jun 21, 2012)
Whilst acoustical considerations have already been addressed by the participants, venue
requirements were also addressed and will now be considered. The most highly discussed
venue requirement was the need for a piano (particularly the need for a grand piano,
rather than an upright) which was suitable for professional standard performances. The
need for a grand piano was raised by Duke stating that if the venue had an upright “we
would have to do something” (M. Duke, personal communication, Jun 14, 2012) but,
without this barrier, considering venue requirements is not a concern, particularly “not for
a soloist playing” (M. Duke, personal communication, Jun 14, 2012). The need for a
piano was even raised by one the quartets who engage with repertoire that calls for a
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piano – an interesting remark given the small amount of repertoire for saxophone quartet
and piano.
For the participants, understanding the requirements of their repertoire is an
underlying factor in the choice of a performance space as “playing solo I guess you can
do anywhere” (B. Cockcroft, personal communication, Oct 19, 2012). Summed up neatly
by Cockcroft, the availability of a good quality piano is an essential requirement:
I mean one of the things is you have to have a good piano if you are going to play
with piano. So if you are in a nice venue and it’s got a good piano, great, but if
you’re in a poor, a venue with a poor piano you’ve got to really think carefully
about using one or not using it at all. That’s always a dilemma. (B. Cockcroft,
personal communication, Oct 19, 2012)
Venue requirements can easily cover a number of different elements but the participants’
focus was firmly set on the availability of a piano. Venue requirements becomes a much
more pressing issue in the case of conferences and festivals. In these instances, the
availability of the organisers to provide certain requirements, the need for the performers
themselves to travel with any specific requirements, and the availability of suitable
venues can determine how performers program for such an event and whether the live
performance proposed will be accepted by the conference or festival organisers. Michael
Brogan, organiser of the XVI WSC laid these out, from his perspective in the
management of a large scale performance event
There were various considerations in this regard:
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1) Riders. We were occasionally limited by equipment available in each venue.
For example, any music featuring electronics or A/V equipment tended to be
scheduled in the Byre Theatre which is designed to host such events.
2) Programming. If a performer was chosen to perform some baroque music or
solo repertoire, we felt it would be appropriate to schedule their performance in a
church or more intimate venue. Acoustically, it suited the music much better, and
it also helped to establish an appropriate sense of mood or atmosphere.
3) Reputation. It is simple fact that some more established performers will draw a
large crowd. So, we made sure these performers were given an auditorium with a
larger audience capacity. (M. Brogan, personal communication, 2013)
This approach was echoed at the 2013 Australasian Saxophone and Clarinet Conference
where the allocation of venues to each performer was a challenge. In particular was the
concern that certain venues may elicit a different level of prestige by the performers or
conference attendees and this meant programming the vast majority of events within
similar spaces. Justin Ankus, conference organiser, elaborates:
Some venues were viewed by some participants as being less than other venues.
So there was certainly an element of that. There was an element of size of venue
in terms of audience capacity, so for example if we knew somebody was going to
attract a big crowd like the featured artists that we had the lunch time slots for
example, the recital halls were probably a little bit too small in fact for those …
But originally what I thought was well let’s not give anybody … the better hall,
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because that sends a message that…they’re perhaps more important than the
person in the recital hall. (J. Ankus, personal communication, Sep 11, 2014)
Concluding the discussion of the VRA triangle is the consideration of the Venue –
Audience line. Ankus (2014) has already presented the case that a specific venue may
impart different ideas or impressions upon the attendees and this may have unintended
consequences for the performance.
Venue and Audience
The specific choice of venue can determine the audience that is present at a live
performance activity. It was acknowledged that “venue makes a big difference because
venue also determines … the audience that is coming” (Continuum Sax, personal
communication, May 16, 2012). The “connection between audience and venue” is one
that can affect the actual reception of the music by the audience; unusual music in an
unexpected location could result in a negative outcome, despite a high performance
standard. Repertoire choice can and often is based on the expected audience and
balancing what they will appreciate with what the performer wants to present. With a
Venue – Audience relationship, the expected audience at a live performance can be
anticipated as “you can tell what type of people you're going to have just by that venue
generally” (E. Royer, personal communication, Jun 25, 2013) and this means the
performer can plan accordingly. By choosing a venue that is intentionally conducive to
the specific context of the performance a performer can successfully target and attract
both loyal fans and newly interested parties to the event. This means larger and more
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formal spaces for conferences, intimate spaces for solo recitals, among other possible
venue options. For Styles, he tries to “seek out venues that are going to attract as many
different types of people … playing a recital, part of it is really building an audience not
just doing the one off kind of thing” (M. Styles, personal communication, Jun 21, 2012).
Further to this, accessibility of a venue is both physical and perceived for
audiences. An interesting venue which provides more than just the facilitating of the live
performance activity is perceived as a positive; as Styles discusses:
You’ve got to be pretty commercial in what you think and people, you’ve got to
make it not only the music and the people but the venue I think can really make or
break it so if you make it an interesting venue then you only value earning to any
performance that you do. (M. Styles, personal communication, Jun 21, 2012)
Accessibility, within the literature, described physical accessibility as pre- and post-
performance considerations. Whilst it is without doubt that the participants want to “play
in places that people can access easily” (Continuum Sax, personal communication, May
16, 2012), performing in a venue which is conducive to a positive audience experience is
a priority too. This, however, begins to stray into the territory of logistical concerns
where finances come into play as “you’re providing a different experience with a
different venue… they usually cost a lot more so the ticket prices have to be more”
(Continuum Sax, personal communication, May 16, 2012). The popularity of crafting a
unique and enjoyable performance experience through venue choice extends further as
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Styles highlights the potential to turn non-musical spaces into an exciting performance
arena:
I think people want to come to something that’s interesting and if you’re playing
in an art gallery that’s interesting for example or even a shop that you can turn
into a gallery or a bar that lends itself to having a performance space and a fairly
decent acoustic, I think that actually can add to your performance. (M. Styles,
personal communication, Jun 21, 2012)
With reference to pre- and post- performance accessibility concerns, transport issues in
Sydney were raised as a possible stumbling block to venue choice. When considering
transport, Nexas Quartet felt that “a lot of our concerts are very central to the city because
sort of transport issues especially in Sydney are a nightmare” (Nexas Quartet, personal
communication, Jun 15, 2012) and therefore “making things as easy as you possibly can
for people to attend the concert” (Nexas Quartet, personal communication, Jun 15, 2012).
They elaborate:
If it means, you know, three forms of transport or something then … that’s going
to dramatically affect your audience and, of course, you’re always going to get a
really good support network from your following audience and from your friends
and from your colleagues and stuff but if you’re trying to approach a new
audience base then location, particularly due to like with transport … is
particularly essential. (Nexas Quartet, personal communication, Jun 15, 2012)
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Ultimately the Venue - Audience connection suggests a need to consider venue choice
more broadly for both internal and external factors. The negotiation of such an
interconnected series of elements provides a starting point for early career musicians.
From the data presented by the research participants it can be understood that for
their self-instigated performances to be successful, the VRA triangle must be balanced.
Any decisions to be made must reflect how this would impact upon the other sides of the
triangle. With my own experience in the field, I would argue that whilst this is correct,
there is one element of the three that has a stronger influence: repertoire. The participants
and myself are very focussed on the presentation of new Australian music and, with this
in mind, specific venue choices will always be based on the repertoire to be performed
and artistic goals of the performer and very rarely the other way round. Whilst the data
has made a strong case for participants to tailor repertoire choice to the expected
audience, this choice must still be rooted within the artistic ideals of the performer for an
authentic and honest performance. Further, when participants are unable to determine
what their audience might be, for example when touring to a new city, repertoire choice
must come from the participants artistic goals. How this then impacts upon the rest of the
triangle depends on the specific performer. Personally, whilst I always aim to choose
repertoire which will resonate positively with the audience, I will always consider venues
which would enhance the presentation of the repertoire. Essentially, the repertoire is
central to these participants in their practice and any further discussions will always tie
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back to the music. Therefore, within this repertoire, the participants have found a sense of
community and this will be considered herein.
National Identity
The literature review presented a strong case for the presence of national identity
within classical music. Supplemented with my own experience in the Australian CSM
genre, it was anticipated that the research participants would suggest that they gain a
strong sense of national identity through their engagement with the Australian CSM
genre. This identity would result from the creation of new music through their
collaborations with Australian composers and the ongoing performances and recording
projects where they present this music. With the previous chapter exploring the logistical
and practical consideration of live performance, consideration must be given to the
connection these musicians maintain to the repertoire. This is particularly poignant given
the results found earlier where participants identified a strong connection with and desire
to perform Australian repertoire. Being leaders in the field, their views and experiences
prove particularly reflective of the industry as a whole and allow early career
saxophonists some insight into the field they may be preparing to enter. This discussion
will explore the concept of national identity within the Australian CSM community and
argue three key points: firstly, a case will be made in support of the hypothesis and the
sense of national identity amongst these musicians and their musical community;
secondly, the sense of identity as Australians is derived from the repertoire they engage
with; and finally, that the national identity contributes to a sense of community for the
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saxophonists and the composers they work with fostering further collaborations. The data
analysis revealed several ways in which national identity could be explored: working
with Australian composers; development of new repertoire; sense of identity, musical
language, Australian performer-composers, and the value and worth of Australian music.
In unpacking what constitutes national identity, the participants’ responses illuminated
several key ideas about how this takes place: firstly, the participants feel strong sense of
motivation from engaging with Australian repertoire and continuing the promotion of this
music through live performance. Furthermore, the participants are active in the creation
of the repertoire by working in collaboration with Australian composers or composing the
music themselves. This will be considered from the first development of an Australian
piece of CSM as the vast majority of repertoire these participants are engaging with is
newly composed, often which has been developed as a collaboration between performer
and composer.
The research participants reported differing methods for the creation of new
Australian CSM repertoire and I have previously published the classification and
definition of these terms. For Australian classical saxophonists, new Australian repertoire
stems from dedications, self-composed works, accessibility compositions, friendship-
based composition, and direct commissions (Di Marco, 2014a). To unpack these methods
further, dedication compositions are classified as “new works written specifically for, or
provided directly to, the performer… specifically for the performer/ saxophonist and their
musical and performance style” (Di Marco, 2014a). These compositions are therefore
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reflective of the performer’s abilities and balance the musical intentions of the composer
with the performance style of the saxophonist. These compositions also may include
collaborative workshopping of the score between the two parties which further
impregnates the music with both voices. Alternatively, self-composed works are
“compositions that have been written and consequently performed by the saxophonist
him/herself” (Di Marco, 2014a) and present an interesting point of view where both
composer and performer are the same person. Self-composed works are only engaged in
by a small number of the participant pool including Barry Cockcroft, Jabra Latham, and
Katia Beaugeais. Accessibility compositions are an interesting result of “access and
interaction between composer and performer on a regular or semi-regular basis” (Di
Marco, 2014a). Direct contact between the two parties – such as both parties being on
staff at the same institution – allows for professional relationships to grow and support a
stronger performer-composer relationship not possible with interaction with “connections
formed from professional proximity” (Di Marco, 2014a). Friendship-based compositions
are similar in nature to those of accessibility but stem from personal relationships, not
professional and express a “willingness to engage creatively” (Di Marco, 2014a). Finally,
direct commissions “involve saxophonists engaging composers to create new works for
either financial or in-kind compensation” (Di Marco, 2014a). These five methods of
instigating new CSM compositions are understood from the participants’ responses
around repertoire choice and each exemplify the point that the performers are involved
(directly or in-directly) in the compositional process. With the performance of Australian
CSM a strong motivating factor for engaging in live performance activities, it can be
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understood that their involvement in the compositional process reflects their interest and
engagement with the genre as important their work as musicians.
Once the work is crafted, the repertoire itself forms an integral part of the
repertory of Australian music. In particular, a new work of Australian CSM becomes
another stepping stone along the path of continuing development for this music. It is in
this sense that the engagement with new music and its ongoing development is a key
component of their identity as Australian CSM artists and classical musicians operating
in a contemporary context. As Duke highlighted, performing Australian music is more
central to their identity, being saxophonists, than arguably musicians in general: “as a
musician [Australian music] is just part of everything that's out there, but as a saxophone
player I think it's really important” (M. Duke, personal communication, Jun 14, 2012).
Andrew Smith from the Nexas Quartet elaborates on what constitutes this repertoire:
Personally the term ‘classical saxophone’ means music from the western tonal
tradition excluding jazz. The types of music this incorporates is rather large. From
the light romantic works of the instruments early history, through French music of
the 20th century to the avant-garde of today. Defining it is really difficult. Some
would say notated music, but there is a large place for improvised music (that is
separate to the jazz tradition) in contemporary music… To me classical
saxophone can mean transcriptions, original music composed for saxophone,
contemporary music. The key element I suppose is the basis in the western
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tradition/art music genre as opposed to jazz/pop/folk. (A. Smith, personal
communication, 2014)
This definition of the genre accurately reflects how the participants view the repertoire
they engage with. The diverse nature of the repertoire also explains the diversity in the
participants interests and approach to performance. With such a wide variety of styles all
under the CSM umbrella, it is reasonable to assume this would interest a wide variety of
musicians. With the performers able to be involved in the compositional process and
collaborate with composer, it is undeniable that Australian CSM repertoire has a certain
appeal.
Once the development and compositional process of the repertoire has been
considered, it can be witnessed that the participants are extracting their sense of identity
from the music and its dissemination through performance and recording practices.
Following the creation process, the practise and public performance of the work provides
a vehicle for the participants to express their identity as Australian classical saxophonists.
Repertoire choice for live performance activities is an important aspect which not only
reinforces bonds with audiences but provides an outlet for the performer’s personal
expression. This spawns a strong motivating factor in the participants to continue
working in the field and underpins the musical work they engage in. National identity
was illuminated by the participants in differing and very individual ways regarding their
personal interactions with Australian music but the underlying message behind their
discussions was that repertoire is the focal point for feelings of national identity. “Of the
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nine participants interviewed, seven stated that they are including Australian CSM into
their live performances on a regular basis, while the remaining two advised that it is often
included in their live performance” (Di Marco, 2014a, p. 29), supporting this idea. What
this presents is a case where Australian musicians are actively engaged with local music
and invested in the production of this music through collaborations with composers or
writing the music themselves. Continuum Sax felt that “playing Australian music is
central to what [the ensemble] is all about… the reason for the group in some ways”
(Continuum Sax, personal communication, May 16, 2012). When examining the
language used by participants concerning Australian CSM, they specifically used positive
terms which championed the genre such as “important” (Continuum Sax, personal
communication, May 16, 2012), “fantastic” (M. Styles, personal communication, Jun 21,
2012), and “unique” (K. Beaugeais, personal communication, Jul 11, 2013). Essentially,
this is repertoire that the participants are “always willing to play” (Nexas Quartet,
personal communication, Jun 15, 2012). The components of Australian CSM has
previously been discussed in this thesis from the perspective of defining the genre;
however, when viewed through the lens of national identity, it can be see that the music
being crafted by Australian composers is increasingly becoming reflective of the
Australian CSM perspective. For Styles:
We’re actually in a really cool era right now with music, I think we’re now
starting to find our voice, we’re starting to find our type of music… there’s a
language not necessarily that’s common but there’s a language that’s being
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developed … it’s becoming Australian. (M. Styles, personal communication, Jun
21, 2012)
The use of the term ‘language’ by some of the participants to describe Australian CSM
suggests that these leading artists are finding commonalities emerging in the genre that,
whilst not directly identifiable through analysis of musical elements, are found in their
overall exploration of the Australian CSM genre, arguably through the composers
collaborations with Australian saxophonists and their performance style. Ultimately, it
presents that the research participants engagement with Australian CSM and sense of
national identity is closely tied to their personal sense of identity as Australian musicians
and is closely tied to their professional practice in this way. By putting the creation,
performance, and promotion of Australian CSM at the core of their identity as performing
musicians, these saxophonists are able to fuel an active career through commissioning of
new works and live performance activities. Sentiments like “playing Australian music is
central to what Continuum is all about” (Continuum Sax, personal communication, May
16, 2012) and “a lot of the pieces I’ve played were Australian premieres that no-one’s
heard of. It’s just music I wanted to do” (B. Price, personal communication, Sep 1, 2013)
underpin this concept and help to illuminate the research participants’ feelings on that
matter.
From an industry perspective, Australian CSM forms an important link in the
chain of the greater CSM genre and is rapidly developing a stronger position within the
global community as a growing and interesting base of repertoire. Michael Brogan, a key
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organiser of the XVI WSC, felt that Australian CSM was an important contribution to the
only international and high profile industry CSM conference: “Yes, we were keen to
include performers and new music from Australia. We were aware that Australia is
becoming more and more ‘present’ on the classical saxophone scene, and wanted our
programme to reflect this” (M. Brogan, personal communication, 2013). The strong
professional and personal connections with the Australian CSM community (as observed
by myself as a colleague and friend within this community) form a solid foundation for
collaborations and career advancement particularly within performance endeavours. This
foundation also facilitates the ongoing development of the Australian CSM genre by
being a forum for collaboration between performers and composers as well as a
community actively interested in support growth, development, and innovation. The
strong conference system internationally with the World Saxophone Congresses, North
American Saxophone Alliance conferences, and Australasian events all held throughout
this research period reinforce the strong collegiality and collaborative efforts of these
musicians. With Australian CSM being a musical genre operating outside of mainstream
musical interests, continuing to develop strong relationships with audiences and
promoting the genre through innovative new projects is an important goal of the
practitioners in this field.
The Australasian Saxophone and Clarinet Conference held in Sydney, Australia
(July 11 – 13, 2013) serves as an example of the sense of community made possible by
shared interests. The conference hosted a selection of the leading figures in classical
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saxophone music, with conference participants engaged in performance and educational
activities and the development of professional networks. This activity is part of a
continuing trend amongst the Australian classical saxophone community to converge
physically and musically through conferences to foster and nurture the classical
saxophone genre. There is also a sense of the continuing growth of a national movement
of collaboration between saxophonists, including across genres with jazz and all styles of
clarinet playing also present.
Chapter 7 – Digital Music-Making and Technological Engagement
The successful production of live performance activities remains the benchmark
by which classical musicians are judged by peers, critics, and audiences (Dogantan-Dack,
2012). Live performance activities also provide a platform by which a musician can
develop their personal identity as an artist and enhance the connection between
themselves and audiences. The literature review touched upon the changing nature of the
recording industry such as the widespread use of streaming services and the impact of
technology on the live experience (Cluley, 2009; Crappell, 2011; Holt, 2010; Marontate,
2005). As Dogantan-Dack elaborated, “performances recorded and edited in the studio
provide the context for an overwhelming majority of musical experiences” (Dogantan-
Dack, 2012, p. 36). Different forms of technology have infiltrated the live performance
experience, before, during, and after the event. Namely, the use of social media, AV and
in concert media, and recordings. This chapter will now delve into the realm of digital
music-making as it applies to the Australian CSM field. The participants identified a
number of ways upon which digital technologies impact pre-, during, and post-
performance and the analysis presented two areas of discussion: Digital Media and
Digital to Live Connection. These two areas illuminated a variety of different
perspectives by the participants and exemplified the diverse approach these artists take
during their careers. Within the Digital Media discussion, each of the different digital
products the participants use were discussed including CDs, Recordings, Soundcloud,
Websites, and YouTube. This area describes products that are separate from the live
performance and whilst viewed as a separate entity, digital media can and often do
influence performances. The participants reported vastly different approaches to the
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management of these and there was no clear consensus in how these are negotiated.
Taking the discussion to a deeper level, the Digital to Live Connection several areas of
thinking which examines how the participants digital products impact upon their live
performance activities. This chapter will breakdown the exact elements which fall under
the two streams of thinking and examine how these are perceived and negotiated by the
research participants.
Digital Media
‘Digital Media’ is identified as the digital products created and disseminated by
the research participants and this discussion is an exploration of the products they use. As
previously stated, this means that products falling under the digital media category are
exclusive from the live performance and may be seen as a required component of a music
career. The data analysis revealed five digital products within this category: CDs,
Recordings, Soundcloud, Websites, and YouTube. These digital products will now be
unpacked.
CDs: The Impact of Production and Dissemination
The classical music recording industry reports low sales across many countries
and by comparison to the popular music charts, classical music recordings are not as
popular as one could be lead to believe: “The dirty secret of the Billboard classical charts
is that album sales figures are so low, the charts are almost meaningless. Sales of 200 or
300 units are enough to land an album in the top 10” (Midgette, 2010, p. 1). This lack of
sales puts both the artists and recording companies in a difficult situation of having to
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balance the production costs against potential profit margins and, unfortunately, classical
music recordings may often fall short of expectations. "Most of the major classical record
labels have been money losers or, at best, break-even operations. They are typically
supported by the lucrative sales of popular releases on labels owned by the same parent
company” (Rolston et al., 2002, p. 25). Within the industry it is recognized that "of the
fifty-five hundred or so classical albums released each year, most will sell fewer than five
hundred units in the first year” (Rolston et al., 2002, p. 25) and “20, 000 copies is
regarded as a hit” (Kozinn, 2000, p. 1). Through this process musicians themselves are
taking control of the recording process and are allowing for the greater production and
availability of high quality classical music without the constant focus on profits and sales
numbers because "in classical music, every single album sale does make a difference”
(Midgette, 2010, p. 1).
When examining the data, it was evident that only a selection of the participants
have recorded a CD and released this publicly throughout the span of their careers to
date. These participants are: Continuum Sax (a number of CDs of Australian CSM over
the long history of the ensemble); Michael Duke (with pianist David Howie, released
under their duo name: HD Duo); Nexas Quartet (released early in their career); Jabra
Latham and Ben Price (a joint CD released with a collection of soprano saxophone duo
pieces); and Barry Cockcroft (Cockcroft has released a number of albums both as a
soloist and as part of his saxophone/piano group Rompduo). Further, some participants
are focussed on pursuing the production of a CD in the future such as Matthew Styles and
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Katia Beaugeais who stated that they are planning or currently preparing to release a CD
and demonstrated a strong interest in pursuing the medium. This broad engagement with
CD production across the participant pool presents an interesting trend. With a significant
number of participants engaged in recording activities, CDs represent an important
component of their careers. The research participants’ interviews presented three key
points within the discussion of CD production. Firstly, CDs were acknowledged as a
useful marketing tool for the participants; secondly, CDs can be an artistic expression on
an individual level or seen more broadly as a contribution to the CSM field; and finally,
CDs are a commercial product which can be sold at or outside of a live performance and
therefore worth pursuing their production for financial gain.
CD production is a useful method of engaging in cross-promotion and continuing
to build a profile is an important component of maintaining a portfolio career. Musicians
that are able to use every professional activity to their own benefit and supplement
advertising for one endeavour through another assists in the overall flow of their careers.
Duke has found a way to do this to his own benefit, as he describes:
[We] have a CD coming out for the [World Saxophone Congress] basically, it
should be ready by then and that factors in to what we're doing too. Are we going
to be promoting that and playing pieces of that CD or are we not going to do that?
... It's always good to have a product. People can feel that they can take a piece of
the concert home with them. So I imagine even though we're well past that
repertoire that we played last year in terms of what we're thinking about it goes
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into the canon of what we play in a sense… we don't want to fall into the habit of
rehashing stuff over and over again. But if the CD is just coming out it seems silly
to ignore the repertoire too. (M. Duke, personal communication, Jun 14, 2012)
As this example illuminates, Duke’s work in his ensemble HD Duo resulted in the
production of a CD; in this case, the CD then became an important component of his
work in 2012 and particularly within his involvement at the XVI WSC. By performing
pieces from the CD in live performance activities, he is advertising the CD product which
can be bought by audience members and assist in building a positive relationship with his
audiences.
The construct of marketing and cross-promotion from CDs, as discussed by Duke,
was presented from a different perspective by Barry Cockcroft. From Cockcroft’s point
of view, the use of CDs as a source of income has been vastly more effective in the past;
instead, he feels that the focus should be placed on finding revenue streams from other
sources. He elaborates:
Anything accessible for free is preferred over paying for something, you have to
make your money in other areas not through CD sales. And CD sales used to be a
really good source of income, particularly in pop music, and now bands are
finding that they need to perform live to create levels of income that are
sustainable and they can still sell things at the concert but the problem with the
concert is you can only do it once and then you have to do it again, and you have
to be there again but with a recording you only do it once but you can keep selling
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it forever but unfortunately that’s dried up so that’s one stream of income for
musicians, which used to be taking the edge off for a lot of people, has gone so
the only alternative is more playing and with audiences shrinking that’s
complicated. (B. Cockcroft, personal communication, Oct 19, 2012)
Cockcroft makes a valid point but it does raise the question, if CDs are not able to
produce results for the participants, why do they continue to produce them? It appears
that the overwhelming feeling amongst the participants is that CDs do provide a benefit
for promotional purposes and the attitude presented by Cockcroft instead can be
understood as the need to diversify musical outputs amongst live and recorded products
for financial gain.
Cross-promotion as a tool for further marketing is one that can easily be explored
by younger musicians too. These findings suggest that there is no uniform approach and
that while cross-promotion can be seen to have benefits for an early career musician, they
must explore the best possible avenues for themselves rather than basing their approach
directly on another musician. For example, in Duke’s case, he was observed advertising
his CD at a HD Duo recital performance by informing the audience about the CD, what
repertoire that was performed live was also available on the CD, and what further
recordings would be available in the future (Di Marco, 2013c). This encouraged the
audience to maintain an interest in his work and also keep an eye on his digital accounts
(such as his professional website) to find out more information about upcoming
recordings . In a discussion after the performance, Duke and Howie of the HD Duo both
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stressed that the recording process and production of CDs helps them to grow and evolve
as artists and to strive for perfection through the best possible performances in the studio
(Di Marco, 2013c).
Examining the second point raised by the research participants, CDs can be a
source of artistic expression and make a contribution to the CSM field by documenting
the current work of a particular saxophonist or a new composition. This was discussed by
the Tasmanian-based saxophonists Jabra Latham and Benjamin Price who performed on
an album of soprano saxophone duos together. For Latham, producing his CD was not
focussed on “making the money” (J. Latham, personal communication, Jul 12, 2012) but
instead about “sharing the music … if I believe in a certain way of playing, or style of
playing, … those influences have come from other people that we’ve talked about earlier,
then I think it’s important to pass that on” (J. Latham, personal communication, Jul 12,
2012). Latham went on to stress that he believes in the “obligation to share” (J. Latham,
personal communication, Jul 12, 2012) through CD production whereby he can make a
contribution to the CSM community, and in particular the Australian community, by
potentially providing inspiration for other musicians in return for the inspiration he has
received from other CDs. Latham’s focus is on the art itself instead of the marketing
aspect as he feels that the production of a CD is not “a self-promotion tool” (J. Latham,
personal communication, Jul 12, 2012) but instead “for me, I’ve noticed the music of this
particular composer and I want that to gain a momentum that goes beyond him and me”
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(J. Latham, personal communication, Jul 12, 2012). This was elaborated on further by
Price who stated:
You know, a lot of people say, “You don’t need to listen to your own instrument,
listen to singers or strings players, or whatever,” which is good but I think you
need to have an awareness of what repertoire is out there and what people are
doing in America and in Europe, and ... in addition to Australia, where you’ve got
powerful quartets and ensembles there pumping out repertoire all the time and
commissioning new works as well… I think it’s less about performance and more
about awareness which can come from performance or a heap of different things.
But from listening to more CDs, I think, is the main thing… Without an
awareness of the different sounds out there, it’s hard for people to make their own
sound. (B. Price, personal communication, Sep 1, 2013)
This suggests that the further production of CDs of Australian CSM may be an important
way for the field to continue growing and disseminating amongst the greater classical
music industry. What this discussion so far has brought forth is the lack of consensus
regarding the production of CDs, perhaps symptomatic of the increasingly digital world
where mainstream consumption of music is changing. If sales of physical copies of CDs
are lower in more mainstream genres of music, can a genre of music like CSM really
require performers to produce these physical CDs? Or are there better modes of
dissemination for their recorded sounds? This will be discussed further throughout the
chapter and potentially calls for further research examining how CDs can potentially
impact upon classical music careers.
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Recordings
Distributing music online provides for “on demand” (B. Cockcroft, personal
communication, Oct 19, 2012) listening and alternate ways of audiences interacting with
the research participants. This concept, as alluded to earlier by Cockcroft, highlighted the
need to reframe thinking away from digital products as purely marketing and instead
acknowledge the differing way that audiences may choose to consume music:
You know it’s easier to watch a recording of something because you can do it
whenever you want, on the tram, whenever. So I think it’s not me personally, it’s
just the world has shifted a little bit and they’ve gone to more consuming things
after the fact, on demand but not live. It’s the same phenomenon. People’s way of
consuming music has just changed. (B. Cockcroft, personal communication, Oct
19, 2012)
This approach to distributing music and recordings online encourages a higher standard
of playing from the musicians, in a similar fashion to the production and distribution of
CD recordings:
It makes us want to play better because we know that we're recording it and that
we're going to be putting this out to people. We want it to be at that standard that
we can put it on the Internet and people can enjoy it. (Nexas Quartet, personal
communication, Jun 15, 2012)
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Recordings online by the participants include music samples on professional websites
which provided potential audience members and loyal followers a chance to engage with
these participants’ musical products at any time. In a practical sense:
People have to go to my website and then go to the shop and click the samples
and hear the pieces. And when people go on the website using Flash site, it
streams, people go to the homepage and you can actually hear the music
streaming of my compositions. (K. Beaugeais, personal communication, Jul 11,
2013)
This presents a shifting area of thinking, showing established artists beginning (or
continuing) to create their own space online where fans, audiences, and followers can
connect with their work and potentially feed this interest back into live performances or
create an ongoing relationship where audiences at live performance events can be
encouraged to continue consuming the music of these individuals in an online format.
The exact nature of these differing online products will now be broken down.
The participants preferred to use recordings of repertoire, particularly the
repertoire they are engaging with in live performances, to build an online presence.
Whilst the production of physical CDs does not appear to be of a high priority to all the
participants, many are engaging with the dissemination of their music in a digital form.
Making recordings available for consumption online also appears to be linked with a
digital marketing strategy where the performers are able to promote themselves with the
presentation of their work on the internet. Further to this, recording live performances
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also assists in the development of the musicians as they are able to listen to and analyse
their work after the event and publish the best recordings for general listening. The
benefits of a mixed approach to recorded activities allows for a fuller, more balanced
approach to saxophone playing by allowing the participants to develop their craft and
promote themselves online. Recordings used as a promotional tool has already been
established as a viable marketing method for musicians. Indeed with any musical genre,
harnessing the power of the Internet for dissemination of work is an increasingly more
important tool to be adopted. Recording a live performance is one of way of getting
multiple uses out of a single performance: while the audience at the time is able to engage
with the music presented, a live recording may also provide a suitable sound sample for a
professional website or Soundcloud account. Nexas Quartet felt this is solid approach to
online recordings stating that it is “great to record [live performances] too because you
never know if something is going to be on the money and that is a great one that you can
then throw on the website or then onto a grant application” (Nexas Quartet, personal
communication, Jun 15, 2012). For this ensemble, they felt that recording the vast
majority of their performance repertoire provided them useful publicity tools and will
help them access further funding through grant applications and that ensuring the musical
products that are distributing online are recent and not “quite old recordings” (Nexas
Quartet, personal communication, Jun 15, 2012). In essence, “it actually just promotes
[the musicians] more by having more recordings out there” (E. Royer, personal
communication, Jun 25, 2013).
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Whilst this discussion has focussed primarily on how recorded products can
benefit the performers from online distribution, it must also be acknowledged how the
recorded products also impact upon the performers development of their work.
Recording, as a professional development tool, becomes “the ultimate learning
experience” (Nexas Quartet, personal communication, Jun 15, 2012) whereby the
performers “become aware of what’s hot and what’s not when you’re listening back to
recordings of yourself” (Nexas Quartet, personal communication, Jun 15, 2012). Nexas
Quartet elaborated upon this idea further:
If it’s something like we recorded a concert … we like to listen and try and
analyse it and see where we can improve on in areas and things like that… The
last music club gig we recorded and even though it was all like light, bubbly
music and everything it was a really good exercise to sit there and listen to it and
sort of hear what we could fix, what we could change, the balance of the group
even like little things like the way we articulated a certain bar or things like that.
It’s great just for us because when we rehearse we’re focussing on our part and
trying to listen but we don’t really have that outside ear. (Nexas Quartet, personal
communication, Jun 15, 2012).
It is a safe assumption that any professional musician would want recorded material to
reflect their best possible practice and, as such, the analysis of recordings allows for the
improvement of their own practice.
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Royer also presented the perspective that by recording a live performance activity,
it provides an extra amount of pressure to the performance to play at the highest possible
standard. She elaborates:
It makes us want to play better because we know that we're recording it and that
we're going to be putting this out to people. We want it to be at that standard that
we can put it on the internet and … it'll be almost perfect. Every classical
musician wants it to be perfect. So I think it does affect - and I think it's a good
way to do it is to record everything that you do because it makes you play better
in a way… It's that extra audience member watching you that is more important.
(E. Royer, personal communication, Jun 25, 2013)
This ‘extra audience member’ also helps to create an authentic recorded product that the
participants are proud of. As Price suggests, with a studio recording “there’s too much
pressure to perform accurately” (B. Price, personal communication, Sep 1, 2013) and
“live performances that we’ve had recorded are always the higher quality product... I’d be
much happier releasing something live than our studio recordings” (B. Price, personal
communication, Sep 1, 2013). What is an interesting result is the difference between how
the performers judge success in a live performance situation as compared to a successful,
useful recording. Again from the perspective of the Nexas Quartet:
You might do a concert and the audience might’ve loved it and it might’ve been
great and then you listen back to the recording and go ‘well I can’t really
necessarily use this’. While the energy and the vibe in the room might’ve been
great, it might be ‘oh look that note was really sharp, that part was not quite
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accurate, oh missed that note’. (Nexas Quartet, personal communication, Jun 15,
2012)
Recordings therefore become, in the first instance, “a good reference tool” (Nexas
Quartet, personal communication, Jun 15, 2012) for the development of the musicians
and secondly, a product by which they can continue to promote both their live
performance activities and themselves as musicians.
Professional Websites
Looking at other digital products, creating and maintaining a professional website
is the second online product engaged in by the research participants. The use of
professional website is an excellent mode of distribution for digital recordings, if the
website has “a sound sample on it, it’s automatically more appealing than a website that
you cant hear anything for” (M. Duke, personal communication, Jun 14, 2012). This is
particularly the case, as these musicians need to provide examples of their work for the
maximum promotional effect. Beaugeais, in particular, spoke of how she utilised
recordings to play automatically upon visiting her website, creating a practical and simple
way of using her sound samples as effectively as possible .
From a personal perspective, I manage the professional websites for both myself
and the Barega Saxophone Quartet and have found a similar approach to the dissemination
of recordings and promotional materials as effective within a portfolio career. The website
for Barega Saxophone Quartet is managed as a hub for the ensemble’s digital presence
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with links to the Facebook page, Twitter page, YouTube clips, Soundcloud recordings, and
promotional photographs. With a detailed ‘About’ page providing biographies on each of
the individual members as well as the quartet as whole, the website is a polished
representation of the ensemble and allows users to explore the content presented. For my
personal website, I took a similar approach in the overall design and content but was able
to create a larger hub of material with a significant portion of the website dedicated to an
online curriculum vitae and a large number of recordings and videos presented throughout
the website through the embedding services of Soundcloud and YouTube. Of particular
interest is the ‘play count’ service available through Soundcloud. After regularly rotating
the recordings featured on the front of the website, it became apparent that there was large
jump in the number of plays when a recording was featured on the front of my page,
compared to an average week. This confirmed my suspicions that the traffic received on
my professional website was boosting the number of times my music was listened to. As
an independent, young artist, all dissemination of my music is crucial to my ongoing
success and continual building of my portfolio career. Whilst the dissemination of
recordings on professional websites and the creation of a permanent, online CV is not
unique to myself, my experience throughout this research is that they are valuable
components to my work and ongoing success in the field. Further research may yet examine
and quantify the impacts of these products on a much broader scale of early career
musicians, particularly within the industry as a whole. What can be taken away is the need
to for aspiring musicians to begin engaging with digital mediums such as professional
websites as early as possible in order to develop their own personal digital media strategy.
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Figure 15. Screenshot of www.emmadimarco.com (bottom half of the webpage) featuring
embedded Soundcloud files
Videos and YouTube
Video recordings of live performances appear to be the perfect material for the
creation of an active YouTube channel. Cockcroft describes how the changing musical
consumption to ‘on demand’ listening has stimulated audiences to observe live music in
recorded scenarios:
The trick is to embrace the shift and follow new directions. So if everyone’s going
on to listening to music afterwards then go with that and make it available
because, for example, the good thing about YouTube now is music has become
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live again, people are putting recordings on YouTube that are live … instead of
being a heavily edited studio recording where it’s perfect, you’ve suddenly gone
back full circle to where people, you can hear honestly what they’re doing. I think
that’s good, even though it’s not directly live … you’re listening to a human
recording. (B. Cockcroft, personal communication, Oct 19, 2012)
One participant who described live performance video recordings supplementing their
YouTube channel was Royer who elaborated that in working with her quartet, “every
concert we play out we record all our music and generally pick … the best [recordings]
from the concert and put them up on YouTube” (E. Royer, personal communication, Jun
25, 2013). By doing so, Royer’s ensemble is ensuring they maintain a number of live
performances memorialised online and allowing audiences who may not have been able
to attend to still consume the live product. This also ties back in to the already presented
concept that recordings of live performances may be utilised for several reasons. By
engaging with a medium such as YouTube, Royer is stating that “we're always trying to
put new stuff up there just to see what everyone - our followers I guess - so they can see
what we're doing that's different” (E. Royer, personal communication, Jun 25, 2013).
Even participants who do not currently have an active YouTube channel have
acknowledged the need to engage with the medium and are looking “to put a lot of things
on YouTube” (K. Beaugeais, personal communication, Jul 11, 2013). Royer summed up
the thinking in this area succinctly:
So I think for us - for Australian classical musicians - get stuff on YouTube and
record all your performances. Like you said it is important to record because then
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you'll play better and your audiences will follow you online. They'll be able to go
and say oh look, I saw this concert the other day; it's on the internet. Have a look;
better check it out. People are always recording on their iPhones these days in
concert. They'll be off showing people. So it's all - the technology of today … it
plays a huge part in spreading it around what we're doing because then everyone
can see it, everyone can access it through the internet. (E. Royer, personal
communication, Jun 25, 2013)
Royer’s suggestion is an interesting take on using digital products to boost a performer’s
profile whilst also using recordings to help improve herself as a saxophonist, combining
different ideas already presented throughout this discussion. Further, her suggestion that
audience members can record performances themselves and share the performer’s work
amongst their own circles is an interesting take on word of mouth marketing. Whilst
many of the participants in this study are choosing their own recordings to upload online
and share with audiences, Royer is the only one to suggest the prevalence of smart
phones at live performance may have positive impacts for classical saxophonists. Further,
the digital media discussed so far in the chapter all eludes to the impacts that may be
made on live performances. The focus of this chapter will now be shifted to how digital
products impact upon the live performances of the participants.
Digital to Live Connection
Examining the digital products has already begun unpacking the connection
between digital and live products. The data analysis in this area has yielded three clear
points of discussion: CDs and Live Performance; Impact of Technology; and Recording
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Performances. Unpacking these further, ‘CDs and Live Performance’ continues from the
earlier discussion on how recorded products assist in live performance. Secondly, ‘Impact
of Technology’ is by far the largest and most highly discussed by the participants with
considerable thinking developing in this area that highlights how the research participants
are putting the bulk of their efforts, energies, and resources into the inclusion of digital
technologies into the live performance area. Further analysis presented the following
seven themes as prevalent in the participants’ response:
1. Recording a live performance is a positive; helps to improve as a musician and
providing for further publicity, exposure and audience relations
2. Different digital elements are connected and used in connection with each other
3. Use of audio visuals in a performance can be very successful
4. Use of electronics and audio visuals should be related to musically-based outcomes to
ensure authenticity
5. Malfunctioning technology in the live performance can severely impact the success of
a performance
6. The variety of responses (both for and against) suggest that engagement with
technology is not a widely utilised component of live performance but has the
potential for further development
7. Digital engagement must have an artistic purpose or goal to garner respect and
present in a genuine fashion
The interesting development of each theme – from specific decisions and their reasoning
to more abstract concepts of digital integration – speaks to the point that the research
participants are theorising and developing their understanding of digital engagement.
In any discussion of musical recordings, an important distinction must be made
between recordings of live performances and recordings made in a studio. This separation
is one that allows for a better understanding of exactly how the participants view their
recorded outputs. In the case of a studio-based recording, the performer is purposefully
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intending to create a recorded version of a musical work, of the highest possible standard,
both musically and acoustically, that presents a polished, professional image. This
process may involve recording sections of the work separately and splicing together a full
version in post-production, digital manipulation of the sound to correct any flaws or
performance errors, and many other specific alterations to create a recorded track which
is as close to perfection as possible. Alternatively, recordings made of live performances
are secondary to the performer’s original intention: performing music publicly to a live
and present audience. These recordings are often made with smaller, more portable
equipment which can be set up without disrupting the live performance and provide a
permanently documented version of the live event. As there is no opportunity for
performers to stop mid-performance and make alterations, it is an honest and revealing
snapshot of the performance. As this study was a targeted effort to unpack live
performance activities, the participants spoke in great detail about recordings made in this
second type of recording. The Australian classical saxophonists spoke about their
engagement with recording of live performances in both interviews and, in some
circumstances, were also observed recording a live performance. Of the nine participants,
six referenced that they record live performances or were observed recording a
performance in the concert observation during the research; these were Beaugeais, Duke,
Price, Royer, Styles and the Nexas Quartet. Overall, recording was addressed in many
different ways by the whole participant pool, reflective of the variety in the participants’
careers.
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A key point raised by tenor saxophone specialist and early career soloist Erin
Royer was the “extra audience member” (E. Royer, personal communication, Jun 25,
2013) or recording device which presented an extra challenge to ensure a well executed
performance. This statement highlights the permanent nature of making a recording and
the propensity for musicians to immortalise a high quality performance through the
presence of recording equipment at a live performance which is, by its very nature, a
once off occurrence. The recording device is like an “outside ear” (Nexas Quartet,
personal communication, Jun 15, 2012) which provides the musicians with an external
perspective on their own playing. This sentiment was continued by the Nexas Quartet
who stated that “you’ve got to press the red button and you’ve got to play it right and if
you make a slip you can’t you know say a funny line before the next piece and get the
audience back in line” (Nexas Quartet, personal communication, Jun 15, 2012)
A recorded performance also provides a vehicle for self-discovery and the
ongoing development of the musicians themselves. By examining and referencing the
recorded music, a performer is able to identify positive or negative elements in their
playing and nurture these accordingly. On this point, Matthew Styles empathised with my
own work as a performing musician and stated, “I’m sure with any recordings of recitals
you’ve done, I don’t know about you but I don’t want to hear it for a month” (M. Styles,
personal communication, Jun 21, 2012). However, despite any reservations about hearing
his own playing back, Styles continued to state that recording “a good reference tool… if
I have recorded it, I will try to reference it for ideas” (M. Styles, personal
communication, Jun 21, 2012). Nexas Quartet elaborated on this concept which presents
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an important learning point for younger musicians: recording their live performances is
an important part of the development process as a musician and provides an opportunity
for personal growth not available from practise or rehearsals. Price presented a different
perspective: whilst he has completed many studio recording sessions with a previous
saxophone quartet and found the benefits of recording through this process, he felt that
his live recordings had an intangible quality which made them an ultimately more
appealing product.
We’ve recorded – as a quartet – two whole albums, and we’ve been in the studio,
you know, probably five or six times, and heaps of radio broadcasts too, and I
think they always do shed some light on what we can do to make things sound
better… our live performances that we’ve had recorded are always the higher
quality product … I’d be much happier releasing something live than our studio
recordings, because they are always a bit more dull. There’s too much pressure to
perform accurately, I guess. (B. Price, personal communication, Sep 1, 2013)
A clear line of thinking that emerged in the data was that recordings of live performances
are useful for a variety of different promotional purposes. Nexas Quartet presented this
idea:
It’s also great to record them too because you never know if something is going to
be like on the money and that is a great one that you can then throw on the
website or then onto a grant application or that sort of thing. It’s important in that
regard. At the moment we don’t actually have any sound clips up on the website
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because we don’t have any (Nexas Quartet, personal communication, Jun 15,
2012)
Studio recordings can be expensive, time-consuming, and different to organise.
Recording a live performance activity, particularly on portable or hand-held equipment,
provides performers with the opportunity to obtain reasonable quality recordings of their
playing suitable for use in promotional campaigns and providing examples of their work
to prospective audience members or loyal followers. For the participants, recording live
performances is an important way to maximise their work output and maintain an
authentic product.
Recordings of live performances also took place at larger events, such as the XVI
WSC in St Andrews, Scotland. Prominent industry website “AdolpheSax.com” were
present at the event and offered to film any and all performances provided they were
given a consent form from the performers to capture their work before the performance
took place. These recordings were audio and video and were uploaded to the
AdolpheSax.com YouTube channel and provided a permanent record of the event as well
as an opportunity for further promotion for each of the artists recorded (Adolphesax the
SAX WEB, 2015).
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Figure 16. Screenshot of Barega Saxophone Quartet featured on the AdolpheSax.com
YouTube channel
My own performance at this Congress with the Barega Saxophone Quartet was
recorded and subsequently posted online by AdolpheSax.com, as seen in the screenshot
above. This process was an important part of our development as an ensemble as it was a
permanent and public record of our first international performance. Barega’s performance
at the XVI WSC was the ensembles ‘break through’ performance where we were able to
cement a position as successful, industry-recognised performers for the first time outside
of Australia. The recording conducted by AdolpheSax.com has provided a continued
level of exposure and dissemination of our work as well as a chance to reflect on the
performance ourselves to understand our strengths and weaknesses as an ensemble
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performing at an international standard. AdolpheSax.com were also live streaming
performances of extremely high profile saxophonists for an international audience who
were not in attendance at the conference to watch. Live streaming appears to be an
interesting alternative to recording but was discussed by only one participant, a potential
area of expansion for saxophonists:
I like the idea of live streaming, in fact I wish I had of been able to live stream my
recital as I am studying in the UK now and it would have been nice for my friends
and family to be able to enjoy the recital from back in Australia. Sadly I couldn’t
get the permission from college to do this. (E. Royer, personal communication,
2014)
A recorded item may be made available online, video and audio recordings can be
disseminated in a variety of manners. The research participants implied that the creation
of recordings is useful in a number of different areas but principally in the promotion of
their work and themselves as performing musicians. A concept which became more
explicit in the data analysis stage was the connectivity between different digital elements
and how these musicians are utilising them for maximum effect.
The research participants discussed the use of recordings in different digital
media; namely, professional websites, YouTube, and Soundcloud. As evidenced earlier,
recordings (both audio and video) are increasingly being uploaded and presented on
websites for further promotion and dissemination of work. This area has been previously
addressed where the participants reported that recordings available online have the ability
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to be a permanent promotional tool for the participants. Given that each of these
musicians are engaging in performance activities, having samples of their work
accessible and readily available online provides a platform for audiences and interested
parties to engage with the musicians digitally. It is apparent that by not presenting sound
samples does these musicians a disservice in online dealings. Two services which are
used frequently by the participants to host recordings online are YouTube and
Soundcloud. The participants are using these digital mediums to promote themselves,
create a stronger online presence, and get more use out of their recordings. The
participants are able to cover multiple bases with one recording: a single sound clip can
be uploaded to a Soundcloud account for listening, embedded onto a professional website
to provide work samples, linked in a Facebook or Twitter post at a later date to create a
prominent social media presence as well as being submission material for grants,
conference applications, amongst a plethora or other uses. What this suggests is that the
saxophonists can and possibly should record live events as much as possible and use
these recordings again in the future. The responses from the participants suggests this is
already developing and younger musicians can stand to adopt these practices also for
their future benefit.
I personally had an experience at the North American Saxophone Alliance
Biennial Conference in March, 2014 where a classical saxophone ensemble I am familiar
with from online recordings was present at the conference. I attended their live
performance based principally on my recognition and admiration of their work having
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listened to them online several times. This ensemble – h2 Quartet – were exceptional
performers to witness live and without having recognised their name in the conference
program from their online presence, I would not have made the decision to attend their
performance. As I documented at the time:
I was excited to hear this ensemble perform as I have previously listened to their
recordings online and enjoyed their work. I was not disappointed by their
performance. I also enjoyed the fact that this entire session was comprised of new
or "almost" new music for saxophone quartet which is a rare occurrence back
home. This session highlighted the fact that our small CSM community in
Australia is doing as well as it can being so isolated from the rest of the CSM
world. Performances of this nature and repertoire like this cannot be found
anywhere else. That's why conferences such as these are so crucial to the
development of CSM. (Di Marco, 2014b)
It was interesting to see this theory in action, personally, and occurring coincidently
within the research period. It was not until I reflected after the conference that I made the
connection between my prior knowledge of h2 Quartet and my interest in attending this
performance. This suggests the implication that the effect may be greater internationally
rather than domestically.
Within live performances, participants such as Continuum Sax and Erin Royer
reported using audio visual effects and backings during live performance activities. This
included admissions of videos (Continuum Sax, personal communication, May 16, 2012)
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and audio backing tracks (E. Royer, personal communication, 2014). Royer, in particular,
emphasised the use of technology in her live performances: “I often use technology, I
have used backing tracks and loop pedals and although they can be a pain to set up, I find
the audience usually loves these pieces” (E. Royer, personal communication, 2014). This
is not to say that other participants are not including technologically inclined repertoire in
their live performance activities, only that they did not report it in their interviews.
Continuum Sax were one of only a handful of musicians engaging with audio-
visual stimuli in their performance… The integration with technology was
seamless in the performance and the ensemble members seemed very relieved by
this (their last conference performance in 2011 saw a technical failure ruin a video
that was to playback with their performance). The first piece had an audio track
and the second silent film footage of a Betty Boop cartoon, both of which were
executed very well. It was particularly interesting to hear a piece of music scored
to a cartoon, and a Betty Boop cartoon at that, which not only explored the
varying styles of saxophone quartet music but also, as an audience member, I
found it very entertaining, fresh, and unexpected.” (Di Marco, 2013b)
The following image is taken from the composer’s Vimeo page where the video and
music have been uploaded. The recording is of the exact work which was performed live
at the Australasian Saxophone and Clarinet Conference in Sydney, 2012.
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Figure 17. Screenshot of Vimeo from https://vimeo.com/76608277
The success of audio-visuals in a performance was actively observed throughout
the research process. What was also observed is that this success is linked almost
exclusively to the authenticity of their use. This is to say that without an express musical
purpose, audio-visuals lack depth within live performances. Therefore “if it’s warranted
by the music and it’s done in an integrated and tasteful way” (M. Duke, personal
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communication, Jul 16, 2014), audio-visuals can provide a further level to the music. As
Duke states:
I kind of look at it from the perspective of ... the performer themself needs to be
invested in it and excited about it and then it needs to be something for the
audience too. So if those two boxes are ticked then I’m sure it will keep
happening. (M. Duke, personal communication, Jul 16, 2014)
Following on from the observation presented earlier of Continuum Sax’s performance at
the Australasian Saxophone and Clarinet Conference, it can be seen that the artistic goals
of the composer to integrate new musical ideas through both pre-recorded and live,
acoustical sounds with the cartoon video provides a more dynamic effect for the audio
with differing media.
Ultimately, the success or interpretation of a digitally engaged performance can
be dependant on the successful execution of the digital elements. Malfunctioning
technology can severely impact the performance and as such, “integrating new
technologies of performance can present big challenges and can fail artistically, but such
challenges and failures become problems to be solved, not barriers to the future” (J.
Nightingale, personal communication, 2014). By developing skills as a digital artist and
ensuring adequate pre-performance preparation, technological malfunctions can often be
avoided in most live performance situations. This was particularly evident at the North
American Saxophone Alliance Biennial Conference in 2014 where special segments of
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the conference were organised to present music for the saxophone which combined with
audio-visual presentations.
Some participants, however, did not indicate their involvement with digital media
or spoke of their personal preference to avoid these types of performances. This variety in
responses suggests that digital engagement is not a widely adopted trend, being a
personal preference whether or not to engage with digital mediums. From a broader
industry perspective, an observation I made at the Australasian Saxophone and Clarinet
Conference in 2013 highlights this point:
[Digital engagement] was notably absent from the performance. The conference
itself did not have a major online presence during the three days (unlike the World
Saxophone Congresses in St Andrews and Strasbourg) and the performers did not
engage with any forms of digital music-making pre-, during, or post-
performance. This did not detract from the performance in any way and allowed
for a more “in the moment” attitude by the audience members; however, I did
wonder several times how the event might benefit from an increased connection
between the live events and the online world. (Di Marco, 2013d)
The ASCC in 2013 was the largest and only CSM industry event held in Australia during
the period of research and therefore is the perfect observation ground for uncovering the
interests and focus points of Australian classical saxophonists. That the performers at this
event felt no need or pressure to engage with digital music-making and instead focus on
their own projects further exemplifies the personal decision these artists are making.
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Additionally, the performers that did choose to engage with this form of music-making –
such as using audio-visuals during the performance or connecting with social media
before their conference engagements - were able to do so in a supportive industry
environment.
There have been some strong cases made by the participants for the further
interaction of digital technologies within the live performance arena. This is due, in part,
to the fact that “new technology spawns new ideas” (N. Russoniello, personal
communication, 2014) and what these collaborations may look like would be “between
DJs and orchestras, more multi-media art and online collaborations” (N. Russoniello,
personal communication, 2014). This was reiterated by Duke from a more collaborative
perspective, focussing his thinking on a broader perspective:
We’re only limited by our imaginations and I suppose if we’re wanting to connect
with our audiences and to communicate with them we’ve got to keep looking for
different ways of doing it and it could take the form of integrating with other
artists such as visual artists or, you know, sound artists or light artists and that
kind of collaboration side of things and then I mean there are plenty of performers
that are integrating technology directly with their playing. (M. Duke, personal
communication, Jul 16, 2014)
And while a number of other participants including Royer, Latham, and the Nexas
Quartet felt that technology will be an increasing component of their live performance
activities, it is unclear exactly how this will progress and, as Royer felt, “I couldn’t say
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what it would look like, but I imagine these things may take a while (like most new
things) to catch on and be accepted into the norm of live performance” (E. Royer,
personal communication, 2014). In this sense, “the integration of technology into
performance is a logical progression in the evolution of live music” (A. Smith, personal
communication, 2014). This can be put in line with the question of relevance and how the
music these artists are engaging with maintains a relevance to today’s society and general
musical interests, the use of technology in live performance acknowledges that
“musicians need to keep up with the rest of the world if we want to be relevant” (N.
Russoniello, personal communication, 2014).
On a whole I am quite positive about using technology but it really depends on
what style of recital I am giving. For example if I was playing French classical
music, I probably wouldn’t program a piece with electronics as it is too far out of
context to what the audience is expecting, however if I was doing a contemporary/
cross-genre recital I would be happy using electronics within my recital. (E.
Royer, personal communication, 2014)
In concluding this discussion, it must be acknowledged that the participants feel any
technological developments in live performance must be rooted in musical or artistic
goals. This is a key concern in maintaining authenticity and avoiding the use of digital
effects purely for show and creating a superficial impression in performance. The use of
digital technologies in performance may be “most effective in collaborations” (M. Kay,
personal communication, 2014) and most successful when engaged by “masters of
technologies who have musical visions and the musical sensitivity for interaction” (M.
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Kay, personal communication, 2014). This was reiterated from a compositional
perspective by Latham who felt that “when you’ve actually got the digital sounds
interacting with the music ... it’s done more in a textural environmental way… I respect it
and I like it and I like the compositions that are happening” (J. Latham, personal
communication, Jul 16, 2014). In order to do so, certain logistical considerations take
precedent and in planning live performance events, for example a WSC, Brogan
describes that “as we processed the applications, I was also cross referencing what was
available in terms of room/space/equipment/A/V, and approving/dismissing
(unfortunately!) applications accordingly” (M. Brogan, personal communication, 2013).
James Nightingale, from Continuum Sax, elaborated on this further:
Technology has added much to classical music and classical saxophone is no
different… Technology opens new sound sources and modes of composition and
presentation. Of course, integrating new technologies of performance can present
big challenges and can fail artistically, but such challenges and failures become
problems to be solved, not barriers to the future… How long is a piece of string?
People will always come up with new ways of doing things. I anticipate more
remote concerts with audiences in both real time and asynchronous consumption.
The challenge will remain getting people into the concert hall, especially when
the concert hall is so remote from where people spend their lives (i.e. increasingly
on screen and online). Composers will continue to find new ways of utilizing
technology to create new sounds and to integrate live and recorded and reactive
technologies together. (J. Nightingale, personal communication, 2014)
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These interesting developments in technology suggest a varied and personal future for
how these musicians engaging with technology, but “to my mind this can really enhance
the concert experience for the audience and is a nice addition to a traditional concert” (A.
Smith, personal communication, 2014). In essence, the future of digital technologies
within live performance activities is bright with active practitioners already thinking
about this future and attempting to develop this within their own artistic practice. For
Australian classical saxophonists, “does it have a future? I think, totally” (J. Latham,
personal communication, Jul 16, 2014).
Chapter 8 – Performer Satisfaction
In concluding the presentation of data, this chapter will develop an understanding
of how the participants determine a successful performance and then examine the
satisfaction the research participants have gained through live performance activities. The
discussion in the thesis to date has been unpacking the conditions surrounding live
performance activities and how these are negotiated by leaders in the Australian CSM
field; this will now move into more intrinsic considerations and how these activities
impact the research participants’ judgement of their performance success and the
satisfaction they take from engaging in live performance activities. The literature
illuminated a number of pertinent points in this area including – in particular – that
musicians identified that a major motivating factor in their careers is the love of the art, in
the first instance. This strong dedication to a field which provides numerous logistical
and day-to-day challenges highlights the passion and creativity of the artists involved.
This is clearly evident in the CSM industry where the participants are maintaining diverse
portfolio careers and are pursuing performance activities around other educational,
research, and administrative roles. Further, the literature suggests that motivation plays a
significant role in performer satisfaction (Parasuraman et al., 2000; Steiner et al., 2013)
and with this noted, it becomes more relevant to understand how the participants gain
satisfaction from engaging in live performance activities and what is motivating them to
continue their work. As a member of this musical community and currently being in the
early stages of my career, I find it particularly relevant to unpack the participants’
responses regarding satisfaction, given the impact this could have on my own reflections
and motivations. Another area of questioning in this discussion is the definition of
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success these participants apply to their performances. For the purposes of this
discussion, this chapter makes a clear distinction between performance success and
performer satisfaction in order to more accurately assess each of the two elements and
craft a holistic view of how live performance activities impact upon the participants. It is
understood that performance success, while a separate area to be focussed on, does
contribute both positively and negatively on the performers and once a full understanding
of the different types of performance success is developed, the reader will be better
equipped to understand the complex nature of defining the terms ‘success’ and
‘satisfaction’.
Understanding Performance Success
The term success is challenging to define within this context. In order to do so,
the participants were asked directly to define their own version of success within live
performance activities. The understanding of what constitutes a successful performance
plays into the how and why musicians do what they do. Unpacking how performers
quantify their success also directly relates to how they glean satisfaction from the live
performance activities they undertake. This discussion will now examine the exact
methods the participants use to assess the success of their performances. From an early
career perspective, younger or more inexperienced musicians may not understand how to
judge their performances and this information from experienced professionals may
provide a rubric through which they can learn and develop their craft. The previous
chapters have illuminated the diversity in approaches by each of the research participants
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and therefore it could be expected that they were also have a diversity in their
measurement of performance success also.
The literature around job satisfaction and motivations, whilst not directly
exploring the field of CSM, suggests that motivations other than financial gain are behind
musicians’ work. This was supported by the research participants who identified five
specific measurements of performance success: Artistic, Response, Financial, Personal,
and Understanding. Each of the different measurements identified were related to the
feelings and experiences of the participants with the exception of the Financial
measurement. This suggests that how a performing musician views and experiences the
performance is the fundamental basis for their judgement of its success primarily. It also
became apparent that the four measurements of success are not exclusive of each other, a
performance can be deemed successful if only one of these measurements is fulfilled and
the others are not or if several of the measurements are fulfilled. Success, in this context,
is defined by the satisfaction of a minimum of one measurement.
Success Definition 1: Artistic
This was the most discussed measurement of performance success by the research
participants. It also can be understood as the measure of success most valued by the
research participants through their considerable discussion and unpacking of its goals and
aims. The definition of artistic success is based on the participant’s feelings and
perception of the performance and unpacks their definition of success as achieving
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artistic goals through performing. Artistic success was described through the research
participants’ feelings around the energy and atmosphere of the performance as well as
execution of the musical works. Terms like “engaged” and “excitement” are common
within this discussion. It appears that the execution of the music alongside the energy and
connection this elicited with the audience was the key concept underpinning the Artistic
Success measurement. It was also made clear that artistic success is considered separate
to financial success: performances which are artistically satisfying for the musicians may
not reap the highest financial rewards and in reverse, financially successful performances
may not contribute to the artistic satisfaction of the musicians involved. This was
proposed by Continuum Sax: “So I suppose artistic success is that you’ve convinced the
audience of what you’re doing and whether that comes hand in hand with financial
success, sometimes matters and sometimes doesn’t” (Continuum Sax, personal
communication, May 16, 2012). The members of Continuum Sax were clear in their
statement that artistic and financial success are considered disconnected in their
approach. This suggests that the underlying motivations between the two are
incompatible in the eyes of the participants. This was elaborated on further:
Sometimes the gigs that we do that we have a set fee you kind of go ‘oh yeah,
that was an alright gig’ and then there might be another where there is no set fee
but you just think ‘man that was a good gig, just really dug that gig’… So I don’t
think that artistic and financial is in anyway connected. (Continuum Sax,
personal communication, May 16, 2012)
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For many musicians, “the object for everybody is to play as many right notes in the right
place as you can” (M. Duke, personal communication, Jun 14, 2012) but instead, artistic
success focuses on how the music is received and the engagement made between
performer and audience. This can be seen by assessing a number of different questions,
such as “did we draw them through each piece, through every aspect of it?” (M. Duke,
personal communication, Jun 14, 2012) and looking at the experience created for the
audience such as whether “the audiences were engaged, they sit back and they say well,
the way that the program was done it meant that it was a real journey through the
program too” (M. Duke, personal communication, Jun 14, 2012). Artistic success is also
centred in the approach the performers take to the repertoire and the fact that they are
“playing it for them and I'm enjoying doing it” (M. Duke, personal communication, Jun
14, 2012) whilst also ensuring “good execution of the music” (J. Latham, personal
communication, Jul 12, 2012). Styles described this process in great detail:
I want to come out knowing that the amount of preparation that I’ve done was
enough to achieve a good musical performance and I’ve had moments in there
where I’ve haven’t had to worry or hopefully a lot of moments where I haven’t
had to worry about is this reed working? You know, how is my intonation? ... not
that we can gauge our entire lives by everything an audience wants to see, it is
bloody important, you know, what they reckon and their feedback. Most of them
are going to be really polite about it and that’s really lovely … I think the
outcome is a long term outcome that they turn up to the next one, you know,
because we are in the business of music and playing it but also I think we have at
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least partly of building the audience too. (M. Styles, personal communication, Jun
21, 2012)
Artistic success appears to be a point between the performer’s own interpretation of their
performance, together with a positive audience response, and the successful
representation of the music and the genre as a whole. The variety of ways a performance
could be determined artistically successful is strongly linked to the individuality of the
performers.
Further to this, an underlying current in all the participant responses in this area
suggests that the crafting of an authentic performance which is reflective of the
performers intentions is a key and essential component. Cockcroft stated that for a
performance to be successful, “the music needs to be played effectively … in the way
that the performer intends, if they can surpass their own expectations, fantastic” (B.
Cockcroft, personal communication, Oct 19, 2012). The repetition of this idea was
presented by the Nexas Quartet who felt that creating a unique and individual
performance experience was validating for them as an ensemble:
You spend a lot of time as a group, not only putting the piece together but honing
an interpretation of this piece, whether it’s an old piece, new piece, a transcription
or whatever and again the sum of four ideas and peoples backgrounds and what
they bring to the music … so for me a successful performance is if we’ve felt like
we’ve been able to present as good as we can on the day and … nobody’s going
to play it like we play it because nobody’s us so that’s a successful performance
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and what makes it the ultimate success if they enjoy it because then it’s a
validation, it feels like a validation of the thing that you’ve crafted. (Nexas
Quartet, personal communication, Jun 15, 2012)
As an audience member himself, rather than a performer, Cockcroft describes that “at a
recital if, as a listener you know you’re really taken away with... captivated by the music,
by the performance I think that’s amazing” (B. Cockcroft, personal communication, Oct
19, 2012). This is just one reference to the meeting point of elements that constitute
artistic success. Leading into the next area of performance success, a positive response
from the audience can be an integral part of what constitutes audience success with the
performers wanting the audience to “have a good clap and to enjoy it” (E. Royer,
personal communication, Jun 25, 2013). Nexas Quartet reference the role of audience
response in the discussion of their self-instigated concert series in 2014:
Creating an artistic vision and realising this for an appreciative audience is very
satisfying… creating these interesting events it has opened up numerous doors for
us as a quartet and helped to raise our profile. The more you perform, the more
you get asked to perform and out of all my personally performance activities
quartet is definitely a favourite as the intimacy and bond of that ensemble is hard
to recreate. I prefer performing with others as opposed to solo … the close bond
of quartet is hard to match. (A. Smith, personal communication, 2014)
From the performance observations undertaken in the research, it was noted in the
researcher’s note that expression and successful execution of the music was a high
priority to HD Duo; in this it was noted that “[Duke] mentioned particularly that he
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enjoyed his performance and was interested in the new characters and expression that
was brought forth in this performance” (Di Marco, 2013c). Another example of artistic
success is taken from my observational notes of the Australasian Saxophone and Clarinet
Conference performance by Price where his incredible expression and musical sensitivity
was a stand out of the performance: “[Price’s] performance of the work was beautiful,
sensitive, and overall very well performed. His tonal colours on the instrument were
incredible and I found myself thoroughly enjoying the sounds he created” (Di Marco,
2013a). Price’s performance of the work – particularly given his personal connection for
the composer – crafted a moving and emotional experience for the audience members,
which at the event consisted primarily of saxophonists and industry professionals.
Ultimately, artistic success is a melting pot of ideas surrounding the positive and
successful execution of music which is deeply rooted in how the performers judge their
own authentic representation of the music. This was the most highly discussed type of
performance success by the participants, perhaps due to the fact that many of these
participants are “quite driven by [CSM] being a bit of a unique niche and not many
people doing it and there not being much available to it” (E. Royer, personal
communication, Jun 25, 2013). Royer describes how her judgement of artistic success is
closely linked to her preferred performance context: she states that she enjoys engaging
in recitals (individual performance contexts) “to promote the instrument as well as -
classical saxophone is so uncommon. It's getting more common but it's a good way -
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recitals are a good way to show people what classical saxophone is all about” (E. Royer,
personal communication, Jun 25, 2013).
Success Definition 2: Response
Response-based success, within this study, is defined as the judgement of a
successful live performance activity by the performer based upon the audience’s reaction
and reception of the performance. This definition is an extension of the previous area but
focuses exclusively on the response of the audience. Unlike the other areas of
performance success defined in this research, response-based success is centred on the
audience, rather than the participant, in judging success. Any measure of performance
success is subjective by nature and this is particularly the case with response success. For
some participants, they felt that “reaction is very important” (Nexas Quartet, personal
communication, Jun 15, 2012) with a strong focus on positive feedback from their
audiences; whilst for others, response success was presented as secondary to artistic
based success and the execution of the music and not a “very important part of what we
do” (M. Duke, personal communication, Jun 14, 2012). What was universally presented
was that audience reaction is often clear in a number of ways: applause, body language,
or post-performance conversations were all discussed.
People usually offer up whether they like the concert unsolicited or they will keep
quiet. If they don't like the concert they are not likely to come up to you and say I
didn't really like that, it was boring. You had me on this piece, but you lost me on
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here. Sometimes people say ‘Oh I really like this piece, I didn't care much for
that.’ (M. Duke, personal communication, Jun 14, 2012)
This interesting notion of post-performance conversation was raised by other participants
such as Continuum Sax and Nexas Quartet and suggests a strong familiarity with their
audiences and rapport building after the live performance event. And while during the
performance “you can tell as you're going along whether you're winning the audience
over” (M. Duke, personal communication, Jun 14, 2012), this post-performance feedback
provides an extra level of satisfaction for the musicians. For the performers, “having
people come up to and just saying thank you … really means a lot to us” (Nexas Quartet,
personal communication, Jun 15, 2012) and in live performance activities, “I want people
to be moved, I want people to be excited” (J. Latham, personal communication, Jul 12,
2012). Additionally, participant focus around this area of performance success looked at
non-musical elements:
Getting a compliment from things that aren’t just about the music I think is good
as well. Like, it’s a well organised concert but it’s also important and you want …
everything to be really easy for your audience, you want them just to be able to
walk in and now what’s going to happen and enjoy it … you want the whole
transaction of you and the person to be as smooth as possible and when all that
sort of stuff comes together I think that really helps the feeling after the
performance as well aside from the music. (Nexas Quartet, personal
communication, Jun 15, 2012)
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Response success was surmised by Cockcroft who stated: “[If] the majority of the
audience walk away having had some positive experience or even … if everyone can go
away with something positive, I think that’s successful” (B. Cockcroft, personal
communication, Oct 19, 2012).
Success Definition 3: Professional
Professional success, as defined by the participants, is the success gained from
live performances by promoting themselves and the genre of CSM, networking with
industry officials, building new audiences, and gaining the support of other arts
professionals including players and composers. This type of success can therefore be
understood through the lens of furthering ones career and the ability for one live
performance to lead to more musical work. Professional success was discussed in the
most detail by the two youngest research participants: Erin Royer and Ben Price and there
are many different facets which fall under this category, ranging from smaller audience
interactions which build a potential listening base to larger, more quantifiable results. For
Price, he found that some successful live performance activities can be related to the
promotion of himself and his instrument and, in this sense, he is hoping to achieve “an
awareness of what kind of music is out there and … what the instrument is capable of”
(B. Price, personal communication, Sep 1, 2013). A strongly artistic endeavour, the
promotion of the instrument can be seen as helping Price to expand his audience base by
increasing awareness of the musical capabilities of the saxophonist. Royer echoed this
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sentiment and felt that even on a small scale, finding a personal connection with her
audiences that leads to further concert attendance was an important mark of success:
If people will come up to after and they'll be like ‘I love that music’ ... they'll
want to come along to your next one and they'll sign up to your emailing list … I
find that successful; even if you get another two or three people per performance
you're always building your network of people. (E. Royer, personal
communication, Jun 25, 2013)
An alternative and more industry centred perspective was provided by Royer who
presented the musical collaborations between performer and composer as one area of
performance success. She stated: “I like playing new music for that fact because then
you've just helped kick start your friend's career, as well, as a composer” (E. Royer,
personal communication, Jun 25, 2013). With the strong personal and professional
connections between performers and composers in this field already unpacked in the
thesis, it is not a surprising result that the saxophonists would find an element of success
in the performance of new works and the promotion of a close contact.
Success Definition 4: Financial
Financial success is perhaps the clearest measurement of success to understand.
The participants suggested that financial success was disconnected from the other
measurements of success and, in some cases, as the opposite of artistically based success
measures. Between all the measurements discussed by the participants, financial success
was acknowledged as important – particularly with reference to sustainability of
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performance activities – but was not given as high a priority. This was a surprising result
given the need to support a career and personal life through these activities. With a strong
focus on artistic success first, followed by financial, the participants clearly articulated
that “artistic and financial is not in anyway connected” (Continuum Sax, personal
communication, May 16, 2012). Financial success was not determined by the participants
in term of specific amounts but instead presented the argument that a performance that
financially breaks even or makes a profit can be determined as financially successful.
I think it’s important that it’s not based on the financial success of the concert.
You know, every concert we’ve done, we’ve broken even or made a profit, but
that wasn’t obviously the reason why we were putting it on. (B. Price, personal
communication, Sep 1, 2013)
With different expenses involved in live performances such as venue hire or “paying an
accompanist” (B. Price, personal communication, Sep 1, 2013), financial success can be
difficult to achieve. This is also relevant with the consideration that “people can’t make a
loss indefinitely unless they’re subsidised” (B. Cockcroft, personal communication, Oct
19, 2012); for Cockcroft, he felt that “in a practical sense, if the event can make a profit
… that’s an incentive to do it again” (B. Cockcroft, personal communication, Oct 19,
2012). A common sense statement but one which appears to be a lower priority for the
participants than artistic success. This result that financial success is an important but
lowly regarded form of success by the research participants is an interesting but not
entirely unexpected result. Given the high priority the participants place upon their
repertoire and their ongoing commitment to the Australian CSM genre already identified
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and explored in this document, finding that their judgement of performance success is
rooted in the execution of their artistic goals is in alignment. With this in mind, Price
states:
[With] all the hours of rehearsal and hours of research into the piece and personal
practice, then of course we’re not making anywhere near a decent profit. It’s just
about, I think, playing the piece as well as you wanted to play it, and doing a
service to the composer and, you know, to the music and to the instrument as
well. (B. Price, personal communication, Sep 1, 2013)
With a strong focus on success through artistic means, the research participants have
clearly exemplified their interest in crafting a unique musical experience as the ultimate
goal. With further discussion in this chapter to examine differing forms of performer
satisfaction, it can be seen that financial motivations are not underpinning their
engagement in live performance activities. By acknowledging this, it can be surmised that
early career musicians entering the CSM industry may need to assess and understand
their own motivations in pursuing a performance career and be realistic about financial
gain through their live performance activities.
Success Definition 5: Understanding (or Alternative Perspectives on Success)
Not all facets of a performance will be successful and therefore this requires the
participants to find a way to negotiate and acknowledge the positives of a live
performance, where they occur. The case was presented that “I don’t think any concert
has been completely successful from every single aspect” (Nexas Quartet, personal
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communication, Jun 15, 2012) and this brings into question how the performers judge a
performance which may have less than satisfactory performance elements within it. The
understanding of success as judged by the participants also reflects the audiences
opinions and understanding: “There’s the audience perspective and our personal,
analysing what you’ve done, how you’ve executed it, they’re two very separate things at
times” (Nexas Quartet, personal communication, Jun 15, 2012). This suggests that the
participants are aware of their own personal definition of a successful performance being
varied from how an audience member will view a live performance. Whilst audiences
may be aware of technical failings in the music, it appears that the participants may be
more focussed on the audiences overall enjoyment with the performance activity as a
whole. Royer elaborates:
Best outcome I think is the music is well played; that people listening to the music
– in a classical saxophone sense – appreciate it … that everyone is sort of at ease
with the performance, the listening; and that the appreciation of ‘I wouldn’t of
done it that way but I like it anyway’, I think that’s a good thing and I think that
can make a good recital. (E. Royer, personal communication, Jun 25, 2013)
Different participants view unsuccessfulness in different manners; such as Beaugeais who
suggested: “I think it’s … [a] bad outcome if people just walk out of the hall and don’t
even come up to you and talk to you” (K. Beaugeais, personal communication, Jul 11,
2013). Here Beaugeais is clearly aligning her concept of performance success with that of
response and deliverance of artistic goals which would lead to a post-performance
interaction with the audience. This connects directly with the concept of audience
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development and the need to foster positive relationships with audiences through shared
musical appreciation.
I mean we like to get as many people to our concerts as we can, I mean it doesn’t
always happen and it’s pretty disappointing when that doesn’t happen but on the
other hand you have to, the people that have turned out to a concert … you have
to really give a lot for them because they’re your special supporters, they’re the
ones that have shown up when nobody else will. (Continuum Sax, personal
communication, May 16, 2012)
Understanding Performer Satisfaction
With the previous discussion unpacking the nature of performance success, it can
be seen that artistic integrity is a vital component of these participants’ live performance
activities. Subsequently, the personal feelings of success gleaned through engaging in
live performances are a motivation for engaging in continuing work in the CSM field.
This suggests there may be a strong connection between how the participants view their
successes and the satisfaction they glean from live performance activities. This
connection may be the underlying reason that the research participants are continuing the
work within their portfolio careers and will now be considered. To further investigate
this, the research participants were asked directly to identify the factors that contribute to
their satisfaction from live performance activities and how their engagement in different
performance contexts aids in their satisfaction. The data analysis has yielded several
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definitions that illuminate the participants’ satisfaction through live performance
activities. These appear to be connected with the concepts presented earlier in the chapter
and are connected with the audience, the repertoire presented, and the personal goals of
the participants. The table below illustrates the areas of personal satisfaction as identified
by the research participants:
Definition Description
Audience Response Strongly connected to “Audience
Response” in Performance Success
discussion. Satisfaction is derived from
audience enjoyment and feedback during
and post-performance.
Development and Growth The technical abilities required to engage
in professional performance activities and
the ongoing development of the performers
as musicians and saxophonists.
Personal and Emotional The enjoyment and satisfaction from the
conditions of live performance. From the
experience only possible from these
situations. The personal feelings of
enjoyment from performing.
Collaboration and Career Development The ability for performances to incite
further performances and pursuing new
career opportunities being proactive.
Working with colleagues and friends
creating a shared sense of enjoyment by
sharing the performance experience.
Satisfaction from Specific Performance
Contexts
The satisfaction taken from engaging in a
specific type of performance context or the
preferred performance context of the
participant.
Table 8. Participant responses regarding satisfaction
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Satisfaction Area 1: Audience Response
For the participants, when asked to discuss performance satisfaction audience
response was again presented as a highly contributing factor. This suggests a strong
connection between these performers and their audiences which is also a highly important
factor in their continuing engagement with live performance activities. Based on the
discussion by the participants, it can be seen that audience enjoyment is closely linked
with the performers enjoyment of the event. In this sense, it is the positive feedback from
the audience that drives them, continually building a connection between the two parties.
So it's the collaboration of creating music together and … telling the story of the
piece and trying to get that across to your audience so that when people come
back they're blown away or they're really excited about a certain piece. (M. Duke,
personal communication, Jun 14, 2012)
The ongoing motivation provided by loyal and positive audiences is highlighted
repeatedly by the participants’ responses: “I think a successful concert is one where you
actually sort of feel like you’ve … managed to get the audience to go with you and live
every breath of the music with you” (Continuum Sax, personal communication, May 16,
2012). This point was continued by Duke, Nexas Quartet, Royer, Price, and Latham who
all emphasised their satisfaction from audience engagement and positivity within live
performance situations. Latham saw this interaction as being both direct – with
communication and discussion with the audience – and indirect such as viewing audience
body language:
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I enjoy when you see people sort of tilt their head to the side and, you know,
either during the performance or after, and kind of smile and come ... and talk
about the music … that’s what I like, that interaction with the audience. (J.
Latham, personal communication, Jul 12, 2012)
Latham continued this discussion by highlighting the audience’s enjoyment as respective
to their want to hear the music again – either through recordings or attending subsequent
performances. He states, “I’m not interested in having people come and say, “Oh, really
well done!” you know... What I want to hear people say is, “Oh, ... I enjoyed that. Do you
have a recording? I want to hear that again” (J. Latham, personal communication, Jul 16,
2014).
The underlying concept of audience response-based satisfaction, is the feedback
these performers receive from their audiences. This feedback may be verbal
communication, in concert feedback such as applause, or – as illustrated by Latham – the
ongoing relationship built between the parties. Communication between themselves and
the audience is therefore important and valued by the research participants.
I think that you get a lot of satisfaction from people enjoying the concert. It’s not
always that people thank you after a concert but a lot of the times people do and
that’s always really nice… being a performer you feel like you’re giving a lot and
you are but … you’re also receiving. (Sax, 2012)
This engagement between repertoire, audience, and performer was first highlighted
earlier in the thesis and presents an interesting signpost. The thinking behind the
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participants’ responses is strongly connected by the same ideals of promoting the
repertoire and building a loyal audience base. The central focus of audience response and
its impact on success was highlighted succinctly by Duke:
I think one of the best compliments you can get as a performer is, at least I had
somebody come up to me once, actually it was a teacher of mine and he said I
really didn't like that piece that much. But now that I've heard you play it I think I
get it, I understand it, I'm going to check it out. That for me is yeah, I've shown
them a way of thinking about this piece, or experiencing it that excites them, that
makes them interested in it. (M. Duke, personal communication, Jun 14, 2012)
This focus on the audience is centred in the enjoyment and positivity perceived to be
experienced by the audience members. This suggests that the link between their artistic
goals as musicians and intended audience response is a strong and important element of
their live performances. With this in mind, it can be seen that the participants are
focussed on performance which would facilitate this, such as the concert series Nexas
Quartet curated in 2014 or, taken from my own practice, the four city ‘East Coast Tour’ I
conducted in 2014 to showcase new Australian music.
This line of thinking also suggests that the participants are performing for the
audience first, and for themselves second, an interesting perspective which was not
hypothesised. If the leaders in the Australian CSM field have a strong connection to
audience and focus on their enjoyment, younger artists may need to cultivate a similar
approach to achieve similar results. Furthermore, with performer satisfaction an
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important component of creating a successful and sustainable career, young musicians
may need to explore and develop the relationship with their audiences for future success.
It’s really good to communicate and connect with the people who have bothered
to come along to some ridiculous concert this saxophone player wants to put on,
you know, I kind of love that and I want to really respect the fact that they have
and hang out with them. (M. Styles, personal communication, Jun 21, 2012)
This can also be seen as a type of audience development whereby positive performer-
audience relationships create an ongoing connection between the two parties. For the
participants, a best possible outcome of a live performance would be “that [the audience]
felt engaged by the music and that they felt that we held their attention through the whole
concert and not just parts of the concert” (M. Duke, personal communication, Jun 14,
2012).
In furthering this discussion, communication between performer and audience
member can be seen as a vital component of performer satisfaction. Communication, as
an seen through the lens of performer satisfaction, presents the idea that the participants
are gaining satisfaction from performance by presenting themselves as artists and, in
particular, connecting as performers with their audiences. Furthermore, their personal
identity as a performing musician is presented to the audience in live performance
activities thereby getting a sense of satisfaction. This communication was described by
the participants in both verbal and non-verbal ways within a variety of different
performance contexts. To begin with, Duke discussed the use of non-verbal
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communication when performing as a soloist with an orchestra. In these performance
contexts, the ritual of the performance prevents any direct discussion between
saxophonist and audience and therefore, he feels that non-verbal communication is an
important component of a satisfying and engaging event.
[I]f I'm doing a concerto with an orchestra it's highly unlikely that I'm going to
start talking to the audience before I start playing. It's more likely that you get
introduced, you walk on stage, you bow and then you perform. So any
communication at that point is all non-verbal and it's all musical and from that
perspective... Whether it's the beauty of sound or it's trying to communicate a
concept and an idea in a musical language that is foreign to an audience so that
they can understand it. That's a big challenge. Or music that they're very familiar
with and not boring them. You can play the Debussy Rhapsody and bore them to
tears. Or you can play it beautifully and bring them to tears. There's different
ways of approaching [this]. (M. Duke, personal communication, Jun 14, 2012)
The use of musical expression as a communication tool to the audience suggests that the
saxophonists are presenting stories and ideas behind the music to the audience to craft an
interesting and engaging presentation. This can be a challenge for participants and
incorporates the individuality of the performer by ”putting your own stamp on a piece of
music and trying to communicate what you think that piece is about to the audience” (M.
Duke, personal communication, Jun 14, 2012). This appears to be most common within
individual performance contexts, such as recitals, where the performer is able to foster a
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strong connection with audiences. Styles suggests this may be due to the intimacy of the
medium:
There’s something about, I think I like the intimacy of a recital. I like the fact that
it’s not them and me but it’s me with them … I like the fact that it’s like having a
chat but through my instrument to them, it’s why I love chatting to them. (M.
Styles, personal communication, Jun 21, 2012)
This sense of intimacy can be extended further when the consideration of repertoire is
brought forth as the musician is “trying to communicate with the audience something
that's in the piece of music” (M. Duke, personal communication, Jun 14, 2012). Latham
describes this as a “physical, collaborative experience” (J. Latham, personal
communication, Jul 12, 2012) and it is clear that this area draws the most interest for
participants when engaging in live performance activities. While other areas of
satisfaction will now be explored, audience response is the strongest and most highly
discussed area identified in the participants’ responses.
Satisfaction Area 2: Development and Growth
Development and Growth refers specifically to the enjoyment the participants
receive from the mastery of their instrument and displaying their technical and musical
abilities. Compared to other forms of satisfaction, this area is decidedly intrinsic and
focussed on the performers sense of self. This type of satisfaction is a development of the
discipline needed to succeed as a professional performing musician and the presentation
of this work to a public audience being an extremely positive experience for the
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participants. For Continuum Sax, satisfaction is taken “from just meeting the challenge of
the music and always challenging each to do it better… everybody wants to do the best
that they can for everyone else” (Continuum Sax, personal communication, May 16,
2012). For this ensemble, the friendship fostered over many years of performing together
has brought each of the players closer and seen a strong musical appreciation grow. As
each member of Continuum Sax has “known each other for a very long time … [it] really
is thoroughly enjoyable to see everyone in the group continue to improve and play even
better than they did in the past … that’s always really satisfying” (Continuum Sax,
personal communication, May 16, 2012). Styles echoed this with the concept that once
educational performances (such as performance exams or tertiary study examinations) are
left behind, striving to improve one’s craft through live performance is an important goal.
He stated: “I like the discipline that I’ve had to go through to get to the audience, to get to
the recital … it’s really important to keep yourself motivated … give yourself those
milestones” (M. Styles, personal communication, Jun 21, 2012). This was furthered by
Royer who emphasised the drive to perform at her best:
I really enjoy recitals, I love being on stage and playing music to people, I also
thoroughly enjoy playing in conferences. I like presenting new music and
showing other colleagues what I am all about, and I also find it quite stressful
playing to other saxophonists but it really pushes me and makes me want to show
everyone my best playing. (E. Royer, personal communication, 2014)
This enjoyment taken from the performance experience can also be understood through
the ‘in the moment’ nature of live activities. As Duke states, “you can practice, practice,
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practice, but it's that being in the moment … When it's all happening and you're really
going for it, it can be really exhilarating” (M. Duke, personal communication, Jun 14,
2012). In continuing this discussion, Cockcroft raised the idea that live performance is
inherently in the present and this leads to a specific feeling within performance situations.
He elaborates that “you can’t get much more present then playing music; there’s always a
note you’re playing and the other notes have passed, the other notes are still coming so
you’re really much in the present, I really like that” (B. Cockcroft, personal
communication, Oct 19, 2012). The ability to craft and shape the music in the moment
appears to facilitate a positive environment and contribute greatly to his sense of
satisfaction. He continues:
I really love standing on stage, I really love playing music, it’s very spontaneous
even though often you’re playing notes that you have to play at a certain time it is
spontaneous in that things go right, things go wrong, things go better, things
surpass your expectations, that’s a wonderful place to be. (B. Cockcroft, personal
communication, Oct 19, 2012)
With the audience focussed on the music as well as “what you've done to get here and
what you sound like” (E. Royer, personal communication, Jun 25, 2013), performers are
acutely aware of the technical nature of their playing. As Latham states, “I like to move
and I like to be engaged” (J. Latham, personal communication, Jul 12, 2012) suggesting
a strong preference for performances which challenge, progress, and develop himself as a
saxophonist. The need to perform accurately and expressively in performance presents a
challenge which is relished by the participants.
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Satisfaction Area 3: Personal and Emotional
With the execution of artistic goals already identified as a strong motivating factor
for the participants to engage in live performance, this area of discussion acknowledges
that the participants “like presenting new music to people and showing people what I do”
(E. Royer, personal communication, Jun 25, 2013). This was particularly identified
within individual performance contexts where a recital situation allows the performers to
explore their personal sense of expression and enjoy the focus on themselves alone. As
Royer elaborates “in a recital, it's all about you so they're really focusing on what you've
done to get here and what you sound like” (E. Royer, personal communication, Jun 25,
2013). Further analysis revealed that the sense personal satisfaction is closely aligned
with the presentation of new music and the fact that Australian CSM is “a unique niche”
(E. Royer, personal communication, Jun 25, 2013) and that “recitals are a good way to
show people what classical saxophone is all about” (E. Royer, personal communication,
Jun 25, 2013). This was also presented by Price as connected to the presentation of new
music rather than time-honoured standards. He felt that at this point he does not “feel any
creative kind of attachment to those older pieces, as beautiful as they may be” (B. Price,
personal communication, Sep 1, 2013). Essentially, the area of personal satisfaction
acknowledges the “adrenaline rush that comes from performing” however for many
participants, “it’s normally just playing something new and exciting that [they] personally
like” (B. Price, personal communication, Sep 1, 2013).
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Satisfaction Area 4: Collaboration and Career Development
Satisfaction is also drawn from the potential for live performance activities to
incite further performances and professional work. The satisfaction itself may be derived
from continuing momentum in a performer’s career by being proactive and using each
performance to bolster the artistic reputation of the musician. This appears to be
particularly prevalent in the participants’ relationship with audiences where they can
create meaningful connections and foster their ongoing audience base. As Styles
illustrates:
It’s really good to communicate and connect with the people who have bothered
to come along to some ridiculous concert this saxophone player wants to put on,
you know, I kind of love that and I want to really respect the fact that they have
and hang out with them. (M. Styles, personal communication, Jun 21, 2012)
Similar to previous forms of performer satisfaction, Styles is highlighting the need to
engage and connect with loyal audience members and foster their involvement in future
performances. In this sense, the satisfaction for the performers is derived from both
positive feedback on the current performance experience and the new opportunities that
arise as a direct result of a live performance. This concept was articulated by Nexas
Quartet member, Andrew Smith, who described the ensembles self-instigated concert
series in 2014 as an important launching point for other projects and collaborations.
The positive feedback from this years series has been terrific and by creating
these interesting events it has opened up numerous doors for us as a quartet and
helped to raise our profile. The more you perform, the more you get asked to
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perform and out of all my personally performance activities quartet is definitely a
favourite as the intimacy and bond of that ensemble is hard to recreate. (A. Smith,
personal communication, 2014)
It can be seen that the sense of enjoyment is not only experienced live by the participants
but reverberates further within their careers. Using live performance activities as a vessel
for developing and building a larger industry profile, satisfaction can easily be found.
This understanding of performer satisfaction can be taken a step further with the
examination of collaborations within live performance activities. This understanding of
performer satisfaction can be seen through working with colleagues and friends in live
performance activities and the shared sense of enjoyment taken from the collaborative
practice. For many of these participants, performing as a truly solo saxophonist is not a
common activity and “it's not very often if ever that we do a solo saxophone recitals, it's
usually with piano or with something else” (M. Duke, personal communication, Jun 14,
2012). This collaborative experience, particularly within the chamber music ensembles
involved in the study, suggests that whilst enjoyment can be taken from the potential for
future activities, collaborative efforts can also perpetuate the performer’s satisfaction.
This is also particularly relevant where collaboration may lead to a long term relationship
and continuing future projects. From a chamber music perspective, Nexas Quartet
identified that satisfaction is taken from the collegiality of the ensemble and, as one
member stated, “I always feel like I’m completely comfortable when I’m playing in
quartet on stage because I’m up there with a group of friends” (Nexas Quartet, personal
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communication, Jun 15, 2012). This was even reiterated by soloists in the study, such as
Price, who felt that “it’s always more comfortable with ensemble stuff … any kind of
chamber ensemble” (B. Price, personal communication, Sep 1, 2013). This was followed
by a strong theme of friendship amongst the participants as a source of satisfaction. For
some participants, they suggested that “with the quartet I just love playing with my
friends and the stuff that we play is really enjoyable… I really enjoy playing with other
people” (E. Royer, personal communication, Jun 25, 2013). This was also discussed by
Latham who felt “I like to be in a chamber ensemble, like a team thing because it takes it
off me and ... often an individual on stage looks odd to me for some reason … I like an
ensemble” (J. Latham, personal communication, Jul 12, 2012). The personal connections
within live performance activities appear as a strong area of satisfaction for the
participants.
We’re such great mates … priority number one is the mateship and the next
priority is the music of course and it’s always a high priority but you know for me
it’s great to have a rehearsal on a Friday afternoon because then you know we go
and have a drink afterwards and you know get to hang out with each other and I
think that really happens on stage as well you know (Nexas Quartet, personal
communication, Jun 15, 2012)
From this perspective, collaboration and collegiality are strong areas of satisfaction as
“everybody gets together in the moment and then it’s something better than it would be
as individuals” (Nexas Quartet, personal communication, Jun 15, 2012).
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Satisfaction from Specific Performance Contexts
With the understanding that there are a variety of different performance contexts
that these musicians engage in, it was pertinent to the discussion to uncover which
performance contexts the participants gain the most satisfaction from. Whilst the types of
satisfaction in the participants’ work has already been identified, how this may relate
back to their preferred performance contexts remains unclear. This question was asked of
the participants in the second interview and as not all participants were available to
complete one, a limited number of responses were collected. The participants that were
able to answer were Continuum Sax, Michael Duke, Nexas Quartet, Jabra Latham, Erin
Royer, and Ben Price. Noteworthy in the responses, there was the lack of a clear majority
in the most preferred performance context but instead, the participants presented a broad
array of preferences across individual and collaborative performance contexts as well as
some who felt they had no clear preference. Additionally, whilst not a specific context,
several participants identified chamber music arose as an area of preference, an
unexpected result given the larger number of soloists involved in the study.
To examine these results further, the broad array of preferences could be seen
most clearly in Continuum Sax. Three members of the quartet responded with three very
different answers: for Martin Kay, individual performance contexts were preferred; for
Nicholas Russoniello, collaborative performance contexts; and finally, for James
Nightingale, he responded with no specific preference. Elaborating on this point,
Nightingale emphasised that each different performance context is unique and therefore it
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is “very difficult to say that I have a preference or find one or another more satisfying.
All [performance contexts] present different challenges and can be rewarding when
approached with the right frame of mind” (J. Nightingale, personal communication,
2014). And whilst they presented different viewpoints, both Kay and Russoniello
responses indicated an enjoyment of “chamber music concerts” (M. Kay, personal
communication, 2014). This was echoed by Latham who, whilst not specifying a
preferred performance context, finds “quartet performance very satisfying” (J. Latham,
personal communication, Jul 16, 2014) and stated “I love chamber music, I've always
loved chamber music. I love the communication” (J. Latham, personal communication,
Jul 16, 2014). Andrew Smith from Nexas Quartet also felt that performances with the
quartet were some of the most satisfying. Speaking of behalf of the group, Smith said that
“from a quartet perspective our group would certainly say it is our own recitals that are
the most satisfying to undertake” (A. Smith, personal communication, 2014).
Further, Russoniello introduced audience development into the discussion as, for
him, “I find music festivals the most satisfying as its a platform to share your music with
new audiences and, hopefully, grow your audience base… At festivals you can get your
work to new people” (N. Russoniello, personal communication, 2014). And whilst over
participants such as Price also highlighted the satisfaction in audience development, it
was notable that he felt this was possible in a completely different performance context.
For Price, he preferred individual performance contexts such as “recitals … Presenting
music to an engaged audience without any academic focus that is often present at
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conferences and even music festivals” (B. Price, personal communication, 2014). The
analysis of performer satisfaction throughout the chapter has illuminated an
overwhelming focus on response and communication with their audiences as crucial.
What has become apparent is that this audience development is not context-specific and,
in line with earlier findings, showcases that some participants favour a broad approach to
their careers. As Duke illustrates, “I don’t know if there’s one [context] that I prefer more
than the other, I just like to be playing and performing. I like the fact that there is variety”
(M. Duke, personal communication, Jul 16, 2014).
I really enjoy recitals, I love being on stage and playing music to people, I also
thoroughly enjoy playing in conferences. I like presenting new music and
showing other colleagues what I am all about, and I also find it quite stressful
playing to other saxophonists but it really pushes me and makes me want to show
everyone my best playing, so I really enjoy it for that fact. I would like to be apart
of more music festivals as I also find them extremely rewarding for the
atmosphere in particular. (E. Royer, personal communication, 2014)
In summarising this discussion, what was not apparent in the data was the
possibility of a single performance context as being specifically conducive to these types
of satisfaction. There is no clear outstanding context from the participants’ responses
above and this suggests that the strong theme of individuality that has pervaded the
research investigation continues here. There are certainly similar themes pervading the
participants’ responses with a focus on artistic outcomes and, particularly, a need for
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sharing and presenting their music. The individuality of the participants and the separate
paths each has taken can be witnessed in their differing preferences for the performance
contexts. The fact that no participant identified educational performance contexts as their
preferred context was also a noteworthy development. The reason for this may be the
lack of artistic control possible in an educational performance context as compared to an
individual or collaborative performance context. The participants have repeatedly
emphasised their continued efforts to engage with and promote Australian CSM and
garner the biggest amount of success from this process. With this in mind, it can be
understood that the participants would have a stronger affinity for the two performance
contexts that would allow them to do this. Along this line of reasoning, it can also be
assumed that young musicians entering the industry must identify their purpose for
engaging in performances to better understand their satisfaction. Looking at how a
musician gleans success from performance activities would hopefully lead to a longer,
more satisfying career.
Chapter 9 - Conclusion
This investigation of the four different streams of live performance has sought to
provide ground-breaking insight into the performance practices of the Australian CSM
community. Having developed them from the literature, the data collection consolidated
the conceptual framework and provided further insights. Ultimately, this exploration has
demonstrated the different areas addressed by the participants in their live performance
activities and highlighted the vast number of decisions they face on a regular basis.
Furthermore, the interconnectedness of each different decision and the potential to affect
one area of the performance with a seemingly unrelated choice was clearly demonstrated.
For these participants, live performance is about more than just planning but instead
involves the management of their musical skills to design an interesting and satisfying
show. Moreover, there are deeper relationships to be found in this field with the
participants’ sense of community and national identity derived from a shared passion for
Australian repertoire.
Understanding Australian CSM
This thesis has aimed to address a gap in the literature by examining the CSM
genre, and more specifically, the Australian CSM community. The literature currently
available has been acknowledged (Ashton, 1998; Frigo, 2005; Hemke, 1975; Koval,
1999; Liley, 1998b; Rubinoff, 2007) and, more specifically, there is only a small amount
of literature which attempts to define the term ‘classical saxophone’ (Di Marco, 2014a;
Frigo, 2005; Rubinoff, 2007). To this end, the participant responses discussing the exact
make up of CSM and what the specific term refers to has been touched upon earlier in the
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document. CSM, therefore, can be defined as Western art music written for the
saxophone; providing a generic description which aims to adequately cover the wide
range of music which practitioners in the field engage with. For Continuum Sax, CSM
can be defined in the following way:
[CSM is] performance of music composed for saxophone (i.e. notated) and
performed with an aesthetic that reflects the tradition of woodwind performance
that comes from the orchestral woodwinds. The aesthetic of classical saxophone is
one that for me reflects a living tradition which is continually being added to by
contemporary (i.e. of today) musicians who share the philosophy of classical
music as an ongoing tradition. (J. Nightingale, personal communication, 2014)
Nightingale confirms CSM is a genre which combines the tradition of Western art music
including notated music and familiar harmonic structures. This means that definitions of
CSM can include descriptions of sound, approach to performance, technique, and
repertoire. Whilst responses surrounding CSM definitions presented the genre in a
slightly different light, some key themes can be seen emerging between the participants
and reflect the description provided by Continuum Sax. There is also an
acknowledgement amongst research participants that the use of term classical, when the
saxophone was not present during that period, may misrepresent the music within the
genre. Further, as Nicholas Russoniello – a member of Continuum Sax – stressed:
“‘Classical saxophone’ is an oxymoron as there was no saxophone in music from the
classical period and little saxophone in what most people think of as classical music” (N.
Russoniello, personal communication, 2014). Therefore, the practitioners in this field are
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engaging with music that is reflective of tradition yet constantly evolving and combining
different musical influences. This is particularly the case as the performing musicians,
such as the participants, work with composers and aim to build a strong Australian school
of classical saxophone. For the participants, there is no cohesive definition of the genre
aside from the relevance of its history. Full responses from the participants in discussing
the CSM genre are found in the Appendix.
The literature review, together with the participants’ response, presented clear
cases for the strong emergence of French and American schools of saxophone playing
and the ongoing development of an Australian school. These developments have been
based primarily on the creation of a specific sound and approach to saxophone
performance within the French and American schools where accepted modes of
performance and approach to repertoire are currently dominant. However, this research
investigation suggests that other national schools emerging include Australia, UK, and
the Netherlands where a sense of national identity or camaraderie between performers is
spawning the national school. This means that instead of crafting a collective approach,
saxophonists from these countries may have vastly different approaches to tone,
technique, and CSM performance but share a bond over repertoire from their specific
country of origin. This is particularly the case in Australia, as evidenced by the nine case
studies involved in this project whose differences (such as tone, gear choice, articulation,
and so on) outweigh their similarities, the strong sense of community and collaboration
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with Australian CSM repertoire creates a school of musicians bound together by their
shared sense of Australian identity.
Performance Management and Logistical Considerations
In examining the data, there was a significant proportion of discussion within the
Performance Management and Logistical Considerations chapter which emphasised the
participants pre- and post- performance activities to successfully manage live
performances as independent artists. This chapter, therefore, illuminated the large amount
of organisation required to conduct a live performance and the level of detail which must
be considered. The elements which fall into this planning were identified as: Instigation,
Finances, Visual Aesthetics, Venue Choice, Repertoire, Marketing, and Educational
Outcomes. The participants identified that many of the choices to be made, such as venue
or repertoire choice, are dependant on how the performance is instigated and the funding
available. Further to this, it was expressed that each of these planning elements can be
very personal in nature, with each participant finding a way to shape the performances to
their own artistic goals. Hints at artistic relationships, definitions of performance success,
and performer satisfaction were also found in the data whereby the participants eluded
that they are making planning decisions influenced by concepts of audience satisfaction,
performer satisfaction, and the overlap point between the two. The ability of the
participants to negotiate this challenging planning demonstrates their leadership in the
field and presents a strong example to early career musicians.
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In summation, the participants reported that there are two methods of instigation
for their performance activities, self-instigated performances and invitations of third
parties, with the former accounting for the majority of their performances. This data
presented an emphasis by the participants on creating new opportunities for them to
engage in live performance and subsequently building their profile through new
engagements with live audiences. Self-instigated performances were the key to this as
they demonstrate the participants’ determination to present the repertoire to their
audiences. They also are a reality of the portfolio career model. In my own practice, self-
instigated performances are some of the most challenging to co-ordinate but also the most
rewarding. Not having had any formal training in event management or performance
planning, I had to learn how to plan a live performance from my mentors and through on-
the-job experiences. These skills are now increasingly being taught in tertiary music
curriculums (Bartleet et al., 2012; Tolmie, 2013). The control the participants are able to
cast over self-instigated projects allows them freedom of choice concerning venue,
repertoire, visual aesthetics, marketing, and so on. The prevalence of self-instigated
performances for independent musicians signifies a level of independence and business-
mindedness and, further, gives the participants a sense of artistic control which they
overwhelmingly prefer.
The challenging factor for self-instigated performances is the management of
finances. Funding for live performance activities was varied amongst the participants but
the strong theme of self-investment emerged. The use of personal funds for initial outlay
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costs are returned at a later date and the overarching theme was the participants aiming to
break even rather than focussed on making a profit from live performance. This is
undoubtedly made possible by their current portfolio career paths that sees stable income
provided through other means (for example, teaching) and provides the affordability to
finance performance activities at little to no profit. This suggests that independent, and
particularly early career musicians, may need to be investors in their own performance
activities as much as possible – a sentiment many active performance musicians may
relate to. This can and often will need to be supplemented with other funding means to
ensure sustainability, as Cockcroft suggests “people can’t make a loss indefinitely” (B.
Cockcroft, personal communication, Oct 19, 2012). An important lesson to learn,
emerging saxophonists clearly need to be aware of the financial challenges faced by the
leading artists and they too may need to investigate how a well-structured portfolio career
will benefit their live performance activities. Far away from being seen as a negative, the
participants appear to be satisfied with the current structure of their careers and have set
strategies in place, such as self-funding, which assists in their performance activities in
order to ensure that the portfolio career model works for them.
Moreover, another element of this discussion which raised interesting questions
was visual presentation; a vital yet often overlooked element for these participants.
Whilst the saxophonists stated that they are focussed on the organisation and preparation
of artistic elements such as repertoire choice and the presentation of the music, attention
to detail in visual presentation was reported as something they wished they paid more
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attention to. Given the high number of self-produced performances these participants
engage in, visual aesthetics is one planning element which may need to be emphasised
more in the training of younger musicians. This analysis of the data revealed two clear
areas of discussion for the participants and the management of both leads to visually
satisfying and well considered performance for audiences. In the data, the discussion
focussed on clothing choice and presented a variety of differing opinions amongst the
participants and the discussion can be summarised into two key themes: professionalism
and individuality. For the participants there was a further need to connect clothing choice
with the venue, the repertoire, and the performance context to ensure an appropriate and
well-considered choice.
Finally, the data presented the surprising result that including educational
outcomes within live performance was not a significant focus. Whilst some specific
performance contexts – such as masterclasses and workshops – call for an educationally-
centred performance, the participants are not looking to incorporate any type of
educational outcome into any of their live performance activities, and in particular, their
individual performance contexts. The exception to this, was that industry conferences
were acknowledged as an interesting hybrid of performance activity and educational
events in which the participants enjoy participating. This suggests a separation of
educational activities (such as teaching, workshops, and masterclasses) and performance
activities (such as recitals and festivals) in the participants’ practise. The crucial point in
this discussion is that given the extensive amount of consideration each planning element
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receives, the participants do not feel the need to provide their audiences with an
educational focus. Given the short history of the genre and the current developments in
Australian CSM, not including an educational focus in their performances seems
contradictory to their reported artistic goal to promote new Australian music. This
suggests an area of growth for the community to make a conscious effort to include an
educational component for their audiences. Building exposure, understanding, and insight
into Australian CSM which has such passionate and dedicated musicians may benefit
their careers moving forward. With this in mind, it must be acknowledged that live
performance is still a form of entertainment and, as with any of the other planning
elements discussed in this chapter, the participants must ensure that an educational focus
does not detract from the enjoyment and satisfaction of both performers and audiences.
Further to this argument, it could be seen that by engaging in live performances of a
genre which is not well-known, they are unconsciously educating audiences about the
genre, about themselves, and about the community of Australian CSM. Perhaps by
switching the focus from the unconscious to the conscious, a more forward effort can be
taken to increase the listenership of Australian CSM and help these musicians to continue
to build their audience base. The potential to tie this area back in with marketing
strategies and clever choice of venues demonstrates an interesting area of development
for the community as a whole and a possible future research project.
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Artistic Relationships
The data in the Performance Management and Logistical Considerations chapter
exemplified how different aspects of a live performance can significantly impact upon
each other. What the discussion then moved on to was a deeper level of understanding of
how different elements interact in the Artistic Relationships Chapter. In this sense, the
participant responses regarding the VRA triangle and national identity suggest a higher
level of thinking surrounding their performance activities which transcends the
practicalities of engaging in live performance and explores their ideology as practising
artists.
The VRA triangle is a theoretical model which acknowledges the
interconnectedness of venue, repertoire, and audience; representing an important step in
understanding how classical saxophonists think about, discuss, and negotiate key
relationships within live performance activities. In essence, the VRA triangle is both a
description of the complicated planning process undertaken by the participants and a
deeper explanation of how musicians need to address pre-performance decision-making.
The triangle can be understood by two choices (Venue and Repertoire) and one
assumption (Audience). In examining this, the Audience-Repertoire line explored how
the expected audience at a performance influences repertoire choice and the participants
felt that careful consideration must be taken to balance the artistic wants of the performer
with the potential satisfaction of the audience. Choosing a balance of styles and
influences, scheduling music which is neither too long or too short, and taking the
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audience on a musical journey were all important points in this area. Secondly, the
Repertoire – Venue line discussed how repertoire choice can be influenced by the
specific venue. This includes the obvious acoustical considerations where a piece may
not work effectively in a specific acoustical environment but also more broadly to how a
style of music may suit (or purposely contradict) the space in which it is being performed.
This suggests a need to further balance repertoire choice between the audiences interests,
with the physicality of the space and how the presentation of such music may or may not
work in a chosen venue. Finally, the Venue – Audience line continues the earlier
discussion of accessibility and how a specific venue may influence the audience attending
a live performance. This connected approach to decision-making suggests that, perhaps
unconsciously, the participants are exploring the deeper relationships in their
performance management with a specific focus on how one decision can create a ripple
effect onto others. Ultimately, the significance of the VRA triangle is twofold. Firstly, it
exemplifies that the decisions to be made in planning need to be made in an extremely
careful and conscious process, with consideration for the ripple effect around the triangle.
Secondly, the VRA triangle represents a targeted strategy for performance planning.
Deciding how one point of the triangle will be, for example choosing a specific venue,
shows what decisions need to be made at the other two points of the triangle. This means
that the development of the VRA triangle in this research has created a preliminary rubric
for the unpacking of artistic relationships in these musicians’ professional practice.
Future research could now be conducted to unpack how this triangle may apply to the
classical music industry or other musical genres.
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Complimentary to this, the participants explored national identity within the
Australian CSM community and the role of repertoire in this. The sense of identity these
participants are feeling is derived directly from the performance of Australian repertoire
and the shared sense of community spirit they feel is directly connected to the fact that
each of these leading Australian musicians are performing and sharing Australian music.
The emerging themes of identity, collaboration, and community which arose from the
data suggested a more complex relationship in place in the practice of these musicians.
Not just choosing repertoire aimlessly, the empowerment felt by the Australian
participants performing new Australian music was clearly evidenced. Whilst the
participants did not identify specific musical elements which lead to an Australian sound,
they did feel that their ongoing commissioning, performing, recording, and dissemination
of Australian music provides a sense of community with other saxophonists engaging in
the same activities. With CSM found all over the world and different national traditions
present globally, Australian CSM is developing a strong and vibrant tradition which these
participants are sharing with the world. With the participants representing Australia
internationally at World Saxophone Congresses and other international stages, the sense
of Australian identity is further solidified.
Additionally, the participants’ ongoing work in the Australian CSM community
domestically and abroad suggests a continuing dedication to the music which connects
with their performance activities and allows them the freedom to express themselves as
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individuals and as Australian musicians. This research has exemplified the unity of the
Australian CSM community and the connection these participants feel to each other and
their repertoire. With this in mind, it could be deduced that there is an Australian school
of classical saxophone playing developing. This school appears to be centred around the
performance of specific repertoire and is in its early years of development. What
Australian CSM and a Australian school of saxophone playing might look like in the
future is yet to be determined but these participants will be at the forefront.
Digital Music-Making and Technological Engagement
The ‘Digital Music-Making and Technological Engagement’ chapter explored the
use of technology and digital media pre-, during, and post- live performance for these
musicians and how they perceive this impacting upon their activities and greater careers.
The participants’ responses in this chapter have illustrated the different avenues currently
available for exploring the use of digital media and the variety of online and offline
alternatives. With a strong emphasis on presenting recorded products in either streaming
or CD formats, the participants are disseminating their musical products through differing
digital formats. There were several types of digital media referenced by the participants
and, as with other areas of discussion, showed that each participant was taking a very
personal approach to technological engagement. Whilst there was no consistent approach
by all the research participants, the varying responses suggested that some participants
appear to be more digitally active than others. All of the forms of digital media discussed
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were centred on promotion. These were either in the promotion of the musicians more
generally or narrowing in to promote recordings, the musical products of the participants.
The participants appear to be engaged in live performance activities first and
digital mediums second, using their digital products to promote their live practices. The
literature suggests that there is a need to build an online presence using recordings and
social media to engage with current and new audiences; however, this is not broadly
accepted by the participants as they have varying degrees of online presence. Altogether
it seems like it is an open slather of opportunities and avenues to pursue for the
participants and that there is further engagement with digital media to be undertaken in
the future.
There are several key points to be understood from this area for performing
musicians at all stages of their career. Firstly, the research participants are utilising digital
technologies both during and around their live performance activities and this suggests
that technological engagement is no longer optional for independent classical musicians.
Creating online profiles and avenues for audiences to connect both pre- and post-
performance is important for ongoing marketing as well as for early career musicians
looking to build a loyal audience base and increase their profile. In my own practice,
maintaining an active online presence has been crucial to building a loyal audience base
in my own city and across the country. Whilst there is considerable differences of
opinions between participants as to how these digital technologies should be used, there
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is evidence that they are becoming an increasingly more relevant component of a music
performance career and therefore should be explored on an individual basis. This
suggests that it is not a specific combination of digital products which will lead to more
successful performances, but instead how each musician can develop a digital presence
that is authentic and reflective of themselves in the physical world. The work and
engagement with digital technologies presented here by the research participants
highlights a plethora of ideas for early career musicians to undertake and expand upon in
their own careers. When examining the data presented by the research participants with
my own engagement with technology in live performance activities, I have been
engaging with digital technologies in a similar fashion to the participants. The use of a
variety of differing digital products and the strong focus on the presentation of recorded
products is reflected in my own work. This has provided me with success in building an
audience base and furthering the recognition of my work. I would therefore argue based
on my own experience and the participants’ responses that a diversified digital strategy is
becoming increasingly more useful for early career musicians. What was particularly
evident throughout this chapter was the potential for all research participants, including
myself, to expand upon their current interaction with digital technologies. A diverse
digital strategy is important but must be fostered through an increase in the ongoing
creation of recordings, CDs, online presence, websites, social networking, and electronic
based music. It appears that independent musicians must continue developing and
engaging with the digital world.
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Performer Satisfaction
Finally, the chapter of ‘Performer Satisfaction’ has developed two frameworks for
defining performance success and performer satisfaction. With several definitions of
success identified and discussed by the participants, the execution of artistic goals is
undoubtedly the most highly regarded by the saxophonists. Closely followed by the
response they receive from audiences and their own personal feelings, performance
success is clearly an important and well considered component of the research
participants’ motivations in engaging in live performance activities. The findings also
suggest a framework of success evident in the data by developing categorisations of
performance success. With this in mind, it allows the performers to better analyse their
work and can help to develop with live performance means to them. It may not be
possible to truly quantify performance success but this research has provided ways for
performers to define it. Moreover, when relating this to performer satisfaction, a
framework of language was also developed from the participants which categorises why
they engage in live performance activities. In this area, audience response was identified
in the data as the most widely considered area of performer satisfaction. For these
saxophonists, the response, the development of themselves as musicians, and community
collaborations were all identified as areas of performer satisfaction.
The data analysis clearly revealed four areas of performance success within the
participants’ responses as well as a further strand of discussion regarding how they deal
with a non-successful performance. A significant number of responses presented artistic
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success as the most highly regarded definition of a successful live performance activity.
This study has already identified the close bond these saxophonists share with the
repertoire and, therefore, it follows that their understanding of performance success
would be tied to positive musical outcomes. It can be seen that the overwhelming focus
on artistic goals when defining performance success extends further into the performers’
sense of satisfaction. Satisfying outcomes for a live performance activity also pertain to
the audience response at a live performance and the feedback the musicians receive is a
central point in their understanding of satisfaction. Performer satisfaction can therefore be
understood as a deeply personal and reflective element of the live performance
experience. What was particularly interesting was that no areas of dissatisfaction were
raised by the participants, suggesting an overall air of positivity and enjoyment for their
live performance activities. This is not to say that they are never dissatisfied with a live
performance but instead that their other attitudes of growth and development influence
their understanding of success. With the vast majority of their performance reported as
self-instigated, it can be thought of that more control of the artistic and logistical
elements of the performance can lead to further satisfaction. There were strong themes of
promoting the CSM genre and developing friendships and collegial relationships
throughout this chapter which is indicative of the cohesive and interconnected nature of
the Australian CSM community. Finally, understanding that performer satisfaction is
taken from the successful execution of artistic endeavours allows early career musicians
to explore their own feelings and goals within the live performance arena for continued
success. With the definitions of performance success and performer satisfaction
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established in this research, further work is now needed to explore how these definitions
pertain to the greater classical music industry.
Future Directions in Research
This thesis has explored one facet of the classical music industry which has
largely been left unexplored in greater academic literature: Australian CSM. While the
limitations of the doctoral study required narrowing the scope to discuss only Australia,
CSM as a larger, international genre is making strides in developing as an integral and
greater appreciated genre of music in many countries. With this study focussed on the
live performance practices of leaders in the Australian CSM field, many important
lessons have been highlighted for early career musicians. These lessons have emphasised
the need for independence and career-drive as two valuable and increasingly necessary
characteristics for young musicians, complimentary to current discussion in the literature.
The research investigation has undoubtedly left new questions to explore and further
investigation is now needed to explore how the management strategies shown by the
participants can be studied and used by other musicians; how the VRA triangle model
holds up in other genres of music and the implications this theory may have for future
music-making; what digital music-making may look like in the future and how can
classical saxophonists maximise their engagement; and finally, what can specialised
study of career satisfaction in solo and chamber musicians tell us about the industry.
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Lessons to be learnt from this research suggest that young saxophonists require
the ability to instigate, organise, and execute a live performance activity. This vital skill
for early career classical saxophonists is now especially relevant, not only because there
are suggestions to its importance in the literature, but because leaders in the field are
currently engaging in this and have emphasised planning and management skills as
pertinent to building a successful career. Further research could be conducted to unpack
the significance of this data as compared to other classical musicians outside of the CSM
field. Furthermore, the relationships identified in the data, such as the VRA triangle and
national identity, exemplify the deeper level of thinking by these participants which
facilitates a more artistically satisfying performance. With the acknowledgment that the
repertoire Australian classical saxophonists are performing is pivotal to their sense of
community and shared experience in the industry, further analysis is now needed to
address how the music itself bears a sense of ‘Australian-ness’ and what the exact
musical language underpinning this is. Clearly, for the participants the sense of
community comes from Australian musicians working with Australian composers, it is
unknown whether there are specific musical elements common in Australian CSM which
connects the music.
Continuing with this sense of community, such a small and interconnected
network of musicians in the Australian CSM community means that for early career
saxophonists, forging their own place within the industry is possible by performing and
collaborating with Australian CSM repertoire and sharing in the work of the other
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musicians in this field. This is also made possible by early career saxophonists
developing their own strategies for the promotion and dissemination of their work online.
This is a valuable method for young musicians to emulate given the low cost nature of
social media and website creation. By building an online presence, live performance
activities can be supported and managed by building a significant profile of the
participant and helping to build an audience base which constitutes a loyal following. The
next level of investigation would require further examination of each different type of
digital media that Australian classical saxophonists are engaging with and a quantitative
study of they impact upon audience numbers at live performances.
In my own practice, undertaking this research has irreversibly shaped and guided
me as I continue to build my own career as a specialist of Australian CSM. My work as a
soloist and as a member of the Barega Saxophone Quartet already lead me to explore the
planning of live performance activities and management of a portfolio career. Being able
to gain a further understanding of how the participants approach their live performance
activities has enabled me to improve my skills in the production of a live performance as
well as renewed my appreciation for Australian CSM. Understanding that I am part of a
community of musicians, all working towards the same goal of commissioning and
promoting Australian music has been an inspiring realisation. Furthermore, being able to
examine the variety of viewpoints and differing career paths each participant has taken
has allowed me the freedom to pursue my own path, guided by the experience and
knowledge of the leaders in my field.
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Appendix: Full Participant Responses in Defining Australian CSM
Participant Responses
Katia Beaugeais “And I’m always now doing Australian music. I just keep
plugging it. It’s my thing. I really want ... and as a composer
I want to support other ... composers because I know what it’s
... like.”
“Yeah, just that I think that ... I think Australian music, in
general, is just ... going overseas and the comments I receive
from them in my concerts, they find it really unique.”
Barry Cockcroft “In the past it’s been very, very important because I’ve
wanted to encourage composers to write more music”
“of course I’m playing my own music so that’s Australian and
I’ve done that for a long time”
“I always encourage Australian’s to play Australian music but
I’ve been encouraging people other countries to play
Australian music as well but you can’t play music from every
country”
Michael Duke “When I first got here in the middle of 2008, one of the first
classes that I took was a master class. I sat everybody down
and said what is Australian saxophone playing? Nobody had
any answers. A couple said oh well there's this piece and that
piece. I said well what's French saxophone playing? Bang
bang bang. What's Dutch saxophone playing? What's
American? There was no sense of identity. So we did a project
based around that and all that stuff.”
“So yeah I think particularly in my position here at the
conservatorium it's important that I'm engaged with
Australian music. Not just for Australians, but for when I take
it overseas and go elsewhere that we draw a spotlight on
Australian saxophone playing through the music. So crucial I
suppose”
Jabra Latham “So, I think it’s ... it is important to do Australian stuff. I also
think for community purposes it is important to have ... and
this is what I think when I work with composers whose music
I ... doesn’t necessarily move me. I might enjoy playing as a
saxophone player but ... and ... but it’s about a conversation
293
and it’s about creating links, cultural, artistic links across your
community. So I think that is an important thing to do and I
think we have a responsibility to do that”
Ben Price “a lot of the pieces I’ve played were Australian premieres that
no-one’s heard of. It’s just music I wanted to do.”
“Plus, you know, it’s easier to connect with the music and
then I can have good ... you know, the composer can come
and listen and talk to us. And especially for chamber music he
can work with that. As far as, like, Australian music goes, I
only really like to play it if I know the composer or it’s a really
cool piece”
Erin Royer “for me as a solo performer, all my repertoire choices are on
performing new music and new Australian compositions.
That's like my biggest thing recently, in the last three years,
has been just to get new works commissioned. When I do a
recital it's to present these new pieces.”
“Yeah I think it's highly important because not only is it going
to grab your everyday audience people because they're like oh
wow, that's music from Perth or that's music from somewhere
else in Australia, but it's just important because I think
Australian music is probably on the lower scale. If you
compare America and England they've got so much music
written for saxophone that we're a little bit behind so the more
music that we're getting written for saxophone especially,
because we're just so young, the more people we're going to
attract as well because it's something that is new and no one
really is familiar with it as well.”
“Yeah so I think it plays a massive role in what we do,
especially as saxophone players because we don't have much
music out there to play. If we want to be doing new stuff you
may as well get music written from your local composers -
help them out as well.”
“Yeah I reckon the biggest thing is just to be getting more
music written from Australia”
Matthew Styles “We’re actually in a really cool era right now with music, I
think we’re now starting to find our voice, we’re starting to
find our type of music”
294
“when we’re playing and to have composers like that put it
down and present us with this stuff is just sensational and of
course there is varying degrees of how hard they are, how
accessible they are and some of them are good, some of them
are not good, you know of course there’s a whole gamete like
you have in every composition.”
“I think the language of Australian music is at a, such a
fantastic and possible critical point right now because we have
to get it out there and I’m any ticket a day, tick of the clock,
however the phrase goes I am happy to play anything that
Australian composers want to put out there because I think
it’s so important.”
“I think Australian composers have this level of complexity
that you’re not seeing in other composers for saxophone
sometimes.”
“So I think we’re at a really exciting juncture to include that
stuff where composers are writing good stuff but they’re also
willing to help and so I think to not put that in any recital I
kind of think we’re doing a disservice to Australian music if
we don’t, in my opinion”
Continuum Sax “Well it expresses our identity in a way; it also sort of is
what’s in, it’s what’s unique about us in a way. That we have,
that we perform this stuff, it’s like you know we perform our,
the stuff that Martin plays and almost nobody else does. You
know it’s like Barega presenting is it Andrew’s music?”
“I mean Australian music, if you’re going to work with living
composers, they’re the ones that we have access to and so we
work with them and they’re the ones we can share ideas,
they’re the ones that funding bodies will know and understand
and be open to assisting us to work with.”
“I think playing Australian music is central to what
Continuum is all about; it’s almost the core, the reason for the
group in some ways. A lot of programs feature Australian
works just because we, I think we or that the group feels that
it’s important to kind of keep developing Australia’s
saxophone repertoire and keep the language of Australian
music alive and evolving and try involve the saxophone in this
295
kind of evolving music.”
“for many, many years you know the classical saxophone
wasn’t really part of the Australian music scene and we were
desperate for it to be part of it and you know we’re all working
towards that, Barry Cockcroft especially is doing that and I
think that you guys in Queensland and particularly the
ensemble stuff that you guys are playing I think that there’s a,
I think that’s really, really important”
“I think we always go out there to advocate for classical
saxophone, we always go out there to advocate that new
music is interesting and we always go out there to advocate
that what we’re doing is interesting and worth supporting, that
people should come again”
“what we do is not traditional so to try to be a part of the stifled
classical, traditional world which I mean to be honest they’re
not even doing it anymore but for us to do it would be
ridiculous”
Nexas Quartet “I think we hold [Australian music] high in the importance of
the group”
“obviously we have high esteem, like we value the new music,
the Australian music and everything like that and we’re
always willing to play it”
296
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