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The role of the saxophone has been in a profoundly confusing state of limbo regarding identity, sound, and repertoire since its patent in 1846. Originally intended for the orchestra, it has struggled to see that intent realized and instead, in its tenacious struggle for survival, it has found a way into other legitimate yet misaligned mediums. Throughout history, one of the roles of great composers has been to help establish the identity and sound of deserving instruments through their writing of exemplary works for those instruments. The young age of the saxophone combined with its confused identity has made it difficult for composer and performer alike to sift through a saturated market in search of artistic product similar to the established canon of other instruments. Saxophone virtuoso John-Edward Kelly gave his 35-year career effort to overcoming this debacle and convincing dozens of exceptional composers to commit their masterworks to an instrument sorely in need of them. Tristan Keuris stands out among them. This treatise serves to introduce, analyze, and substantiate the saxophone works of Tristan Keuris, whom I believe to be a composer worthy of the highest praise and international attention. It will discuss the progression of the composer's relationship with the saxophone in coordination with his exposure to John-Edward Kelly and the Raschèr Saxophone Quartet as well as their influence on the repertoire overall. Combining primary sources, historical research, and analysis it is my hope that I and this document will become a reliable resource for future saxophonists and researchers.
A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music.
Includes bibliographical references.
Deborah Bish, Professor Directing Treatise; Richard Clary, University Representative; Alexander Jiménez, Committee Member; Anne Hodges, Committee Member.
Florida State University
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