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PHILIPPE GEISS / Karlax, un nuevo instrumento multimedia

Philippe Geiss



Philippe Geiss Karlax
Joonatan Rautiola Saxophone

After the midisax "synthophone", Philippe Geiss's curiosity for research in the field of new instruments leads to his interest in a new instrument designed for multimedia arts : The "Karlax". This new tool of expression invites composers and performers to question the place of gesture in musical space: sound, video, light, Karlax is ready for anything ...

Today, Philippe Geiss works on new compositions to link the Karlax multimedia possibilities to a new saxophone and electronic repertoire.

Karlax, a new multimedia instrument

After the “midisax synthophone”, Philippe Geiss’s curiosity for research in the field of new instruments leads to interest him in a new instrument designed for multimedia arts : The "Karlax". This new tool of expression invites composers and performers to question the place of gesture in musical space - sound, video, light, Karlax is ready for anything ... Today, Philippe Geiss works on new compositions to link the Karlax multimedia possibilities to a new saxophone & electronic repertoire. The Karlax is built by the company DA FACT. Young and innovative French company, instrument maker exclusively dedicated to digital arts, winning numerous awards for innovation as the Contest Help Creating innovative technology companies of the Ministry of Research in 2004 and 2005, the Quartz Electronic Music Awards in 2005 and the grand prize for innovation from the City of Paris in 2007. DA FACT was created with the ambition to provide digital artists and visual musical instruments providing them open, expressive and fun to play in breaking the constraints of the other controllers and interfaces from the computer world. Karlax is the first instrument of absolute control embodying this vision.

The VIDEOS
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MATTHEW STYLES / Trastornos musculares y Lesiones en la embocadura del saxofón

Matthew Styles


Dr Matt Styles Saxophone

from Australia

Following studies in Australia, UK and the USA with Otis Murphy, Eugene Rousseau, Bob Berg, Martin Robertson and Kyle Horch, Matt has been establishing a career as a contemporary, classical and jazz performer, consultant and lecturer.

Holding a position at the Western Australian Academy of Performing Arts (Edith Cowan University), Matt continues to build Western Australia's first saxophone studio program. He specializes in the interpretation, pedagogy and performance of classical, jazz and multi-genre or 'cross-over' works, whilst aiding in the expansion and academic development of the Contemporary Music department.

He has performed with such jazz and commercial artists as Ben Folds, Diana Ross, Dave Weckl, Paul Grabowsky, Tim Minchin, Olivia Newton-John and The Manhattan Transfer. Having performed at the 2006 Villa Cellimontana (Rome) and Ninegates (Beijing 2011) International Jazz Festivals, Matt also appears on numerous jazz, classical and cross-genre recordings.

The Western Australian Symphony, Malaysian Philharmonic and Singapore Symphony Orchestra's also utilise Matt as their principal saxophonist. Further, he has performed with virtuoso saxophonists Jean-Pierre Baraglioli and Otis Murphy.

Every year since 1997, Matt has given Australian or World premiere performances of classical and 'cross-genre' works specifically arranged or composed for him in his capacity as a unique soloist and improviser.

www. mattstyles.com.au

Muscular Dysfunction and the Injured Saxophone Embouchure

This lecture will be an honest account of how muscular dysfunction was found and diagnosed and how trying to be ‘all things to all music’ can have serious side effects to the saxophone embouchure. Specifically, in trying to fulfill all facets of each performance practice involved in the performance of mutli-genre works, a series of muscular dysfunctions appeared in and around the jaw, and the upper cervical and thoracic areas, which disadvantaged many years of performance and teaching. Tendonitis in both left and right arms exacerbated this problem. After almost 4 years of searching for answers, taking a practical and holistic approach, rehabilitation is finally underway.

The VIDEOS
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MARK WATKINS AND RAYMOND SMITH / El tracto vocal del saxofonista: los rayos X y las endoscopias son interesantes, pero ¿como puedo usarlas en la enseñanza? (Video non authorized)

Mark Watkins and Raymond Smith



Dr Mark Watkins Speaker
Dr C. Raymond Smith Speaker

from USA

Mark Watkins received his degrees from Brigham Young University and Indiana University and has studied with Eugene Rousseau, Daniel Deffayet, Ray Smith, and Yushi Ishiwata. Watkins has performed in more than 15 countries and with artists from Bob Mintzer (jazz saxophone) to Marlene Pauley (classical clarinet). In 1994 he was offered a position in the premier Washington DC Army Field Band but was unable to enlist due to visual disability. Dr. Watkins has lectured at conferences world wide including the 12th, 14th, and 15th World Saxophone Congresses and published in periodicals including The Saxophone Symposium and JAZZed Magazine. He is currently completing his boo The Saxophonist’s Vocal Tract culminating over 15 year’s of research and pedagogical application. Many positive reviews regarding Dr. Watkins’ performance and composition are extant from Jazz Times, Saxophone Journal, Cadence Magazine, and other sources. Noah Peterson, KPSU Radio, states, “…You never know what's coming next and, like Beethoven, it's always the perfect thing that follows.” Dr. Watkins has over 100 compositions and arrangements, 38 are available from Walrus Music, Roncorp, and Dorn. He has been Director of Woodwind Studies at North Dakota State University and is currently Director of Jazz Studies at Brigham Young University, Idaho.

Dr Ray Smith is Professor of Saxophone at Brigham Young University in Provo, Utah. Smith received masters and doctoral degrees at Indiana University where he studied with the great saxophonist and pedagogue, Eugene Rousseau. Smith has been an avid champion of the classical side of the saxophone, being a soloist with the Utah Symphony on such works as Prokofiev’s Lt. Kije Suite, Copland’s Piano Concerto, Ravel’s Bolero, and a Piazzolla soprano saxophone solo work called Oblivion; also appearing as soloist with the Utah Valley Symphony and the Murray Symphony as well as the Brigham Young University Philharmonic Orchestra and Wind Symphony; performing regularly with the Utah Saxophone Quartet and the eclectic quartet, FOUR; recording the saxophone on CDs such as Glenn Palmer’s 1990 Ballroom Blitz on Found Horizon and Smith’s solo classical album, Tableaux de Provence, which made several welcome contributions to the saxophone world: a recording of the Tableaux with the original orchestral accompaniment, an orchestral recording of the Villa Lobos Fantasia with the tenor saxophone instead of soprano, and a particularly fine recording of the baritone saxophone solo work, Sonatina by John C Worley. Smith has also been a featured soloist on broadcasts with the Mormon Tabernacle Choir.

The Saxophonist's Vocal Tract: X-Rays and Endoscopes Are Interesting, But How Can I Use Them In Teaching?

Over the past 16 years, Dr. Watkins has been researching the saxophonist's vocal tract by means of fluoroscopy, endoscopy, and other devices. More than 80 subjects of diverse lineage and geography have participated in his various studies and numerous highly respected physicists and medical professionals have lent their expertise and assistance. In excess of 800 fluoro and endo film clips have been analyzed and categorized into topics such as range, articulation, extended techniques, and teaching devices. Results of Dr. Watkins' research have proven to be invaluable in his 15 years of application in private applied instruction. He is compiling a book/DVD that demonstrates the commonalities of saxophone vocal tract functions in a cause and effect format and explains significant pedagogical approaches. The comment, "It's all quite interesting but I don't see how I can use it," has been made following Dr. Watkins' lectures. This statement is addressed directly in his book/DVD and is the emphasis of the lecture: The Saxophonist's Vocal Tract.

The VIDEOS

VIDEO NON AUTHORIZATED BY THE PERFORMER
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JULIA NOLAN / El arte a través de la pedagogía: Conversaciones con Fred Hemke, Eugene Rousseau y Donald Sinta. (Video non authorized)

Julia Nolan


from Canada

Julia Nolan is a saxophone soloist and pedagogue currently teaching at Vancouver Community College and the University of British Columbia. Ms. Nolan has held faculty positions at Douglas College, Kwantlen University College, Trinity Western University, and Western Washington University.

Committed to performing new music for saxophone, Julia Nolan has commissioned concert works by Canadian composers Dorothy Chang, Stephen Chatman, Neal Currie, Keith Hamel, Jacquie Leggatt, Hope Lee, Alain Mayrand, Alan Matheson, Robert Pritchard, Nicolas Scherzinger, Fred Stride, and Charles Stolte. As a pedagogue she has given master classes and clinics in Canada, the United States, Europe, and Asia. In 2009 she has invitations to give performances and master classes in China, Costa Rica, Edmonton, Minnesota, Prince George, Thailand, Terrace, Victoria, Washington State, and Wisconsin.

Julia Nolan recently completed her PhD in Curriculum Studies (Music Education) at UBC. Her research is in music performance teaching and learning at the university level through the perspectives of master teachers. Julia's thesis: Fostering Artistry through Pedagogy: Conversations with Frederick Hemke, Eugene Rousseau, and Donald Sinta is supported by a grant through the Social Sciences and Humanities Council of Canada (SSHRC).



Artistry Through Pedagogy: Conversations with Fred Hemke, Eugene Rousseau, and Donald Sinta.

The VIDEOS

VIDEOS NON AUTHORIZATED BY THE PERFORMER
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JON GUDMUNDSON / Los interpretes de barítono: Grandes saxofonistas de Jazz y Pop, incluyendo algunos de los que nunca has oido hablar...

Jon Gudmundson



Dr. Jon Gudmundson, Director of Jazz Studies and Associate Professor of Saxophone, Utah State University

from USA

Jon Gudmundson, Director of Jazz Studies and Associate Professor of Saxophone at Utah State University, has also taught at Brevard College, the University of Northern Colorado and Indiana University. Dr. Gudmundson has performed with the Harry James Band, Lydia Pense and Cold Blood, Bobby Watson, Donald Harrison, David Young, Aaron Neville, Roberta Flack, Connie Haines, and many others.

Jon has served as clinician, adjudicator, featured soloist, and lecturer at conferences and festivals across North America, including International Association for Jazz Education Conferences, World Saxophone Congresses, and numerous jazz festivals. Jon has performed in most of the fifty states in the U.S., and several countries on four continents. His favorite projects currently are the saxophone quartet FOUR, and a book project about his favorite topic, tentatively titled The Bari Players.

Dr. Gudmundson received his D.A. in Saxophone Performance/Pedagogy from the University of Northern Colorado, M.M. in Jazz Studies from Indiana University, B.M. in Jazz Studies and Saxophone Performance from Western Washington University, and A.F.A. in Music and C.F.A. in Jazz Studies from North Seattle Community College. He has written liner notes for CDs by Ronnie Cuber and Bob Brookmeyer on Koch International and been published in The Saxophone Symposium, Teaching Music, and Research Proceedings of the IAJE.

The Bari Players: Great Jazz and Pop Baritonists, including a few you may not have heard of...

Most saxophonists, when posed the question “Who are the great bari players in jazz and pop music,” will rattle off a list of the usual suspects: Carney, Mulligan, Chaloff, Pepper Adams, Nick Brignola, maybe Leo Parker and Cecil Payne. More knowledgeable baritone enthusiasts will include Surman, Bluiett, Cuber, Smulyan, perhaps Sahib Shihab, Ronnie Ross and a few others. As baritone saxophonist Jon Gudmundson discovered while researching his book, The Bari Players, there is, in fact, a whole universe of fine baritone saxophonists in jazz and pop, covering a staggering breadth of styles, and more and more players are taking up the big horn every day. In this lecture, a number of very fine baritonists will be presented, including some lesser-known “talent deserving wider recognition,” and quite possibly you will come away with e few new favorite players whom you will want to further investigate.

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