The Tārāb Saxophone - The development of a comprehensive culturally informed approach to the performance on the saxophone of music derived from Arabic maqāmāt.

Abstract

This thesis details the synthesis of Arabic music performance practices with the idiolect of a non-Arab Australian saxophonist. The process is guided by principles inferred from tārāb, a phenomenon that encapsulates theoretical, technical and expressive information peculiar to the idiom. A retraining method based on conceptualisation, replication, activation and incorporation is applied. A robust theoretical, contextual, aesthetic and kinaesthetic conception is developed by accumulation of performance skills on the Arabic nāy (flute). Aural skills are redefined and systematically enhanced to accurately perceive and produce microtones intrinsic to Arabic maqāmāt (modes). The study demonstrates how this information is transferred by analogy to the saxophone, requiring a detailed investigation of the instrument in the development of a 24-tone chromatic technical approach, including a hierarchy of preferential fingerings. A range of saxophones are tested to ensure transferability of solutions, and limitations are defined and discussed. Contextual technical and kinaesthetic retraining relevant to performance of maqāmāt on saxophone is achieved through a process of development of drills, including idiomatic trills, melisma and ornaments, repertoire extracts and extensive transcription. This process enables a culturally informed and comprehensive performance approach to Arabic-maqām derived music, including traditional repertoire and contemporary intercultural performance practice. Skill sets derived from functional performance aspects of tārāb are used to enhance, direct and inform improvisation and composition practice, within and beyond the Arabic music context.