Abstract
Cross-over works in modern saxophone repertoire – i.e. works in which aspects of jazz and
classical music conventions are used – present a range of interpretive challenges for
undergraduate saxophone students. These challenges are augmented by the current structure of
many tertiary music programs in which the development of jazz and classical performance
skills take place in parallel programs. This study identifies the interpretive challenges
associated with performing cross-over repertoire, examines the studio practices of seven master
saxophone pedagogues who have successfully worked with undergraduate students in the
development of cross-over works and puts forth a template for enhancing these studio practices
through the incorporation of critical listening and self-reflection strategies that have been
linked in a spectrum of music education studies with student empowerment and self-directed
learning. The findings of this study indicate that while successful saxophone pedagogues often
find ways of working around institutional deficiencies when developing student’s skill sets,
student initiative plays a large role in determining the successful realisation of cross-over
repertoire. The two potential models of studio pedagogy put forth at the end of this thesis aim
to demonstrate how developing student initiative might feature more prominently in the context
of one-to-one teaching.
