American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

Brass musicians are known to experience a performance problem that is sometimes called valsalva maneuver or musical stuttering. This problem is known to cause difficulty starting a first note, tension in the throat, and tightness in the chest. Unfortunately, the research literature lacks sufficient details for evidence-based interventions. Therefore, the purpose of this study is to characterize and define this performance problem as experienced by brass musicians. An online epidemiologic survey was developed and deployed to collect data from brass musicians who have experienced this problem in their own playing. The survey was designed to acquire data in order to characterize and define the phenomenon through a biopsychosocial framework. The survey was also designed to assess whether this problem aligns with Altenmuller's heuristic model of motor control disruptions. A diverse group of brass musicians (n = 252) participated and offered relevant details for characterizing and defining this problem. Analysis of characteristic data suggests this problem is not a form of musical stuttering. Considering these data through Altenmuller's model suggests that this problem is experienced as a spectrum of motor disruptions that can develop into a unique type of musician's dystonia. While additional research is warranted, the results of this study …