This thesis examines the sonic parameters and musical versatility of the concert
saxophone. Invented in 1840, the instrument failed to become a regular member of the
symphony orchestra, and is thus underrepresented in classical music. This researcher
argues that the saxophone's unique sonic design makes it an effective contemporary
instrument in a wide variety of genres. Specifically, the techniques of subtone, harmonics,
and false fingerings are examined from both a performance and compositional perspective.
Additionally, the instrument's resemblance to the human voice is documented.
An examination of five original saxophone compositions highlights the instrument's
flexibility as a solo instrument or as a member of an ensemble. This work adds to the
number of original compositions for the saxophone and explores the reasons behind the
instrument's success in contemporary music.