The subject of Brazilian music commonly brings to mind the genres of samba and Bossa nova; however, in the realm of concert music Heitor Villa-Lobos is most commonly identified as the main representative of Brazil. While the Fantasia for Soprano Saxophone and Orchestra by Villa-Lobos is a keystone of the saxophone repertoire, this project serves to explore the breadth of works available by Brazilian composers for the concert saxophone. The thirty-three composers featured in this work represent compositions spanning the period from 1850 to 2007, written in a variety of styles related to movements in Brazilian music history such as nationalism, Música Viva, Música Nova, and post-modernism. Concerts works have been written for the entire family of saxophones, but the discussion in this study will be limited to compositions for the solo saxophone (soprano, alto, tenor or baritone saxophones) with piano or orchestra as well as small chamber ensembles, duos or trios.

Part I of this dissertation offers an overview of the history and the role of the saxophone in Brazilian music, including the instrument's arrival in the country and prominent performers who are key in promoting the concert saxophone within Brazil, while Part II opens with a description of the folk elements that are often drawn upon by Brazilian composers and elements that inherently represent the Brazilian musical language. Biographical information is presented on each composer, in addition to excerpts of the compositions discussed. Information about acquiring the performance materials is also included.