Relevant bibliographies by topics / Organ music Analysis

Academic literature on the topic 'Organ music Analysis'

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Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Organ music Analysis"

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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "Organ Augmented Reality." International Journal of Creative Interfaces and Computer Graphics 1, no. 2 (July 2010): 51–66. http://dx.doi.org/10.4018/jcicg.2010070105.

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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Manescu, Adrian, Alessandra Giuliani, Fabrizio Fiori, and B. Baretzky. "Residual Stress Analysis in Reed Pipe Brass Tongues of Historic Organs." Materials Science Forum 524-525 (September 2006): 969–74. http://dx.doi.org/10.4028/www.scientific.net/msf.524-525.969.

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True Baroque organ music can only come back to life in the 21st century by developing Cu-based alloys and implementing them in the organ reed pipes. Reed pipes contain a vibrating part, the brass tongue that crucially influences its sound. Energy dispersive synchrotron X-ray diffraction has been performed in order to investigate residual stresses in the tongues. The in depth analysis gives us an important indication on the processes the tongues were submitted to during their manufacturing: hammering, annealing, filing to the neat thickness, curving of the tongues. A biaxial stress state in the organ tongues was considered. The residual stress values and behaviour were correlated to the manufacturing processes.
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Hill, David S., Stuart B. Kamenetsky, and Sandra E. Trehub. "Relations among Text, Mode, and Medium: Historical and Empirical Perspectives." Music Perception 14, no. 1 (1996): 3–21. http://dx.doi.org/10.2307/40285707.

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We examined, by historical and empirical means, relations among text (positive, negative), mode (Ionian, Phrygian), and medium (organ, vocal) in settings of a popular Christian melody from the baroque era. A descriptive analysis of 51 representative settings indicated that baroque composers tended to link Ionian settings of the melody to a "salvation" text and Phrygian settings to a "condemnation" text. They also set vocal pieces more frequently in the Ionian mode and organ pieces in the Phrygian mode. A series of experiments confirmed that contemporary adult and child listeners linked reward texts to the Ionian mode and punishment texts to the Phrygian mode, with the internal cadence structure of the settings affecting such links. Moreover, adult listeners associated these texts differentially with organ and vocal settings.
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Gjerdingen, Robert O. "“Historically Informed” Corpus Studies." Music Perception 31, no. 3 (December 2012): 192–204. http://dx.doi.org/10.1525/mp.2014.31.3.192.

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Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements of music,” the question of what constitutes an “element” can involve similar historicist/presentist dilemmas. The article examines three historically significant characteristics of European art music—three historicist features—that are not always recognized in presentist corpus studies. For an illustrative example, a comparison is made between how the cadenza doppia in a Bach toccata for organ might be represented in a corpus study as either a two-voice framework or a series of Roman numerals in the tradition of Allen McHose (1947). Because that type of cadence was a commonplace in Bach’s time and in Bach’s compositions, a corpus analysis should be able to detect its multiple occurrences as a core element of the music.
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Scott, Derek B. "In Search of Genetically Modified Music: Race and Musical Style in the Nineteenth Century." Nineteenth-Century Music Review 3, no. 1 (June 2006): 3–23. http://dx.doi.org/10.1017/s147940980000032x.

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I should begin by declaring immediately my standpoint that there is no such thing as race. Race and, by extension, racism may have a social reality but they have no sound scientific grounding whatsoever. No convincing biological evidence has ever been produced that establishes the existence of different human races. DNA analysis offers little support to theories of genetic difference, and has revealed that even the most geographically separate social groups vary in only 6 to 8 per cent of their genes. Race does not present a medical problem when it comes to organ transplants. My research questions are, therefore: When and why did the idea of ‘race’ arise, and how did this fiction affect the production and consumption of music in the nineteenth century? In seeking answers, I make illustrative references to Liszt's Gypsy, Wagner's Jew, Celtic music, African-American music and American Indian music.
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Wrzeciono, Piotr. "Pattern Recognition in Music on the Example of Reconstruction of Chest Organ from Kamień Pomorski." Sensors 21, no. 12 (June 17, 2021): 4163. http://dx.doi.org/10.3390/s21124163.

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The chest organ, which gained popularity at the beginning of the 17th century, is a small pipe organ the size of a large box. Several years ago, while compiling an inventory, a previously unidentified chest organ was discovered at St. John the Baptist’s Co-Cathedral in Kamień Pomorski. Regrettably, the instrument did not possess any of its original pipes. What remained, however, was an image of the front pipes preserved on the chest door. The main issue involved in the reconstruction of a historic instrument is the restoration of its original tuning (temperament). Additionally, it is important to establish the frequency of A4, as this sound serves as a standard pitch reference in instrument tuning. The study presents a new method that aims to address the above-mentioned problems. To this end, techniques to search for the most probable temperament and establish the correct A4 frequency were developed. The solution is based on the modeling of sound generation in flue pipes, as well as statistical analysis to help match a model to the parameters preserved in the chest organ drawing. Additionally, differentalues of the A4 sound values were defined for temperatures ranging from 10 ∘C to 20 ∘C. The tuning system proposed in 1523 by Pietro Aaron proved to be the most probable temperament. In the process of testing the developed flue pipe model, the maximum tuning temperature was established as 15.8 ∘C.
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Kupina, Darina. "Meditations for organ: parallels to musical creativeness." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 65–83. http://dx.doi.org/10.33287/222018.

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The purpose of the article is to determine genre parameters of meditation for the organ on the example of the pieces of composers of the early 21st century. It is proposed to concretize the prerequisites of meditation for organ as an independent genre and to compare the strategies of reading the genre by representatives of different national schools of composition (Italy, Ukraine, Brazil). Among the research methods there were used: historiographic (restoring the historical retrospective of genre formation), the method of genre analysis (confirming the genre status of meditation), the method of style determination in combination with the comparative method (comparing the strategies of reading the genre by composers of different nationalities). The novelty of the proposed topic lies in the identification of the genre status of meditation for the organ and the introduction into the musicological discourse of works that have not previously come to the attention of Ukrainian researchers. Conclusions. Meditations “Shiva” by K. Ferrari, “And there was night, and there was morning, and there were quiet heavenly flutes...” by M. Shukh and Prelude-Meditation by F. Costa make it possible to define meditation as an independent genre of organ art with a constant set of stable indicators. Meditation for the organ is a concert piece that belongs to the genres of cult-ritual music and is characterized by an introverted structure of the communicative act. All works with a similar genre name are united by a single semantic field of religious contemplation. The compositional foundations of meditation as a genre consist in the multiple repetition of structures (of different scales) with a clear “looseness” of the form, which guarantees the tightness of the same sound environment and the monochromatic text. Stylistic characteristics became variable components of the meditation: the meditative profile of “Shiva” by C. Ferrari is emphasized by the using of techniques of minimalism, in the piece by M. Shukh the emphasis is transferred to the timbre of the organ with appeal to the intonation of oriental music, and in the Prelude-meditation by F. Costa attempts to build a new sound universe, as extended scale of the overtone series.
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Dimic, Zoran. "On artistic shaping of citizens’ political gatherings." Filozofija i drustvo 24, no. 3 (2013): 23–33. http://dx.doi.org/10.2298/fid1303023d.

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Following the new reading of Kant?s third critique, which was proposed by Hannah Arendt in her Lectures on Kant?s Political Philosophy, in this paper, the author deals with the function of art in the establishment, organization and profiling of political communities. The focus is primarily on the field of music. The analysis begins with ancient philosophers (Pythagoras, Plato, Aristotle) and continues with the problems which relate to artistic shaping of citizens? lives in modern epoch (Rousseau, Kant, Schiller). The goal of the paper is to show that the philosophy of art and the philosophy of music, could be taken as a political philosophy, precisely because the analysis of these phenomena constantly convinces a close intertwining of politics and aesthetics, i.e. art and power, music and power. As a conclusion, we might say that a general aesthetic sense can be seen as a kind of human organ for public aesthetic gathering of citizens. Music, poetry, visual arts, etc., have become tools for the political shaping of citizens, i.e. the tools of their political life.
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Whiteley, Sheila. "Progressive rock and psychedelic coding in the work of Jimi Hendrix." Popular Music 9, no. 1 (January 1990): 37–60. http://dx.doi.org/10.1017/s026114300000372x.

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Discussion of the 1960s generally identifies progressive rock as the prime organ of communication within the counter-culture. At the same time, musical analysis of the genre is an underdeveloped field of study, including only an identification of musical characteristics (Willis 1978), Mellers' analysis of the Beatles (1973) and Middleton and Muncie's analysis of five representative songs in the Open University's course, Popular Culture (1981). As a particularly heterogeneous genre (compared with, for example, rock 'n' roll and r&b), definitions of progressive rock equally raise problems: to what extent does the variety of styles reflect the variety of radical movements contained within the overall term counter-culture; alternatively, given the variety of styles, can progressive rock be considered a single phenomenon and, if so, to what extent does it have musical codes in common?
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Arthurs, Yuko, Amy V. Beeston, and Renee Timmers. "Perception of isolated chords: Examining frequency of occurrence, instrumental timbre, acoustic descriptors and musical training." Psychology of Music 46, no. 5 (August 8, 2017): 662–81. http://dx.doi.org/10.1177/0305735617720834.

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This study investigated the perception of isolated chords using a combination of experimental manipulation and exploratory analysis. Twelve types of chord (five triads and seven tetrads) were presented in two instrumental timbres (piano and organ) to listeners who rated the chords for consonance, pleasantness, stability and relaxation. Listener ratings varied by chord, by timbre, and according to musical expertise, and revealed that musicians distinguished consonance from the other variables in a way that other listeners did not. To further explain the data, a principal component analysis and linear regression examined three potential predictors of the listener ratings. First, each chord’s frequency of occurrence was obtained by counting its appearances in selected works of music. Second, listeners rated their familiarity with the instrumental timbre in which the chord was played. Third, chords were described using a set of acoustic features derived using the Timbre Toolbox and MIR Toolbox. Results of the study indicated that listeners’ ratings of both consonance and stability were influenced by the degree of musical training and knowledge of tonal hierarchy. Listeners’ ratings of pleasantness and relaxation, on the other hand, depended more on the instrumental timbre and other acoustic descriptions of the chord.
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Dissertations / Theses on the topic "Organ music Analysis"

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Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected ranks of the organ and selected orchestral instruments and mapping them into pitch structures.
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Teteris, Melisandra Elizabeth. "The solo horn and organ tradition| An analysis of Peteris Vasks's "Musique du Soir"." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10131633.

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The compositional pairing of horn and organ is less common, in comparison to the more popular combination of trumpet and organ, perhaps a result of this pairing being a more recent development in Western art music. In the second half of the twentieth century, composers showed an increased interest in combining the horn and organ particularly in France, the United States, and Eastern Europe. In Paris, the influence of the French organ school was a prime motivator in this ensemble shift along with the desire amongst composers to explore new timbral options. This horn and organ pairing had an influence on the works of Latvian composer Pēteris Vasks, whose catalog includes many compositions for organ in addition to one solo composition for horn with organ accompaniment—Musique du Soir (1988).

This study includes an analysis of cultural context, form, and oral history methodologies. In order to gain insight into the reasoning for the late development of the horn and organ pairing, it is important to understand the influences and arrangements that came out of France in the first half of the twentieth century, the compositional mind-set that was popular in the mid-twentieth century in regards to the fixation upon new timbres and ensembles, and the issue of horn with a piano accompaniment as a mundane entity. Musique du Soir (1988), is based on themes of nature and is composed in a free form that reflects the freedom in nature. A formal and melodic analysis will examine these features and explore how they work within this piece. In addition, information from personal interviews with the composer will give insights into Vasks' compositional process and provide a detailed look at the importance of the horn and organ pairing to the composer.

Pēteris Vasks, an important figure within Latvian art music, and his horn and organ work exemplifies the richness of tradition within his compositions and the importance that he has placed in Latvian art music, an often overlooked genre.

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COUCH, III LEON WHELAND. "THE ORGAN WORKS OF DIETRICH BUXTEHUDE (1637-1707) AND MUSICAL-RHETORICAL ANALYSIS AND THEORY." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1028220263.

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Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens| A Stylistic Analysis of Freely Composed Works and Serial Compositions." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3601252.

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Joseph Ahrens (1904-97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques.

This document examines one freely composed work and two serial compositions by Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia Dodekaphonica (1978). The purpose is to demonstrate that Ahrens's style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures.

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Howard, Beverly A. (Beverly Ann). "Texture in Selected Twentieth-Century Program Music for Trumpet and Organ, A Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, J.S. Bach, G. Bohm, N. Degrigny, H. Distler, M. Durufle, J. Guillou, A. Heiller, W.A. Mozart, E. Raxache, M. Reger, L. Vierne." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330759/.

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This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.
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Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.

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Johns, Kristen Michele. "Original Compositions for Horn and Organ: Performance Problems Unique to the Medium with Discussion of Selected Solutions through Analysis of Representative Works." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141168681.

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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
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Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871051.

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Jürgensen, Frauke. "Accidentals in the mid-fifteenth century : a computer-aided study of the Buxheim organ book and its concordances." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85921.

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The Buxheim Organ Book, the largest fifteenth-century manuscript of keyboard tablature, has never before been examined as a whole in light of musica ficta issues, although it contains far more accidentals than any contemporaneous source in mensural notation. Although tablature has been used by various scholars to examine accidentals in sixteenth-century music, studies of fifteenth-century accidentals have focussed on theoretical evidence and small groups of pieces from mensural sources. The author uses the Buxheim Organ Book to extend the investigations of accidentals in tablature back into the fifteenth century, combining the large data set provided by this manuscript with a statistical approach modelled on that of Thomas Brothers's smaller-scale study of the chansons of Binchois. Specialised computer programs are introduced, which detect musical structures relevant to the analysis of Renaissance music such as different types of cadential voice leading. These programs function as extensions to David Huron's Humdrum Toolkit. With these tools, signing practises in the intabulations are statistically compared with all of the concordances of the models. Conclusions are suggested pertaining to issues of signature accidental transmission, partial signatures, mode, and musica ficta, which can be used as a contextual backdrop for the analysis of individual pieces. The evidence provided by the accidentals in Buxheim and its concordances draws a clear picture of how a group of fifteenth-century musicians added accidentals to polyphonic music. For the first time, this study provides us with principles and guidelines for musica ficta -decisions based on actual practice.
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Books on the topic "Organ music Analysis"

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A guide to organ music. Portland, OR: Amadeus Press, 1986.

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Lukas, Viktor. A guide to organ music. Portland, Or: Amadeus Press, 1989.

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Twentieth-century organ music. New York, NY: Routledge, 2011.

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The organ works of Marcel Dupré. Stuyvesant, NY: Pendragon Press, 1999.

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Davidsson, Hans. Matthias Weckmann: The interpretation of his organ music. Stockholm: Gehrmans Musikförlag, 1991.

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Die Orgelwerke Max Regers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel Verlag, Heinrichshofen-Bücher, 1989.

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Kilian, Dietrich. Sechs Sonaten und verschiedene Einzelwerke: Kritischer Bericht. Kassel: Bärenreiter, 1988.

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Johann Nepomuk David, das Choralwerk für Orgel: Versuch einer hinführenden Analyse. Frankfurt am Main: P. Lang, 1994.

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Weyer, Martin. Die Orgelwerke Josef Rheinbergers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel, 1994.

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Harald, Schützeichel, ed. Die Orgelwerke Johann Sebastian Bachs: Vorworte zu den "Sämtlichen Orgelwerken". Hildesheim: G. Olms, 1995.

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Book chapters on the topic "Organ music Analysis"

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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "Organ Augmented Reality." In Innovative Design and Creation of Visual Interfaces, 131–47. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0285-4.ch010.

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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Stinson, Russell. "Introduction." In Bach's Legacy, 1–5. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0001.

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This book deals with J. S. Bach’s posthumous role in music history. Combining the disciplines of history, biography, and musical analysis, it considers how four of the greatest composers of the nineteenth and twentieth centuries engaged with Bach’s legacy. Special emphasis is given to Felix Mendelssohn’s and Robert Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Richard Wagner’s musings on the Well-Tempered Clavier, and Edward Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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