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Journal articles on the topic 'Organ music'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Drakeford, Richard, Jaques Casterede, Naji Hakim, and Odile Pierre. "Organ Music." Musical Times 132, no. 1779 (May 1991): 264. http://dx.doi.org/10.2307/965710.

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2

Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1770 (August 1990): 449. http://dx.doi.org/10.2307/966643.

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3

Bye, Antony. "Organ Music." Musical Times 131, no. 1774 (December 1990): 678. http://dx.doi.org/10.2307/966742.

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4

Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1771 (September 1990): 511. http://dx.doi.org/10.2307/1193681.

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5

Djohan, Djohan, Asep Hidayat Wirayudha, and Aghisna Indah Mawarni. "Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik." Resital:Jurnal Seni Pertunjukan 24, no. 2 (August 3, 2023): 136–45. http://dx.doi.org/10.24821/resital.v24i2.9747.

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As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, especially when presented in orchestral format involving dozens of supporting musicians. Generally, not only do audiences watch a stage filled with musicians, but they also listen to the works of composers in various timbres. Some musics are performed in the form of solo, duet, or as ensemble. However, the challenge for musicians is that the majority of society do not understand art music well due to lack of knowledge and the prevalence of easily accepted popular music. It occurs because music education still upholds the tradition of classifying music into high and low art according to European concepts. Art music carries musicological elements rooted in mathematical discipline, which implicitly requires audiences to have a background in music knowledge, even during performances. In Indonesia, which is currently developing and strengthening its creative economy, creative breakthroughs are needed to make art music more popular and have a positive impact on musicians. In this study, the author implemented a quantitative method with a one-posttest design approach. The sample consisted of teenagers studying art music. The total sample was N=100, consisting of students in music performance vocational program who were given treatment by listening to a recorded toccata in D minor by JS Bach played on the organ and re-instrumented using the electric guitar, electric bass, and synthesizer. The results reveal that the subjects' preference for rock music is significantly influenced by personal preference with p<0.05. Particularly, the predictor of preference has a coefficient of R 0.900 with an R2 of 0.809, indicating that preference contributes 80.9% to the variability of the preferences. Therefore, it can be concluded that the renewing instrumentaion of Baroque music by shifting timbre of electric instruments with rock sensation has an influence on the musical preference of today youth. It happens especially when the ornamentation, one of the characteristic of Baroque music, is played with forte dynamic and blended technique, resulting in piercing and swinging sounds as an effect of electric guitar distortion.Tujuan penelitian ini untuk mengidentifikasi indikator selera musik remaja masa kini yang kurang menyukai karya instrumental era Barok (musik seni) melalui rekayasa warna suara (timbre) alat musiknya. Karena dalam konteks ekonomi kreatif akan membuka peluang musik seni untuk berkompetisi dalam dunia industri musik. Selama ini musik seni telah berabad lamanya dipelajari dan ditekuni hingga saat ini bahkan karya-karya para komponis besar diasosiasikan dengan karya abadi. Salah satu faktor yang menjadikan eksistensi musik seni hingga sekarang adalah karena dalam pertunjukkannya sangat dipengaruhi oleh konduktor. Terutama sekali jika karya tersebut dipertunjukkan dalam format orkestra yang melibatkan puluhan musisi pendukung. Di satu sisi secara visual selain menyaksikan panggung penuh dengan musisi juga mendengarkan karya para komponis dalam berbagai macam warna suara. Sementara di sisi lain, ada musik seni yang dimainkan secara solo, duet atau kelompok (musik kamar). Pada kenyataannya, tantangan musisi musik seni adalah karena sebagian besar masyarakat tidak paham musik seni baik karena kurangnya pengetahuan dan maraknya musik industri yang jauh lebih mudah dicerna. Hal ini terjadi karena dalam pendidikan musik seni pun masih mempertahankan tradisi seni tinggi sesuai dengan sumbernya di Eropah. Musik seni memiliki muatan musikologi yang berasal dari disiplin matematika sehingga dalam bentuk pertunjukanpun secara implisit mensyaratkan audiens memiliki latar belakang pengetahuan musik. Indonesia yang sedang mengembangkan serta memperkuat ekonomi kreatif maka diperlukan terobosan kreatif agar musik seni dapat semakin digemari sehingga membawa dampak positif bagi musisi musik seni. Penelitian ini menggunakan metode penelitian kuantitatif dengan pendekatan one posttest design only dan sampel dalam penelitian ini adalah remaja yang sedang belajar musik seni. Total sampel sebanyak N=100 terdiri dari mahasiswa program vokasi penyajian musik yang diberi intervensi dengan mendengarkan rekaman toccata in d-minor karya JS Bach untuk alat musik organ dan yang sudah direinstrumentasi menggunakan alat musik gitar, bas elektrik dan synthesizer. Hasilnya menunjukkan bahwa selera subjek terhadap musik rock secara signifikan lebih ditentukan oleh preferensi pribadi dengan p<0.05. Terutama dengan prediktor preferensi yang memiliki koefisien R 0.900 dengan R2 0.809 sehingga preferensi memberi sumbangsih sebanyak 80.9% terhadap variabilitas selera. Maka, dapat disimpulkan bahwa reinstrumentasi musik barok menggunakan warna suara instrumen elektrik dengan sensasi rock memiliki pengaruh terhadap selera musik subjek remaja. Terutama sekali ketika pada bagian ornamentasi sebagai ciri khas musik barok dibunyikan dalam dinamika forte dengan teknik blend sehingga terdengar melengking dan mengayun sebagai efek dari suara distorsi gitar elektrik.
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6

Rochester, Marc. "New Organ Music." Musical Times 127, no. 1726 (November 1986): 646. http://dx.doi.org/10.2307/964296.

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7

Bond, Ann. "New Organ Music." Musical Times 126, no. 1709 (July 1985): 435. http://dx.doi.org/10.2307/964374.

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8

Rochester, Marc. "New Organ Music." Musical Times 127, no. 1723 (October 1986): 584. http://dx.doi.org/10.2307/964408.

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9

Bond, Ann, and John Steel. "New Organ Music." Musical Times 126, no. 1711 (September 1985): 561. http://dx.doi.org/10.2307/964481.

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10

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1729 (March 1987): 165. http://dx.doi.org/10.2307/964515.

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11

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1727 (January 1987): 49. http://dx.doi.org/10.2307/964650.

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12

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1728 (February 1987): 105. http://dx.doi.org/10.2307/964796.

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13

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1730 (April 1987): 233. http://dx.doi.org/10.2307/965446.

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14

Cummings, Graham. "Recent Organ Music." Musical Times 133, no. 1787 (January 1992): 48. http://dx.doi.org/10.2307/966252.

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15

Whitehouse, Matthew. "Astronomical Organ Music." Culture and Cosmos 16, no. 1 and 2 (October 2012): 393–97. http://dx.doi.org/10.46472/cc.01216.0263.

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Music inspired by astronomical phenomena is familiar to INSAP participants. In this presentation, I will present two pieces of astronomy-inspired music composed specifically for the organ: Nebulae and Nova. The music will be accompanied by a slide show of astronomical images. Nebulae is my original work and is a musical narrative on the process of star formation. It has been performed throughout the United States, including at Notre Dame Cathedral in Paris in October 2010. Nova is by the American composer Myron Roberts, and is a depiction of a supernova explosion.
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16

Bailey, Candace, John Blow, and Barry Cooper. "Complete Organ Music." Notes 54, no. 4 (June 1998): 987. http://dx.doi.org/10.2307/900098.

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17

Sholl, Robert. "New Organ Music." Musical Times 137, no. 1841 (July 1996): 40. http://dx.doi.org/10.2307/1003449.

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18

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1707 (May 1985): 309. http://dx.doi.org/10.2307/961328.

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19

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1705 (March 1985): 179. http://dx.doi.org/10.2307/961687.

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20

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1706 (April 1985): 243. http://dx.doi.org/10.2307/962202.

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21

Elcombe, Keith. "Baroque Organ music." Early Music XXIX, no. 4 (November 2001): 655–56. http://dx.doi.org/10.1093/earlyj/xxix.4.655.

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22

Smaczny, Jan. "Czech Organ Music." Nineteenth-Century Music Review 6, no. 2 (November 2009): 156–58. http://dx.doi.org/10.1017/s1479409800003220.

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23

Quinney, R. "Buxtehude's organ music." Early Music 37, no. 3 (August 1, 2009): 501–2. http://dx.doi.org/10.1093/em/cap062.

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24

Moger, Peter. "Kenneth Leighton's Organ Music." Musical Times 126, no. 1711 (September 1985): 553. http://dx.doi.org/10.2307/964477.

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25

Bond, Ann. "Organ Music and Records." Musical Times 131, no. 1772 (October 1990): 572. http://dx.doi.org/10.2307/966525.

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26

Patterson, Myron B., and Gerhard Krapf. "Organ Music for Lent." Notes 43, no. 4 (June 1987): 925. http://dx.doi.org/10.2307/898179.

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27

Quinn, Iain. "SAMUEL BARBER'S ORGAN MUSIC." Tempo 65, no. 256 (March 29, 2011): 38–51. http://dx.doi.org/10.1017/s0040298211000155.

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The publication of three previously unpublished early organ works of Samuel Barber (1910–1981) in the hundredth year since his birth allows an opportunity to consider his output afresh for an instrument he knew well from his childhood years. Known to millions through the broadcast, concert and film media, Barber's most-played work, the Adagio from the String Quartet, op. 11 (1936) has remained a familiar voice to contemporary ears 75 years after its composition. Indeed it could be fairly suggested that it has become to America what Elgar's Nimrod has to the British; a piece that can summon up the rawest of emotions within its first bars whilst being imbued with an unquestionable national identity.
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28

Kitchen, J. "Music reviews. Organ manuals." Early Music 29, no. 1 (February 1, 2001): 134–36. http://dx.doi.org/10.1093/em/29.1.134.

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29

Webber, G. "Mostly German organ music." Early Music 41, no. 4 (November 1, 2013): 684–89. http://dx.doi.org/10.1093/em/cat114.

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30

Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (June 2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The opening of a large organ in Boston's Music Hall in 1863 and the building of large churches in the post-war period gave impetus to public organ recitals, which along with compositions by Bach, Mendelssohn, Rinck and Batiste etc. usually included transcriptions from operas and orchestral works, and compositions by the performers. At first, the emphasis was on Germanic music, but as the second half of the century progressed and more organists were studying abroad, works by British and French composers began to appear. By the end of the century the emphasis had become strongly French, particularly after the concert tours of Parisian virtuoso Alexandre Guilmant, and America's first true concert organist, Clarence Eddy, began making tours to European countries. By this time many large organs had been built for concert halls, cathedrals, colleges, and urban churches, providing excellent venues for solo organ recitals as the twentieth century opened.
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31

Bernat, Sebastian. "Pipe organ and organ music in Poland as a part of world heritage." Muzeológia a kultúrne dedičstvo 10, no. 2 (2022): 23–42. http://dx.doi.org/10.46284/mkd.2022.10.2.2.

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The pipe organ, as a musical instrument and an important object of cultural heritage, has been gaining increasing interest from the international community in recent years. This paper aims at examining the possibilities of preserving organs and organ music in Poland in an international context. As part of the study, an analysis of UNESCO lists was conducted. Furthermore, the organ-building assets in Poland and tourist products developed on their basis (including cultural trails dedicated to organs and organ museums) were studied. Attention was also drawn to other sites and forms of the organ of possible interest to tourists, and to the functioning of organ festivals during the COVID-19 pandemic and virtual organ projects implemented in that period. In addition, public awareness concerning the organ in Poland and Europe as well as organ festivals and other associated tourist products was examined. Finally, actions aimed at preserving Poland’s organ heritage were proposed with reference to practices in other European countries. It was concluded that one of the possible ways to integrate the conservation of organ heritage is a comprehensive approach through the landscape. Organs and their music also form a part of the local landscape, both as landforms reminiscent of the instruments and as artistic installations and sounds, shaping a sense of local and regional identity. It is also very important to engage in cross-border cooperation (including an exchange of good practices) and educational projects with regard to the safeguarding of organ heritage.
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32

Reynolds, Gordon. "Organ." Musical Times 133, no. 1791 (May 1992): 260. http://dx.doi.org/10.2307/1193719.

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33

Bond, Ann, and Arthur Wills. "Organ." Musical Times 126, no. 1705 (March 1985): 179. http://dx.doi.org/10.2307/961688.

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34

Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (June 27, 2016): 227–30. http://dx.doi.org/10.4312/mz.52.1.227-230.

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The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history and to evaluate this process from the standpoint of Slovene musical and cultural history.
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35

Bond, Ann, and Peter Hurford. "Making Music on the Organ." Musical Times 130, no. 1751 (January 1989): 47. http://dx.doi.org/10.2307/966115.

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36

Bond, Ann, and Peter Hurford. "Making Music on the Organ." Musical Times 129, no. 1750 (December 1988): 693. http://dx.doi.org/10.2307/966674.

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37

Walker, Diane Parr, Viktor Lukas, and Ann Wyburd. "A Guide to Organ Music." Notes 46, no. 4 (June 1990): 951. http://dx.doi.org/10.2307/941269.

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38

Peterson, Edward A. "Music for the reed organ." Journal of the Acoustical Society of America 99, no. 4 (April 1996): 2461–500. http://dx.doi.org/10.1121/1.415494.

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39

JOHNSTONE, H. D. "EDITING MAURICE GREENE'S ORGAN MUSIC." Music and Letters 81, no. 1 (February 1, 2000): 170–72. http://dx.doi.org/10.1093/ml/81.1.170-b.

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40

Hilson, J. "Two Interludes from Organ Music." English 63, no. 243 (July 11, 2014): 347–48. http://dx.doi.org/10.1093/english/efu013.

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41

&, J. W. Walker; amp, and Sons. "Bolton Organ." Musical Times 128, no. 1727 (January 1987): 6. http://dx.doi.org/10.2307/964618.

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42

Hill, Cecil, and Hannalore Reuter. "Organ Museum." Musical Times 127, no. 1720 (July 1986): 390. http://dx.doi.org/10.2307/965248.

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43

Bond, Ann, and Basil Ramsey. "Organ Records." Musical Times 132, no. 1775 (January 1991): 732. http://dx.doi.org/10.2307/965569.

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44

Mellers, Wilfrid, and Jonathan Freeman-Attwood. "Organ Records." Musical Times 131, no. 1769 (July 1990): 394. http://dx.doi.org/10.2307/965775.

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45

Buxton, Mark. "Organ Records." Musical Times 131, no. 1767 (May 1990): 283. http://dx.doi.org/10.2307/966172.

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46

Bond, Ann. "Organ Records." Musical Times 131, no. 1773 (November 1990): 627. http://dx.doi.org/10.2307/966199.

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47

Bond, Ann, and Gordon Reynolds. "Organ Records." Musical Times 131, no. 1771 (September 1990): 513. http://dx.doi.org/10.2307/1193682.

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48

Bond, Ann, Peter Williams, and Barbara Owen. "The Organ." Musical Times 130, no. 1753 (March 1989): 181. http://dx.doi.org/10.2307/1193843.

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49

Lipov, A. N. "Спронк В. Испытание параметров музыки: Хальберштадтское исполнение ORGAN2/ASLSP Джона Кейджа как экспериментальная система." Studia Culturae, no. 53 (February 20, 2023): 81. http://dx.doi.org/10.31312/2310-1245-2022-53-81-109.

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Is being performed at Halberstadt, Germany, by ORGAN2/ASL SP (1987), an organ piece by the American avant-garde composer, John Milton Cage (1912–1992), music theorist and pioneer in aleatorics, electronic music and the non-standard use of musical instruments, whom music critics have called one of the most influential American composers of the 20th, known for his radical attempts to subvert listeners’ conventional ideas of what music is and should be. With this performance, with a running time of 639 years and being the world’s longest performance of a piece of music that will reach its finale at 2640, with a break at 2319, the initiators of the ORGAN2/ASLSP organ piece at Halberstadt seek to explore in practice the direction of the musical movement set by the composer — “as slowly as possible” that Cage laid out for the work. ORGAN2/ASLSP invites listeners to reconsider what we mean by music: is something still music if the length of performance exceeds the length of human life? In essence, Organ2/ASLSP contains the idea of a paradigm shift stemming from the transformation of musical technology, presented by the composer as a transition from linear to complex thinking, from determinism to indeterminism, to the creation, instead of static art objects, of moving and changing artistic processes that predetermine a new technique and aesthetics of music performance. ORGAN2/ASLSP’s performance questions the boundaries of musical performance, from the role of the performer to the role of the listener, the material and temporal conditions of music, to articulate how slow is “as slow as possible”, prompting us to essentially reconsider the fundamental parameters of music.
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50

Baretzky, B., M. Friesel, and B. Straumal. "Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life." MRS Bulletin 32, no. 3 (March 2007): 249–55. http://dx.doi.org/10.1557/mrs2007.30.

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AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.
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