Rozprawy doktorskie: „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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Inagi, Shinji, i Shinji Inagi. "The Use of "Computer-Assisted Contrapuntal, Intervallic, and Motion Analysis" as a Tool to Help Determine the Authorship of Organ Works in the Neumeister Collection". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621077.

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The noted Bach scholar Christoph Wolff and two other researchers made one of the more noteworthy musicological finds of the late twentieth century in 1984, when they first rediscovered and then published MS LM 4708 of the John Herrick Music Library of Yale University. This MS, which was published under the title The Neumeister Collection, contains 82 organ chorales, many previously unknown, by members of the Bach circle. Of those 82 chorales, five pieces appear without attribution and six works have been published that were previously attributed to other composers. Wolff's edition, which lists composers for all 82 chorales, relies largely upon stylistic analysis when assigning attributions for pieces with multiple attributions. This document introduces a new analytic tool that can be used to generate information relevant to questions of authorship in the Neumeister chorales; this important tool is a computer program called MATLAB. MATLAB can compile and tabulate information about the melodic, intervallic, and contrapuntal content of musical compositions by analyzing XML computer files produced by standard music software programs such as Finale or Sibelius. This data then can be used to generate graphs that can be compared between compositions. Such analysis sheds new light upon the musical choices of composers represented in The Neumeister Collection and makes possible more informed judgments about pieces with multiple attributions.

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Alban, Jeffrey M. "A Survey of the Sacred Choral Works of Joseph Jongen with a Conductor's Analysis of the Mass, Op. 130". Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/150.

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The manuscripts and published editions of the sacred choral works by Belgian composer Joseph Jongen sacred choral music were collected and listed, detailing the discernable pertinent characteristics of each work. Jongen is predominantly known for his organ works, but his choral works constituent a worthy contribution to the vocal music repertoire, especially his Mass, Op. 130. Jongen's music reflects the Impressionistic style while stemming from the school of César Franck. Choral directors and other musicians interested in Jongen's sacred choral works can use this work when exploring new repertoire. A short overview of Jongen's life is included based upon the information given in John Scott Whiteley's comprehensive book, Joseph Jongen and His Organ Music. The conductor's analysis provides a complete description of the Mass, Op. 130 with rehearsal and performance considerations. Phrase analysis graphs enhance the written analysis, and a discography of Jongen's sacred choral music completes this work.

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Javadova, Jamila. "Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6092/.

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This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.

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Chou, Kwong-Yan Godwin. "Assimilation of Baroque and Classical Essence with Romantic Sentiment: a Structural Analysis of Felix Mendelssohn-Bartholdy's Sonata in C Minor for Organ, Opus 62, No. 2". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278131/.

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The purpose of this study is to examine Sonata No. 2 in detail from many analytical perspectives including melodies, rhythms, harmonic progressions, tonal plans, voice leading, and cadential patterns on macro- and micro-levels. It is believed that a more in-depth discussion of the composition from the perspective of harmony and voice leading may provide answer for the questions raised, and correct some misinterpretations in the works of certain writers. Furthermore, through analysis of Sonata No. 2. this study will show the relationship of the use of formal, stylistic, harmonic features between Mendelssohn and other composers of the eighteenth and nineteenth centuries.

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Bedford, Don Michael. "Healey Willan's Introduction, Passacaglia and Fugue: English Style with German Overtones, with Three Recitals of Selected Works by L. Vierne, J.S. Bach, F. Mendelssohn, W. Piston, V. Persichetti and Others". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935654/.

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This document consists of the following elements: (1) an examination of Healey Willan's background in the English Cathedral tradition; (2) a study of the formation of his compositional style based on his knowledge of English composers and treatises of the day; (3) a look at the German influences on his compositional style; and (4) an analysis showing how he merged these styles into a unified whole to create a monumental work for the organ. Included are musical examples of English and German keyboard works compared with examples from Willan's introduction, Passacaglia and Fugue in order to illustrate the use of similar compositional devices and stylistic traits. Also included is a discussion of the evidence of Willan's individuality as a composer in spite of numerous derivative sources.

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Naxer, Meghan M. "César Franck’s Trois chorals pour orgue No. 3: A Schenkerian Perspective". Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1293670461.

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Dellosa, Lerie Grace. "Messiaen’s Musical Language: Technique and Theological Symbolism in Les Corps Glorieux, “Combat De La Mort Et De La Vie”". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822769/.

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One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of these studies barely discuss his theological ideas. Nevertheless, technical analysis of his music poses immense challenges, especially in the domains of melody and harmony. Although my approach is unconventional and do not follow any existing system, I base my technical and theological analyses mainly from Messiaen's technique, his commentaries and his references to the Scriptures. The “Combat de la mort et de la vie” is the heart of Les Corps glorieux in both technical and theological aspects. It is an intricate musical artwork where Messiaen demonstrates his melodic and harmonic developments using his idiosyncratic language, and through symbolism portrays the most complex of all drama according to Christian theology—the story of Jesus Christ's Passion and Resurrection. My research can relate directly to a more informed and convincing performance of the work, and can contribute a different perspective to the study, understanding, and appreciation of Messiaen's theologically inspired works.

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Lee, Hyun Kyung (Organist). "Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849666/.

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The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles.

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King, Deborah Simpkin. "The Full Anthems and Services of John Blow and the Question of an English Stile Antico". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332091/.

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John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.

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Brum, Paulo César Fernandes. "A suíte para ógão do oratório "Sete palavras de cristo na cruz", Opus 257 de Amaral Vieira : uma abordagem retórico-analítica da relação com seu oratório, Opus 255A". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76732.

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Este trabalho objetiva fornecer subsídios para uma maior compreensão dos elementos estruturais da Suíte para Órgão do Oratório “Sete Palavras de Cristo na Cruz”, opus 257 (1991) do compositor brasileiro Amaral Vieira e sua relação com o Oratório, do mesmo nome, opus 255a, através da análise relacionada com o texto e contexto do Oratório. A metodologia consiste no levantamento de informações a cerca da obra, questionário destinado ao compositor sobre o Oratório e Suíte para Órgão, identificação de aspectos retóricos e análise musical da obra observando a relação texto/música. Este trabalho poderá contribuir para uma melhor compreensão da Suíte para Órgão de Amaral Vieira através do aprofundamento de seu conteúdo musical aqui apresentado.
This study investigates the context and relationship of the Suite for Organ from the Oratory “The Seven Last Words of Christ on the Cross”, opus 257 (1991) and the Oratory itself (opus 255a), both by the Brazilian composer Amaral Vieira, for a better understanding of its structural elements. The methodology includes the context of both works, a questionnaire directed to the composer, analysis of the Suite, and identification of rhetorical aspects as they pertain to the Oratory. This work may contribute to a better understanding of the Suite for Organ by Amaral Vieira through the musical content presented here.

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NAYLOR, CAROL CHUBB. "THE ORGAN CONCERTO OF PAUL COOPER: AN ANALYSIS". Thesis, 1987. http://hdl.handle.net/1911/13247.

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Three features of the musical speech of Paul Cooper figure prominently in his compositions for the organ, and specifically the Organ Concerto (1982). These are a "signature chord", a "Lombardian snap", and the process of pitch centering by assertion. It is a matter of greater importance to see how these features are presented within a much wider context. The Organ Concerto itself was commissioned in 1982 by Clyde Holloway and Christ Church Cathedral, Houston, Texas, in conjunction with the Cathedral's Whitsuntide services. Cooper chose to pattern the Concerto in the style of a Baroque concerto grosso. It is very simply conceived in four movements with an overall rhythmic design of, I: Fast, II: Slow, III: Fast, IV: Coda (Slow); where alternating movements employ similar material in a formal outline as follows: I:A, II:B, III:A$\sp1$, IV:B.

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Walters, Elaine Evans. "Everyone dance: An analysis of Calvin Hampton's Five Dances for Organ". Thesis, 2005. http://hdl.handle.net/1911/18833.

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Calvin Hampton is an important figure in American music of the mid-to-late twentieth century. He was a composer of many genres, but was noted by his contemporaries as an organist and composer of hymn tunes and anthems. However, since his death in 1984, his organ works---particularly the Five Dances for Organ---have become well-known through recordings and artist recitals. This detailed analysis of the dances begins with scenario interpretations for the titled dances. The following chapters analyze the elements that characterize these scenarios according to harmony, ostinato, development of ostinato material, and rhythmic devices. Concluding chapters explore Hampton's wide use of symmetry and the non-symmetrical programmatic significance of the final dance, Everyone Dance. This document highlights Calvin Hampton's genius in combining artistic and intellectual craftsmanship with musicianship and personality in the Five Dances for Organ. With these delightful and virtuosic dances, he has bequeathed a fine twentieth century organ work to future generations.

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Waters, Melville. "The Lutheran orthodoxy of J.S. Bach's Clavierübung III". 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw331.pdf.

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Knapp, Brady Keith. "Charles Villiers Stanford's sacred repertoire for solo voice, choir, and organ: An analysis of "Six Bible Songs and Hymns", Opus 113". Thesis, 2003. http://hdl.handle.net/1911/18546.

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This paper explores aspects of Sir Charles Villiers Stanford's life and music, with an emphasis on his sacred works for solo voice, choir, and organ, and an analysis of the Six Bible Songs and Hymns or Chorales (to follow the Bible songs), Opus 113 for baritone solo, SATB choir, and organ. The second chapter is a brief biography of significant events and major accomplishments in Stanford's life. The third chapter provides an overview of his compositional style, with an emphasis on the defining characteristics of his vocal music. The fourth chapter focuses on Stanford's sacred vocal music, particularly his contribution to the liturgy and service of the Anglican Church. In chapter four, a discussion of Stanford's works for solo voice, choir, and organ will include: (1) the Evening Service in G, Opus 81, for soprano and baritone soloists, choir, and organ, (2) the virtually unknown cantata Awake my heart, Opus 16, for baritone, choir, and organ, and (3) an introduction to Stanford's Six Bible Songs and Hymns, Opus 113, discussing the genesis of the work, and its unique position within the repertoire of the Anglican Church. The fifth chapter is a detailed analysis of the Six Bible Songs and Hymns that investigates musical aspects of Stanford's score, but also the history of the cycle's texts and hymn tunes, as well as performance and other extra musical considerations. A concluding sixth chapter will discuss the publication history and performance practices of the Six Bible Songs and Hymns , Opus 113.

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