Rozprawy doktorskie: „Organ music”

1

Sylvester, Charlotte. "Processional for Organ and Percussion". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277154469.

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2

Maher, John G. "Organ compositions for pedals alone". Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/467364.

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The purpose of the research was to add to the body of knowledge concerning pipe organ literature by locating and describing compositions for pedals alone. The search was made with indexes, abstracts, organ literature bibliographies, Union Catalogues, on-line computer services, correspondence with publishers, and an examination of the general performance literature, method books and etude books.The study included works for organ solo which are primarily for pedals alone. A work with a few manual chords was not excluded, but a work which consistently uses the manuals, even in the most subsidiary role, was not included. The study was concerned with compositions which are intended for public performance. Exercises were omitted.FindingsThe efforts of thirty-three composers have produced thirty-nine compositions or collections of for pedals alone. One of the works makes exclusive use of clusters, three use dodecaphonic techniques, and four are from the Romantic Era. The remainder are compositions divided between twentieth-century moderate styles and twentieth-century conservative styles.Seventeen of the works require a pedal board with thirty-two pedals, eighteen of the works require at least thirty pedals, and three may be played on an instrument with twenty-five pedals. One work which does not use traditional notation could presumedly be played on any instrument.Thirteen works, one of which is in Langlais' collection of etudes, employ pre-existing tunes which are treated to variations or other compositional techniques. The other works use a variety of formal designs including fugue, fantasy, sonatina, rondo, dance forms, passacaglia, free form, and other designs.Alkan has the earliest complete work for pedals alone which is readily available.

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3

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

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Toumpoulidis, Themistoklis D. "Aspects of musical rhetoric in Baroque organ music". Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/3032/.

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The association between linguistic and musical principles was acknowledged by Baroque musicians throughout the seventeenth and eighteenth centuries, a facet that attracted the attention of many musicologists - mostly German (A. Schering, H. Brandes, and H. H. Unger) - from the beginning of the twentieth century. This study presents an historical background to the whole concept of musical rhetoric, beginning with Luther's theology of music, and focuses on the most significant theoretical compilations of the Baroque era that led to the crystallization and final decline of musica poetica. Aspects of classical rhetoric are dealt with extensively, commencing with the rhetorical dispositio, as described by Greek and Roman authorities, followed by Mattheson's first musical illustration of the (six-part) rhetorical structure in vocal composition. The work focuses on the musical adaptation of two important elements of Baroque musica poetica. Musical-rhetorical figures are presented in chorale compositions by D. Buxtehude and J. S. Bach, conforming to the Baroque notion according to which composers were inclined to depict the allegory and symbolism of the theological text. The study proceeds to the demonstration of the rhetorical dispositio in free organ music, adopting a theory that explains the seemingly disjointed parts of the Klangrede ('sound-speech') notsimply as whimsical elements of the stylus phantasticus, but rather as a scenario modelled on rhetorical thought. The alternation of passion and reason between the affective (exordium and peroratio) and objective (narratio and confirmatio) sections of the classical dispositio is demonstrated in specific pedaliter praeludia by D. Buxtehude, whose free organ works point to an advanced rhetorical plan hidden behind each composition.Buxtehude's musical-rhetorical dispositio is further applied to organ toccatas by N. Bruhns (E minor) and J. S. Bach (BWV 551 and 566), whose rhetorical style, although different from that of Buxtehude, displays a sequence of contrasting sections also motivated by the functions identified in classical rhetoric.

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5

Davidsson, Hans. "Matthias Weckmann : the interpretation of his organ music /". Stockholm : Gehrmans, 1991. http://catalogue.bnf.fr/ark:/12148/cb369555680.

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Siegfried, Abbey Hallberg. "Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11366.

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WALTON, JAMES WARREN. "Taylor & Boody Organbuilders: An American Builder with a European Voice". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217892605.

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Hemsley, J. D. C. "Henry Bryceson (1832-1909) organ-builder and early work in the application of electricity to organ actions". Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55395/.

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That France was the undisputed leader in the application of electromagnets to the pipe-organ, is confirmed. C.S. Barker was the builder of the first electric organ at Salon, Bouches due Rhone, in 1866, but the honour for the invention must be accorded to Pierre Stein for his prophetic patent of 1852. Albert Peschard's electric action patents of 1862-3 represent a defining moment when electric action became the basis for a reality that was exploited by Barker until 1870. Thereafter, it fell to the Brycesons to continue the development of the Peschard-Barker system, but the challenges proved too much: the early actions were faced with technical challenges, and above all, the inherent conservatism of a traditional trade. The last electric-action organ build by Bryceson Brothers was the instrument for the 1885 Inventions Exhibition in London, at which the firms was awarded a Gold Medal for its electrical developments. Bryceson also built several important instruments along conventional lines during the 1860-1880s

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9

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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10

Walsh, Andrew. "The muting of organ pipes". Thesis, The University of Sydney, 1993. https://hdl.handle.net/2123/26735.

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Many musical instruments (such as the stringed or brass sections) are capable of being muted in order to change their harmonic structure or acoustic output. The present investigation is aimed at determining how well wind instruments can be muted by studying ways of muting an organ pipe. Three methods of muting were investigated: 1. The use of thin sheets of perforated plastic applied to the open end of the organ pipe. 2. Application of porous absorbers to the open end of the organ pipe. 3. The construction of a “double organ pipe”. The perforated sheets proved to be the most useful form of mute with reductions in the total SPL of up to 10dB and any required value from 0-10dB obtainable. The open area of the perforated sheets was correlated, to a high degree, with the SPL reduction of each mute. Drops in the fundamental frequency of A f/f < 0.02 were observed as the perforated sheets were applied. The absorptive materials appeared to be less reliable in correlating the muting performance with relevant factors (such as the acoustic impedance or airflow resistance) but useful correlations were obtained with the airflow resistance of the absorptive materials. The double organ pipe demonstrated larger reductions of over 20 dB in the SPL but this value could not be altered as easily as changing a perforated sheet applied to the open end of the organ pipe. The method by which the double organ pipe mutes the single organ pipe was found to be active cancellation of the sound emanating from the open end. Factors that were thought to be of importance in determining a “good” mute were a large reduction in the total SPL, a small change in the fundamental frequency. The change in the relative intensities of the harmonics was briefly investigated as this may be important in determining the timbre of the muted organ pipe.

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11

Olford, Gertrude Carolyn. "Four organ recitals and an essay, selected Canadian solo organ music, 1981-1996 : introduction and annotated catalogue". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23105.pdf.

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12

Pinson, Donald Lynn. "History and current state of performance of the literature for solo trombone and organ". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9050.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 1, 2004, Jan. 31, 2005, Jan. 30, 2006, and Apr. 21, 2008. Includes bibliographical references (p. 50-64), and discography (p. 41-49).

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13

Alcorn-Oppedahl, Allison A. (Allison Ann). "Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278307/.

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Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument.

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14

Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.

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This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could be termed ‘splendid isolation’ from Continental models, others contended that it lacked a logical relationship with more than a home-grown repertory. However, supporters of the English organ claimed that technological and tonal improvements made it the most perfect medium for Bach performance. It was a renewed interest in historical organs and repertory that exposed the limitations of cultural centrism, pointing to the English organ’s weakness as a point of departure for understanding its European repertory. This insistence paved the way for an enthusiastic reception of other organs, which, through their construction and new tonal qualities, won the favour of musicians who had found the English organ too limited and focused on a particular culture. The thesis allows historical actors to populate the discourse, revealing the diverse practices out of which a quest for reform emerged. As such the organ provides a fascinating and preliminary rehearsal case for what in the 1970s and 80s would be termed the early music revival.

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15

Tsai, ShuHui. "A Study of the Baroque Techniques and Lutheran Liturgical Contexts in Hugo Distler's Chorale-Based Organ Works". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731474.

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Accinno, Michael David. ""Organ Grinder's Swing": representations of street music in New York City, 1850-1937". Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/636.

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Between approximately 1850 and 1936, the barrel organ was one of the most commonly heard instruments in the streets of New York and the frequent subject of written, visual, and musical accounts created by middle class authors and artists. The instrument's loud, wheezy tunes inspired heated debates that began in the nineteenth century and were often aligned with the broader social upheavals caused by Italian immigration. Despite their frequent differences in perspective, most written accounts characterized organ grinders as poor, uneducated, Italian immigrants. Musical representations of street music developed a similar proclivity to emphasize Italian alterity. As early as the 1850s, it was common to quote popular dance idioms to evoke street music, a trend that continued well into the early twentieth century in Tin Pan Alley songs. These strophic songs offered more elaborate portrayals of organ grinders, mimicking the dialect of Italian immigrants through clipped, misspelled syllables. Street musicians declined in the twentieth century, but such stereotypes continued to resonate strongly within fictive musical portrayals. In Charles Ives' From Hanover Square North, the clashing quotations of a gospel hymn aurally signify the program's commuters and organ grinder, whose music animates the scene similar to a tableau found within Nathaniel Hawthorne's novel The House of Seven Gables. In contrast to Ives' idealistic conception of street music, Charles Cadman's opera The Willow Tree depicts a murderous street musician whose association with pleasant, Italian folk music does little to belie his unstable actions. Mayor Fiorello La Guardia's 1936 decision to stop licensing organ grinders created a controversy that may have influenced representations of organ grinders in Marc Blitzstein's I've Got the Tune and the animated short Organ Grinder's Swing. The 1936 controversy suggested that not only were middle class audiences concerned with unprecedented waves of Italian immigration, they were also worried about an urban soundscape increasingly saturated with noise. It was these twin problems that led a class of educated New Yorkers to create meaning by reverting to ethnic, class-based stereotype.

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17

Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.

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18

Westacott, Graeme John. "The rhetoric of the north German organ school /". The rhetoric of the north German organ schoolRead the abstract of the thesis, 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19396.pdf.

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Regier, Janet. "The organ works of Edith Borroff : an introduction /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1993.

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Bowyer, Kevin. "The organ works of Kaikhosru Shapurji Sorabji (1892-1988)". Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7393/.

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This is the first complete critical edition of the organ works of Kaikhosru Shapurji Sorabji (1892--‐1988). Of the three solo symphonies presented here only the first has previously appeared in print (Curwen, 1925). The other two works, both of hugely greater dimensions than the first, have not been published before although, in the late 1980s/early 90s, the present writer produced a hand‐copied edition of the second symphony that has been available in print form and in PDF through the Sorabji Archive since 1991.

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21

Worlton, James Timbrel. "Systematic Composition and Intuition in a Concerto for Organ and Orchestra". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4278/.

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Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using number series to generate the pitches, rhythms, and sections in the Concerto for Organ and Orchestra. This process of composition reveals musical gestures that may not have been discovered using more intuitively based approaches to composition. Shows how musical sensitivity was necessary in shaping the numerically derived material in order to create aesthetically satisfying music.

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TAYLOR, LARRY C. "HOLINESS AND DEVILRY: THE ORGAN IN OPERAS OF THE NINETEENTH AND TWENTIETH CENTURIES". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1172617068.

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Kang, Hyejin. "Unity within diversity in Leo Sowerby's solo organ works /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983126.

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Nolan, Linda Hofstetter. "Memories of Early Childhood : a composition for mixed choir with organ accompaniment /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu148768795996595.

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Browne, Lisa Ann. "The late twentieth-century American Organ Chorale : a study of six composers /". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488204276530766.

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Dries, Daniel Michael. "Marcel Dupré the culmination of the French symphonic organ tradition /". Connect to this title online, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050623.160215/.

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Thesis (D. Creative Arts)--University of Wollongong, 2005.
Title from PDF title page (viewed on Aug. 13, 2005). Ill., musical examples, and most tables present in print version are lacking in the electronic version, as are accompanying sound recordings on 2 compact discs. Includes bibliographical references (p. 185-191) and discography (p. 192-193).

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Kim, Haejin. "Organ Improvisation for Church Services: A Survey of Improvisation Methods from 1900". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314114572.

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Gingras, Bruno. "Expressive strategies and performer-listener communication in organ performance". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21905.

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This dissertation investigated expressive strategies and performer-listener communication in organ performance. Four core issues were explored: (a) the communication of voice emphasis; (b) the communication of artistic individuality; (c) the influence of musical structure on error patterns; and (d) the relationship between performers' interpretive choices and their analyses of the formal structure of a piece. Performances were recorded on an organ equipped with a MIDI (Musical Instrument Digital Interface) console, allowing precise measurements of performance parameters. Performances were then matched to scores using an algorithm relying both on structural and temporal information, which I developed in the context of this project. Two experiments investigated the communication of voice-specific emphasis in organ performance. The modification of articulation patterns was the most consistent strategy used by performers to emphasize a voice. Listeners who were themselves organists were more sensitive to differences between performers and interpretations than non-organists; however, musical structure was a major factor in the perception of voice prominence. The perception of artistic individuality in organ performance was examined by inviting participants to sort different interpretations of a chorale setting by several performers. Most participants performed above chance level. The performance of musicians and non-musicians was comparable. Sorting accuracy was lower for mechanical interpretations than for expressive ones, demonstrating an effect of expressive intent. In addition, sorting accuracy was significantly higher for prize-winning performers than for non-winners. Analyses of error patterns in organ performance showed that the likelihood of a note being wrongly played was inversely correlated with its degree of perceptual salience and musical significance or familiarity. Furthermore, individual performers exhibited consistent and idiosyncratic error patterns.
Cette thèse étudie les stratégies expressives et la communication entre interprète et auditeur dans la musique d'orgue. Quatre thèmes principaux sont abordés: (a) la communication de l'accentuation des voix; (b) la communication de l'individualité artistique; (c) l'influence de la structure musicale sur les schémas d'erreurs; (d) les rapports entre les choix interprétatifs des organistes et leur analyse formelle d'une pièce. Les enregistrements ont été réalisés sur un orgue muni d'une console MIDI (Musical Instrument Digital Interface), qui permet de mesurer précisément les paramètres expressifs. Les données MIDI ont ensuite été appariées à la partition au moyen d'un algorithme que j'ai développé dans le cadre de cette étude, et qui utilise à la fois l'information structurelle et temporelle. Deux expériences explorent la communication de l'accentuation d'une voix à l'orgue. La modification des patrons d'articulation s'avère la stratégie utilisée le plus couramment pour faire ressortir une voix. Les auditeurs qui sont eux-mêmes organistes sont plus sensibles aux différences entre interprètes et interprétations que les non-organistes; cependant, la structure musicale représente un facteur important dans la perception de l'accentuation. La perception de l'individualité artistique à l'orgue est examinée au moyen d'une expérience de catégorisation auditive d'une série d'interprétations d'un choral. La plupart des participants ont obtenu des taux de réussite supérieurs au hasard. Les résultats des musiciens et des non-musiciens sont comparables. Par contre, les interprètes ayant gagné des prix sont identifiés plus aisément que ceux qui n'ont pas été primés. En outre, les interprétations mécaniques sont moins bien classifiées que les interprétations expressives. L'analyse de la répartition des erreurs montre que la probabilité qu'une note soit jouée de façon erronée est inversement corrélée avec son importa

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Nabors, Brian R. "Concerto for Hammond Organ, Orchestra, Vocal Quartet, and Chorus". University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212818814569.

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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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Pinson, Jr Donald Lynn. "History and Current State of Performance of the Literature for Solo Trombone and Organ". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9050/.

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More than 200 compositions have been written for solo trombone and organ since the nineteenth century, including contributions from notable composers such as Franz Liszt, Gustav Holst, Gardner Read, Petr Eben, and Jan Koetsier. This repertoire represents a significant part of the solo literature for the trombone, but it is largely unknown to both trombonists and organists. The purpose of this document is to provide a historical perspective of this literature from the nineteenth century to the present, to compile a complete bibliography of compositions for trombone and organ, and to determine the current state of performance of this repertoire. This current state of performance has been determined through an internet survey, a study of recital programs printed in the ITA Journal, a study of recordings of this literature, and interviews and correspondence with well-known performers of these compositions. It is the intention of this author that this document will serve to make the repertoire for trombone and organ more accessible and more widely known to both trombonists and organists.

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Cummins, John. "The saxophone music of Thierry Escaich". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6559.

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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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Hamilton, Thomas Keith. "The liturgical organist: the creative use of solo organ music in the Lutheran liturgy". Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1463.

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Sunday after Sunday, liturgical organists are faced with the challenge of providing music for liturgy. While hymns, psalms, musical settings of liturgical texts, choral anthems and responses are often made clear in their choice due to the marriage of text and music, choosing music outside of those parameters is a challenge. Music that happens prior to worship as the community gathers, music to accompany ritual actions such as the presentation of the offering or the distribution of the Eucharist, and music that sends people on their way at the end of the service is not something to be taken lightly. Such choices are important and can have a significant effect on the over-all tenor of the liturgy. Many organists have concluded the most efficient and effective solution is to seek pieces which are based on the hymns sung by the assembly and trust that a cohesive liturgical whole has been created. This essay attempts to move beyond that notion into the realm of solo organ literature that is not derived from a chorale or hymn melody. Each piece of music carries its own aesthetic characteristics, and the task of the liturgical organist is to determine how those characteristics can best be incorporated into a given religious celebration.

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Javadova, Jamila. "Anthoni van Noordt historical and analytical aspects of his Tabulatuurboeck van Psalmen en fantasyen of 1659 /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6092.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Sept. 30, 2002, Nov. 27, 2007, and one recital of unknown date, at the University Park United Methodist Church, Dallas, Tex. Includes bibliographical references (p. 62-66).

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Spritzer, Damin. "Overview and Introduction to the Organ Music of Alsatian-american Composer René Louis Becker (1882-1956)". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115165/.

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This dissertation provides the first biographical overview and annotated catalog of the organ music of Alsatian-American organist and composer René Louis Becker. Born and educated in Strasbourg, Alsace, Becker emigrated to the United States in 1904 and remained active as a composer and church musician for the next 50 years. in addition to providing sources for his biographical information, documentation of the specific organs with which Becker was professionally associated is included for the purpose of evaluating possible dates of composition of his undated organ works as well as for consideration of organ registrations when performing his works. Primary sources include newspaper clippings, personal correspondence, family scrapbooks, organ archives, and both published and unpublished manuscripts. Study of these manuscripts, including rediscovery of more than fifty works of Becker’s which were previously published in the early 1900s, present an opportunity to introduce a large new body of sophisticated repertoire from a distinguished and accomplished musician to the field of organ music. Becker composed more than 180 individual works for the organ, over half of which remain in manuscript and which were completely unknown since even before his death in 1956. Becker’s complete known oeuvre for organ includes 34 marches, 15 toccatas, three published large-scale sonatas as well as numerous works styled as preludes, postludes, finales, chansons, fantasies, fugues, and multiple small-scale compositions. After a brief biography and an overview of Becker’s compositional style and complete extant organ works, an introduction to his largest-scale work for the organ, the five-movement First Sonata in G, op. 40, is given. This is followed by an illustration of the overt stylistic influences present in the first two movements of that sonata with extensive musical examples, serving to establish Becker as one of the inheritors of the romantic tradition of the large-scale organ sonata and as a 20th century composer of note.

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Filsell, Jeremy D. "A contextual and analytical investigation of the organ music of Marcel Dupre". Thesis, Birmingham City University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.478903.

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There is an absence of critical writing on the organ music of Marcel Dupre (1886- 1971), despite its significance for the evolution of the organ and its music in the twentieth century. Fundamental to this thesis is an exploration of the historical context of this music and poietic analysis which attempts to reveal its stylistic features. That Dupre's organ music reflects contemporaneous influences from outside and beyond the organ loft has been hitherto unacknowledged and so there is an attempt to identify the more cosmopolitan influences exerted on his music by the wider artistic culture of his time. An overall aim within the study is to consider whether Dupre's stylistically diverse music, in its embodiment of both a nineteenthcentury linguistic conventionality and a more contemporary style in the twentieth, was in any sense stylistically paradoxical and indeed, whether the organ as instrumental resource played a role in this stylistic plurality. Dupre's self-confessed aim was to raise the organ's status in artistic terms and his music exemplifies important developments in both organ design and pedagogy over the course of the twentieth century. Thus, in light of the contextual and analytical investigations, an attempt is made to ascertain the extent to which Dupre influenced a succeeding generation and whether his pedagogical, playing and creative legacy holds important implications for musicians today. There is also an intent to address issues regarding the performance and recording of Dupre's works in esthesic terms, for it is hoped that the recordings forming an integral part of this thesis endorse, in their representation of analytical discovery in sonic form, certain thoughts and conclusions contained herein. Part 1 forms an appraisal of Dupre's musical and artistic milieu. After the Introduction in Chapter 1, Chapter 2 elucidates the stylistic antecedents of his music and Chapter 3 identifies a specifically organ-based aesthetic. Chapter 4 examines the pedagogical methods that reflected Dupre's high artistic purpose and which formed the backbone to his creative idiom. In Part 2, Chapter 5 elucidates an analytical method before Chapters 6,7,8 and 9 discuss the primary characteristics of his compositional language with musical examples drawn from across the oeuvre. Chapter 10 presents four Case-studies by examining in analytical detail, four of the six Symphonic works. These I have deemed to be of seminal importance for in them is the Dupre aesthetic arguably best exposed. In Part 3, chapter 11 engages with interpretative and esthesic matters in performance and recording before the interpretative issues in Dupre's works are considered in Chapter 12. Chapter 13 forms a Conclusion. Appendix A is a biographical timeline, Appendix B contains organ specifications referred to in Chapter 3 and Appendix C cites a lecture given by Dupre to Paris Conservatoire students in 1954. It is a document which expounds elegantly, and in Dupre's own words, the kernel of his artistry. Appendix D is a discography, Appendix E catalogues the complete Dupre oeuvre and Appendix F comprises miscellaneous and supporting documents.

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Humphrey, Heather. "Current Practices in Music Therapy with Bone Marrow and Organ Transplant Recipients". UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/65.

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There is limited research on music therapy for transplant recipients, yet board-certified music therapists working in medical settings often encounter individuals from the transplant population. The purpose of this study was to examine the current practices of music therapists working with bone marrow and organ transplant recipients. A total of 68 board-certified music therapists completed an online survey, providing information related to goal areas addressed in music therapy sessions and interventions frequently used with bone marrow and organ transplant patients. The most frequently reported goal areas included: coping skills, mood, and self-expression. The most frequently reported interventions included: singing, songwriting, and improvisation. Survey respondents also shared opinions related to the need for additional resources for music therapists working with transplant recipients, as well as the most rewarding and challenging aspects of working with transplant patients. Study limitations, suggestions for future research, and implications for clinical practice are included.

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Jullander, Sverker. "Rich in nuances - a performance-oriented study of Otto Olsson's organ music /". Göteborg : University, 1997. http://catalogue.bnf.fr/ark:/12148/cb36972201k.

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40

Carrasco, Curíntzita Laura A. "José Antonio Gómez´s Versos Para Órgano (Section I): a Practical Guide for Performance". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc283837/.

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José Antonio Gómez is an important figure in Mexican music history and his works are considered representative of the beginning of Mexico´s Independent era. Some musicians are familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its performance. This study is based on performance, analysis, and direct work on the only known source for it. The first chapter, Introduction, presents the argument for an edited version of the first part of the manuscript as a performance guide. The second provides biographical information on the composer. The third chapter discusses the background for the original performance of the Versets for Organ. Chapter 4 provides performance considerations for the works. The edition of the manuscript is included in chapter 5.

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41

McKern, Brett M. "The compositions of Brett M. McKern to the greater glory of God /". Access electronically, 2005. http://ro.uow.edu.au/theses/289.

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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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43

Richardson, Collin A. "Form in the Organ Symphonies of Edward Shippen Barnes (1887-1958)". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427980344.

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44

Stanbury, Christopher. "Playing the changes : rediscovering the lexicon of electronic organ performance practice from 1943 to 2015". Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/4753/.

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This thesis explores the historical development of the electronic organ via the survey, analysis and comparison of stylistic practices heard in historic recordings. This project establishes that the instrument went through several significant stages of development since its introduction in 1935, which have hitherto been undocumented in scholarly work. As this thesis will show, the changing design of the instrument can be aligned with an evident expansion in the stylistic lexicon of musical arrangement and performance. This aural-based micro-genre of electronic music is rediscovered via a multi-faceted survey model that triangulates the results of transcribed recordings, reconstructive performance on period instruments and practitioner survey. This addresses the typical challenge of historical instrument study: that of defining the degree to which technology shapes musical performance. Chapter One places the instrument within a cultural context via a review of literature. The reason for the instrument’s lack of appeal to musicologists is explained as the result of an image problem: the instrument is often regarded as a dated appliance of home entertainment and exists within a method of practice which aligns more closely to that of jazz than Western art music. By removing stereotypes and establishing the displaced cultural values that the instrument embodies, it is possible to see the true value of the research process. Chapter Two begins to present the findings of the survey by examining some of the earliest recordings made on the Hammond organ. The chapter illustrates how certain design flaws in an instrument that was originally Christopher Stanbury Introduction 6 intended as a low-cost replacement for a pipe organ led to an entirely different trajectory than the inventor’s initial ecclesiastical application. Chapter Three details further updates to the original Hammond design whilst correcting and expanding upon previous definitions of features that are defined in literature. The Lowrey organ is also introduced, along with an illustration of why the unique features and tonal qualities of the instrument resulted in a different approach to musical arrangement and performance. Chapter Four documents the introduction of emulative voicing, whereby instruments of the nineteen seventies and early eighties were designed to imitate the sound of other acoustic instruments. The resultant change in arrangement and performance style is illustrated and compared to the results of previous chapters. Chapter Five details instruments made by the Yamaha Corporation that feature digital synthesis technologies. The vast distance between these instruments and previous models, both in terms of technological profile and resultant performance practice, is illustrated and discussed. Chapter Six provides a summary of the survey findings and reexamines the evident changes in the instrument and performance practice. The nature of the relationship between organist and instrument is discussed, along with a return to some of the literature reviewed in Chapter One. Discrepancies between the conclusions of some authors and those of this thesis are outlined and discussed.

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Kilbey, Margaret. "Music-making in the English parish church from the 1760s to 1860s, with particular reference to Hertfordshire". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:ad312575-0d25-401a-a06a-a31fda3b7db8.

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This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve congregational psalmody, and church organs and barrel-organs were given with this objective in mind. Gentry involvement with amateur military bands of music also influenced the instrumentation of choir-bands. These actions were mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. This dissertation argues that methods adopted to improve congregational singing in one generation were reviled in the next. The suggestion that teaching charity school children to sing would result in a congregation of singing adults became a recurring theme, yet time and again it met with little success. Nineteenth-century reform of church music-making has often been presented as a clear-cut progression, with the replacement of choir-bands by a barrel-organ or harmonium, but this dissertation argues that these phases were sometimes parallel rather than sequential, with no inevitable outcome. Furthermore, new evidence reveals that nineteenth-century church rate disputes had a profound effect on church music-making, an area of research neglected in modern literature. Lack of available seating became a significant problem in parish churches owing to the often compulsory attendance of schoolchildren, which opens up another new area of research. This dissertation argues that attempts to reform music-making contributed to alterations in the church fabric long before ecclesiological reorderings, and had long-lasting repercussions.

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Ludwick, Charles II. "Doctoral thesis recital (lecture) organ". 2015. http://hdl.handle.net/2152/29136.

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Vier Stucke fur Flote und Orgel / Augustinus Franz Kropfreiter -- Bible songs, op.113 / Charles Villiers Stanford -- Geistliche Konzerte / Hugo Distler -- Variations on Amazing grace / Calvin Hampton.
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Knien, Storm. "Doctoral thesis recital (organ)". 2010. http://hdl.handle.net/2152/11498.

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Improvisation on the Te Deum / Charles Tournemire -- From Six fugues on B-A-C-H / Robert Schumann -- Two chorale preludes / J. S. Bach -- Premiere fantaisie ; Deuxieme fantaisie / Jehan Alain -- Finale from Sixth symphony / Louis Vierne -- Improvisation on a submitted theme
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Meredith, Lucinda. "Doctoral thesis recital (organ)". 2010. http://hdl.handle.net/2152/11551.

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Symphonie romane, op.73 / C. M. Widor -- Nun komm der Heiden Heiland, BWV 659 ; Trio super Nun komm der Heiden Heiland, BWV 660 ; Nun komm der Heiden Heiland, BWV 661 / J. S. Bach -- Nun danket alle Gott, op.67, no.28 / Max Reger -- Choral mit Variationen "Wie gross ist des allmacht'gen Gute / F. Mendelssohn -- Les enfants de Dieu / O. Messiaen -- Drop, drop slow tears, op.104 / V. Persichetti -- Le monde dans l'attente du Sauveur, op.23 / M. Dupre
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Kim, Jung Jin. "Doctoral thesis recital (organ)". 2011. http://hdl.handle.net/2152/16299.

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Entrada de clarines, antes de tocar canciones / Anonymous -- Toccata in d minor BuxWV 155 / D. Buxtehude -- Trio sonata no. 5 in C major BWV 529; Prelude and fugue in a minor BWV 543 / J. S. Bach -- Impromptu from Pieces de fantaisie / L. Vierne -- Symphony romane, op. 73 / C. M. Widor -- Prelude et danse fuguee / G. Litaize.
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Benavides, Mario. "Doctoral thesis recital (organ)". 2010. http://hdl.handle.net/2152/11380.

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Symphonic fantasy for brass and organ on "A might fortress is our God" / Frank Speller -- Prelude and allegro for organ and strings / Walter Piston -- Concerto in G minor for organ, string orchestra and timpani / Francis Poulenc
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