Artykuły w czasopismach: „Organists”

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Shaw, Watkins. "Cathedral Organists". Musical Times 129, nr 1740 (luty 1988): 63. http://dx.doi.org/10.2307/964415.

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Bebak, Marek. "Carmelite music ensembles in the Greater Poland province in the eighteenth century. Musicians and their repertoire". Muzyka 68, nr 4 (29.12.2023): 20–37. http://dx.doi.org/10.36744/m.2442.

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This article deals with the musical culture of the Carmelites of the Ancient Observance in the territory of Greater Poland in the 18th century and has been prepared on the basis of archival materials stored in Polish and foreign archives. In 1743, the monastic authorities of the Greater Poland Province introduced a decree according to which secular musicians were to be removed from Carmelite ensembles. The text therefore identifies those Carmelite centres where vocal and instrumental ensembles were active in the 18th century (Poznań, Markowice, Gdańsk, Kcynia, Obory, Drohobycz and Płońsk, as well as previously unknown information about the Carmelite ensemble in Warsaw), and lists the musicians associated with these ensembles (Kapellmeisters, organists and other musicians). Special attention was paid to composers and copyists. In the course of the research, many details have been established about the life of Elias (Elias a Monte Carmeli), who served as Kapellmeister in Poznań for many years, his civilian name (Jan Matalski) has been indicated, and information about the sources for his works has been summarised. Attention was drawn to the figure of Fabian of St Valentine (Valentinus Winkler), who, while he was Kapellmeister and organist, probably also composed. In addition, a profile of Teofil a S. Dorothea, who was Kapellmeister in Markowice and Warsaw and a copyist of works such as arias by Hasse and Pergolesi, is presented. In identifying the organists active in the Carmelite Province of Greater Poland, reference is made to the terms 'organista choralis' and 'organista figuralis' found in monastic sources and the duties of organists known from the printed Ceremonial of 1766 are indicated.

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Thomson, Andrew, Alcock, Darke, Bullock, Palmer, Roper Goss-Custard, Marchant, Thalben-Ball, Guy Weitz i Hendrik Andriessen. "British Organists of the 1920s". Musical Times 136, nr 1830 (sierpień 1995): 450. http://dx.doi.org/10.2307/1004085.

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Wheeler, Paul. "The Musical Instrument Digital Interface (MIDI): The digital organ for organists and non-organists". Journal of the Acoustical Society of America 135, nr 4 (kwiecień 2014): 2245. http://dx.doi.org/10.1121/1.4877351.

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Brock, Laura E., i Igor V. Nábělek. "Temporary threshold shift in organists’ hearing." Journal of the Acoustical Society of America 91, nr 4 (kwiecień 1992): 2382. http://dx.doi.org/10.1121/1.403317.

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Webb, Stanley, Nicholas Plumley i John Lees. "The Organs and Organists of Chichester Cathedral". Musical Times 129, nr 1748 (październik 1988): 559. http://dx.doi.org/10.2307/966709.

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Holmes, John. "The Organs and Organists of Armagh Cathedral". Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 13, nr 2 (1989): 230. http://dx.doi.org/10.2307/29742387.

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Webber, Don J., i Martin Freke. "Church organists: Analysing their willingness to play". Journal of Socio-Economics 35, nr 5 (październik 2006): 854–67. http://dx.doi.org/10.1016/j.socec.2005.11.056.

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Rein, Susanne, Tobias Fabian, Hans Zwipp, Jan Heineck i Stephan Weindel. "The Influence of Profession on Functional Ankle Stability in Musicians". Medical Problems of Performing Artists 25, nr 1 (1.03.2010): 22–28. http://dx.doi.org/10.21091/mppa.2010.1005.

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OBJECTIVE: The aim of this study was to examine the influence of extensive work-related use of the feet on functional ankle stability among musicians. METHODS: Thirty professional organists were compared to professional pianists and controls. All participants completed a questionnaire. Range of motion (ROM), peroneal reaction time, and positional sense tests of the ankle were measured. The postural balance control was investigated with the Biodex Stability System for the stable level 8 and unstable level 2. Statistical analysis was done with the Kruskal-Wallis test, Mann-Whitney test with Bonferroni-Holm correction, and Fisher’s exact test. RESULTS: Nine of 30 organists compared to 5 of 30 pianists and controls reported ankle sprains in their medical history. Pianists had a significant increased flexion of both ankle joints compared to organists (p≤0.01) and increased flexion of the right ankle joint compared to controls (p=0.02). The positional sense test and postural balance control showed no significant differences among groups. The peroneal reaction time of the right peroneus longus muscle was significantly increased in pianists compared to controls (p=0.008). CONCLUSIONS: Organists have shown a high incidence of ankle sprains. Despite their extensive work-related use of the ankle joints, organists have neither increased functional ankle stability nor increased ROM of their ankle joints in comparison to controls. Pianists have increased flexion of the ankle joint, perhaps due to the exclusive motion of extension and flexion while using the pedals. To minimize injuries of the ankle and improve functional ankle stability as well as balance control, proprioceptive exercises of the ankle in daily training programs are recommended.

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Reynolds, Gordon, i Donovan Dawe. "Organists of the City of London, 1666-1850". Musical Times 127, nr 1717 (marzec 1986): 171. http://dx.doi.org/10.2307/965510.

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McCrea, Andrew. "The Foundation of The College of Organists: Personalities, Proceedings And Early Actions". Nineteenth-Century Music Review 12, nr 1 (czerwiec 2015): 27–51. http://dx.doi.org/10.1017/s1479409815000038.

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The coming about of a ‘college of organists’ in 1864 reflected a growing desire on the part of a small, but quickly expanding, cohort of organists to be viewed collectively as one of the ‘respectable professions’ such as law or medicine and thereby enjoy the social and material benefits normally accorded to such professional groups. Writing around 1910, Charles W. Pearce captured the dynamic of the 1860s when he observed that the foundation of an association for organists was a manifestation of the ‘desire on the part of the musical profession for someself-established,self-supporting system ofself-organization,self-government, andself-examination’. Underlying – and stimulating – the College's search for identity and mission in its early years was a complex and dynamic environment in which new national consensuses were emerging with respect to professional standing, academic status, churchmanship, innovation in organ-building and, more generally, with respect to standards in music making.Following comments on British organists and the environment in which they were working by the 1860s (often characterized by poor pay, insecurity and the perception of low status), this article draws on (1) archival records that have been little scrutinized and (2) relevant periodical literature – in particularThe Musical Standard, a newly founded journal edited by figures intimately associated with the fledgling College – to establish the schedule and mechanism of the College's formation and how the institution attempted to organize itself and gain patronage. The article also casts contextual light on this project of professionalization by considering the individuals involved – their backgrounds, connections and motivations – and some of the early activities and the reasons behind them.

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Cole, Suzanne. "Lives in Music: Recent studies of nineteenth-century organists". Musicology Australia 30, nr 1 (styczeń 2008): 53–58. http://dx.doi.org/10.1080/08145857.2008.10416730.

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Petrauskaitė, Danutė. "Amerikos lietuvių vargonininkų sąjungos kūrimasis ir veikla". SOTER: Journal of Religious Science 9, nr 37 (2003): 197–206. http://dx.doi.org/10.7220/2335-8785.9(37).14.

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Hilson, Jeff. "The God-Awful Small Affair of the Invisible Organist: David Bowie Translated". English: Journal of the English Association 69, nr 267 (1.12.2020): 346–62. http://dx.doi.org/10.1093/english/efaa042.

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Abstract Following the sudden death of David Bowie in January 2016, perhaps the least expected tributes were the various organ renditions of his 1973 single ‘Life On Mars’ played by the organists of St Albans Cathedral, Kelvingrove Art Gallery in Glasgow and Dublin’s St Joseph’s Church. Becoming instant social media sensations, what are we to make of these different versions of Bowie’s song played on the pipe organ, the so-called ‘King of Instruments’, and why did the organists choose ‘Life On Mars’ over any other Bowie song? In this essay, I consider these and other related questions from a range of theoretical perspectives, initially drawing on philosopher and musicologist Peter Szendy’s notion of the musical arrangement as translation, whilst also conceding that as a translation, something in the process of arrangement is lost. What might that ‘something’ be? Understanding him to be one of the most conspicuous musical artists of our time, I go on to employ media philosopher Sybille Kramer’s transmission theory of communication, positing Bowie as a messenger-translator who is also a powerful cultural interferer. As such, he is the antithesis of the church organist who, like the person of the textual translator as outlined by translation theorist Lawrence Venuti, has occupied a marginal if not abject space within musical history. Given this relegated position, how does Bowie’s own use of the organ sit with its use as an instrument of elegy in the various renditions referred to above, and can it tell us anything else about translation?

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Bulibenko, Galina. "Organ Transcriptions: Problems of its Creation in the Process of Concert and Stage Interpretation". Часопис Національної музичної академії України ім.П.І.Чайковського, nr 1(58) (28.03.2023): 67–81. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284758.

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The author analyzed the problems of creation of transcriptions for various musical instruments, in particular for the organ, that are described in Ukrainian specialized scientific literature. The specifics of modern world concert practice are updated from the point of view of modernity, which requires musicians of various specialties to have the ability to adapt individual works for their performance on another instrument. This factor is an integral part of the performing practice of organists. The author discovered the historical roots of the practice of making transcriptions, which requires purposeful preparation of organists for this type of creativity. The article offers ways and methods of interaction of the organist with the author's text during transcription. Basics for translations of musical works and their concert and stage interpretation on other instruments are outlined. In addition, the author offers a sequence of different work steps, and also explains what competencies are necessary for the implementation of artistically convincing transcription of musical works for interpretation on other instruments, so that they can correspond to the author's intention. The author describes the specifics of the work on the features of the texture of musical text, and also explains the process of distribution by registers during the creation of a pedal part. Factors influencing the quality of transcription are disclosed. The urgent need to study the basic principles of creation organ transcriptions as an independent form of creativity of a modern organist is emphasized. Prospective directions for further research into the problem of forming organ transcriptions in the process of concert and stage interpretation are identified. The following methods were used in the process of researching the chosen topic: historical (to study the origins and peculiarities of the functioning of transcription practice), analytical (to understand the peculiarities of musical works and their correspondence to the specifics of the organ as a musical instrument), theoretical (to generalize and systematize the conclusions of one's own long-term practical work on creation of organ transcriptions).

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Sykes, I. J. "Review: Organists and Organ Playing in Nineteenth-Century France and Belgium". Music and Letters 83, nr 3 (1.08.2002): 469–72. http://dx.doi.org/10.1093/ml/83.3.469.

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BULIBENKO, GALINA. "Spiritual Aspect of Early Music on The Example of Organ Compositions". Часопис Національної музичної академії України ім.П.І.Чайковського, nr 2(59) (30.06.2023): 81–98. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295420.

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The author of the article examines the stereotypical perception of the organ as a church instrument, that is connected with the facts of the construction of the first wind organs after the destruction of the hydrolos precisely in monasteries, as well as it is due to the existence of a large number of musicians-organists who still participate in divine services today. The study, based on the Ukrainian specialized scientific literature, analyzed the problems of the connection of early music with the work of romantic composers. The author notes that there is a need to study baroque symbolism to deepen the understanding of J.S. Bach's music, which is an integral part of the performance training of organists and pianists. The historical roots of early music were discovered as a result of a review of certain sources. It has been proven that music has always been close to the exact sciences - for example, during the early Middle Ages, the "seven liberal arts" that were compulsory to study in schools included the "trivius" (grammar, rhetoric and dialectic) and the "quadrivius" (arithmetic, geometry, astronomy and music). The author investigated the gradual transformation of organists from strict "servants of the cult" into concert musicians of the Baroque era. It is noted that the considered period was characterized by the perception of music as a language in which almost everything "speaks": musical form, texture, size, duration of notes, rhythmic pattern, voicing, tempo, tessitura used in the work, etc. The ways of interaction of the organist with the author's text during the study of motivic and numerical symbolism were outlined. Basics were defined for deciphering the J. S. Bach’s work. Classicism is characterized, during its heyday, Bach's compositions were heard mainly in the church. The devaluation of the instrumental works of ancient composers (in particular, J.S. Bach) in the period of romanticism and the transition of the organ to a virtuoso concert instrument are described, using the examples of the techniques of playing the organ by F. Liszt and M. Reger, etc. Late Romanticism is presented as a movement in which the attitude of musicians to the heritage of ancient composers was revised thanks to the German movement "back to Zilbermann" (led by A. Schweitzer). The study gives a description of the specifics that are possible to apply for studying the design of J.S. Bach's work. The urgent need to examine the ancient music as a source of spirituality in the work of modern organ composers is emphasized.

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Angster, Judit, i Andras Miklos. "Intensive training on acoustics of pipe organs for organ builders and organists". Journal of the Acoustical Society of America 105, nr 2 (luty 1999): 1055. http://dx.doi.org/10.1121/1.425022.

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Števík, Miroslav. "Národnostný pôvod katolíckych farárov, evanjelických kazateľov, učiteľov, pomocníkov učiteľov (kantorov, mladších učiteľov, zvonárov), organistov a iných hudobníkov v XIII spišských mestách podľa záznamov z roku 1773". Studia Archiwalne 9 (30.12.2022): 183–93. http://dx.doi.org/10.4467/17347513sa.22.008.17119.

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Autor artykułu analizuje treść ankiety powstałej w 1773 r., którą 13 spiskim miastom rozesłał ich administrator Paweł Tiszta. Celem ankiety, zawierającej 37 punktów, było ustalenie politycznego i gospodarczego stanu poszczególnych miast po wygaśnięciu zastawu spiskiego i ich powrocie do Królestwa Węgier. Przedmiotem analizy stały się te części ankiety, które informują o narodowościowym pochodzeniu katolickich proboszczów, pastorów ewangelickich, nauczycieli, pomocników nauczycieli (kantorów, młodszych nauczycieli, dzwonników), organistów i innych muzyków. Ethnic Origin of Catholic Parish Priests, Evangelical Pastors, Teachers, Assistant Teachers (Cantors, Junior Teachers, Bell-Ringers), Organists and Other Musicians in Thirteen Towns in Spisz (Spiš), Based on Records of 1773 The author analyzes the content of the questionnaire compiled in 1773, which was sent to thirteen Spisz (Spiš) towns by their administrator Paweł Tiszta. The goal of the questionnaire containing 37 points was to establish the political and economic condition of individual towns after the expiration of the Spisz Pledge and their return to the Kingdom of Hungary. The subject of analysis was the parts of the questionnaire that inform about the ethnic origin of Catholic parish priests, Evangelical pastors, teachers, ssistant teachers (cantors, junior teachers, bell-ringers), organists and other musicians.

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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)". Studia Musicologica 56, nr 1 (marzec 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.

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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.

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Gungl, Ernest, i Zmago Brezočnik. "Controller of Register Combinations and Tone Keys for Pipe Organ". International Journal of Innovative Science and Research Technology 5, nr 7 (23.08.2020): 1432–38. http://dx.doi.org/10.38124/ijisrt20jul860.

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A pipe organ is a musical instrument that produces sound by driving pressurized air through the organ pipes selected from a keyboard called a manual. It is constructed from settled groups of pipes. Each group is composed of similar pipes with the same tone colour and loudness but different pitch. Such a group is called a rank. We have developed two electronic devices for upgrading the organ. The first device named Controller of Register Combinations is intended for storing rank combinations and pipe organ controlling. The second device named Controller of Tone Keys for pipe organ allows users to play the organ simultaneously on two separate keyboards. In this paper, we represent the purpose, scheme, and our realization of both devices. The correct functioning of the devices was proved by integrating them into a church organ. We have already equipped several church organs with our electronics, and they all work flawlessly. Feedback from the organists is excellent, as both Controller of Register Combination and Controller of Tone Keys make it easier for them to play. The success so far and the positive responses of the organists have encouraged us already to plan further improvements and upgrades of the organ electronics.

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KOČIŠOVÁ, Renáta. "RURAL CANTOR´S MUSIC AFTER THE REFORMS OF MARIA THERESA AND JOSEPH II WITHIN THE TERRITORY OF SLOVAKIA". Bulletin of the Lviv University. Series of Arts Studies 280, nr 20 (2019): 44–56. http://dx.doi.org/10.30970/vas.20.2019.10638.

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Music historiography describes the history of music of Slovakia (part of the multiethnic Hungarian Kingdom until 1918) as an autochtonous phenomenon, as a history of music on its territory located at the crossroads of cultures and confessions. The paper tries to present more in detail the music practices of the rural cantors after the implementation of the educational reforms imposed by the empress (and queen) Maria Theresa – at the turn of baroque and classicism. The repertory of music played by rural cantors was very diverse in terms of genres and forms, although it had mostly a utility character with a minimum share of artistic music. Thanks to the organ music books preserved on the territory of Slovakia we know that organists – within the framework of church ceremonies – accompanied mostly spiritual songs (chants) sung by the believers in slovakized Biblical Czech, and added some typical baroque and classicist compositions to them. Rural teachers (scholars – erudites of that time) who also worked as organists and notaries in the country could rely on the scores, collections and compilations of organ music made by their trainers or predecessors at organ playing – most of the aids in question offered technically undemanding and anonymous repertory of Euroepan provenience.

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Sánchez, Rosa. "Divas no convento? Cantoras e organistas no Convento de Santa Clara do Porto (séc. XVIII)". Via Spiritus: Revista de História da Espiritualidade e do Sentimento Religioso, nr 30 (2023): 125–36. http://dx.doi.org/10.21747/0873-1233/spi30a6.

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This article is a partial and preliminary result, which arises following a research project dedicated to the study of musical practices in female convents in northern Portugal between the 16th and 19th centuries. In this particular case, several aspects related to the musical activity of the nuns of the convent of Santa Clara do Porto are addressed, where singers and organists received rewards of different content for their musical performance, which aimed to enhance the celebrations of the liturgical calendar.

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Wolff, Christoph. "The Leonhardt Connection From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists”". BACH: Journal of the Riemenschneider Bach Institute 49, nr 1 (2018): 2–8. http://dx.doi.org/10.1353/bach.2018.0000.

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Christoph Wolff. "The Leonhardt Connection: From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists”". Bach 48-49, nr 2-1 (2018): 2. http://dx.doi.org/10.22513/bach.48-49.2-1.0002.

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Brennan, David, i Catherine Stevens. "Specialist musical training and the octave illusion: analytical listening and veridical perception by pipe organists". Acta Psychologica 109, nr 3 (marzec 2002): 301–14. http://dx.doi.org/10.1016/s0001-6918(01)00063-4.

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Sykes, I. J. "Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England. By Judith Barger." Music and Letters 90, nr 4 (29.10.2009): 697–99. http://dx.doi.org/10.1093/ml/gcp047.

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Horton, Peter. "Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England, by Judith Barger". Victorian Studies 50, nr 3 (kwiecień 2008): 528–30. http://dx.doi.org/10.2979/vic.2008.50.3.528.

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Bachul-Cienciała, Ewelina. "The song of faith on the organ – the musical heritage of Karol Hławiczka and Adam Hławiczka". Notes Muzyczny 2, nr 20 (31.12.2023): 97–120. http://dx.doi.org/10.5604/01.3001.0053.9950.

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The Hławiczka Brothers, Karol (1894-1976) and Adam (1908-1995), were composers and organists connected with Cieszyn Silesia. Their rich creative output covers organ pieces, a great majority of which used melodies taken from the Lutheran chorale. The way they treated musical themes originating from church songs is the main aspect touched on in the analyses of their compositions presented in this article. The Hławiczka brothers intentionally fit their works into the liturgical music trend, which had been present in the organ literature since the 15th century. Even though they primarily refer to the Romanticism, in many aspects their pieces bear resemblance to earlier musical styles.The present article is a documentation of the author’s previous studies on organ music in Cieszyn Silesia, especially works written by the Hławiczka brothers. The aim of these studies was to promote the little-known music of these Silesian composers among organists and to encourage performers to search for and discover forgotten sources of Polish music. The article outlines the historical and cultural context of that region, presents the biographies of both composers, discusses their organ compositions and – based on the performed analysis of selected works – it characterises the style features of each creator. The author relied solely on the currently available sheet music editions, which only contain selected pieces by these composers. Other variants of the already published pieces, which very likely exist in a form of manuscripts, as well as unpublished compositions provide a space for further discovery and analysis and perhaps – after re-editing music sheets – re-issuing the edition of organ pieces by the Hławiczka brothers, thanks to which their music would certainly gain more interest among performers.

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Vogt, Peter. "The Moravian Music Tradition in Germany: Continuity and Change from 1865 to 1907". Journal of Moravian History 3, nr 1 (2007): 89–99. http://dx.doi.org/10.2307/41179834.

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Abstract in 1865 a manual was published for organists and worship leaders in the German Moravian Church, with later editions and additions until 1907. These editions give us insight into the development of Moravian choral music in Germany in the second half of the 19th century. The author argues that whereas the 1865 edition was an attempt to codify the Moravian music tradition in a time of change, the 1891 edition was the attempt to break free from the constraints of the past and to open up the tradition for all the new musical developments that were taking place within and outside of the Moravian Church.

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Ashbee, Andrew, i Watkins Shaw. "The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c. 1538, Also of the Organists of the Collegiate Churches of Westminster and Windsor, Certain Academic Choral Foundations, and the Cathedrals of Armagh and Dublin". Notes 49, nr 3 (marzec 1993): 980. http://dx.doi.org/10.2307/898937.

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Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age". Nineteenth-Century Music Review 12, nr 1 (czerwiec 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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Noden, Shelagh. "Songs of the spirit from Dufftown". Innes Review 70, nr 1 (maj 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.

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Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

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Kitchen, John. "The Organ Music of William Russell". Nineteenth-Century Music Review 12, nr 1 (czerwiec 2015): 9–25. http://dx.doi.org/10.1017/s1479409815000026.

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William Russell (1777–1813) came from a London family of organists and organ builders. He published two sets of voluntaries: in 1804 and 1812. As well as his liturgical duties at St Anne's Limehouse, and in the Foundling Hospital Chapel, Russell worked as pianist and composer at the Sadler's Wells Theatre; the influence of opera and theatrical music can be strongly felt in some of the voluntaries. He was also particularly interested in the development of the organ itself, and had ‘progressive’ ideas regarding early nineteenth-century organ design.Russell's music fascinatingly blends, or sometimes simply juxtaposes, several disparate musical influences. He therefore sits at an interesting point in English organ music. This article investigates Russell's own music – its forms, styles and genres – and his use of the instruments available to him. In addition, I will consider the extent to which his style was of the nineteenth century, and looked forward to future developments, of which his pioneering use of the pedals is one significant aspect.

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Jones, Peter Ward, i Donald Burrows. "An Inventory of Mid-Eighteenth-Century Oxford Musical Hands". Royal Musical Association Research Chronicle 35 (2002): 61–139. http://dx.doi.org/10.1080/14723808.2002.10540997.

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Between them William Hayes (1708–77) and his eldest son Philip (1738–97) occupied the Oxford music professorship for over half a century. William, who came to Oxford in 1734 as organist of Magdalen College, succeeded Richard Goodson the younger in 1741, and at his death was replaced by Philip, who continued in office for the rest of his own life. In addition, both men continued to hold a variety of other posts, in particular as college organists. The period also saw the opening of the Holywell Music Room in 1748, which gave further impetus to an already flourishing concert scene in the city. Although little remains of the general performing material from the Music Room concerts, the Hayeses' own compositions have in large part survived, and include, besides church music and concertos (many of which were certainly heard at the Music Room), a series of large-scale odes and oratorios, often composed as occasional works for university celebrations. In many cases not only the scores, but also the parts survive, and now form a substantial archive in the Bodleian Library, Oxford. The life and works of the two Hayeses has been thoroughly investigated by Simon Heighes in his Oxford dissertation of 1990, although he did not discuss in detail the problems arising out of the similarity of their musical hands, nor deal with the wider question of copyists active in the city at the time. This inventory attempts to clarify this area, and it forms a companion to a book chapter which originated in a paper that the authors gave at a conference in 1998 celebrating the two hunded and fiftieth anniversary of the opening of the Holywell Music Room.

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Tabyisova, Fedosia W. "To the perfect instruments of Arnolt Schlick". Contemporary Musicology, nr 1 (2020): 3–22. http://dx.doi.org/10.56620/2587-9731-2020-1-003-022.

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Arnolt Schlick was a Palatine organist, composer and organ expert of the Renaissance who is best known for Spiegel der Orgelmacher und Organisten (1511), a treatise on building organs. In this work he presented a certain ideal of the organ seen from his own perspective. Schlick also published Tabulaturen etlicher Lobgesang (1512), a collection that enjoyed an imperial privilege and featured organ works of great originality of skill so much different from his Italian, French and Dutch contemporaries. Schlick demonstrates an even more bizarre technique in a later manuscript of compositions marking the coronation of the Holy Roman Emperor Charles V (1520). The article is an attempt to establish a relationship between Schlick's organ writing and the features of the instrument his works were written for. What instrument did the famous blind musician write for? Did he write for the ideal instrument he described in his treatise Spiegel der Orgelmacher und Organisten? Was it the one he played until the end of his life after landing a lifetime contract with the Palatine court in 1509? The next aspect of the study, which may be of special interest to organists, focuses on the interpretation and execution of Schlick’s organ works. The South German organ tradition, with its heyday in the Renaissance, is still little studied by Russian and international musicologists alike. Only a few 135 delightful church instruments have survived since that time. They usually feature original organ cases, while all other structural parts are dated later. No less rare is the organ music of that period which does not only spark an interest, but also creates a certain difficulty for researchers. The methodology of the study combines historical and cultural approaches as well as the tradition of studying ancient musical art based on historically informed performance. The research findings contribute to the development of musicology and may inform music performers.

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Jakubczyk-Ślęczka, Sylwia. "Reforma żydowskiej muzyki liturgicznej w Galicji na przełomie XIX i XX wieku". Studia Judaica, nr 2 (44) (2019): 235–65. http://dx.doi.org/10.4467/24500100stj.19.011.12394.

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THE REFORM OF JEWISH LITURGICAL MUSIC IN GALICIA AT THE TURN OF THE NINETEENTH AND TWENTIETH CENTURIES The article presents the issue of the reform of Jewish liturgical music in Galicia at the turn of the nineteenth and twentieth centuries. Its main question concerns the essence of the reform, the novelty of which relied rather on the introduction of a modern way of performance of traditional music than replacing it with a new repertoire. The text discusses the role of new music performers such as cantors, choirs and organists in Galician Temples. It draws attention to the aesthetic changes of synagogue music and its ideological foundations. It also presents the attitude of progressive Galician Jews toward the repertoire of West European synagogues as well as to the music composed by local orthodox cantors, such as Baruch Schorr, Baruch Kinstler or Eliezer Goldberg. As the analysis of the historical material shows, their musical tastes and strong attachment to tradition tied them more closely to the Galician orthodoxy than to the German reform.

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Milsom, John. "English–texted chant before Merbecke". Plainsong and Medieval Music 1, nr 1 (kwiecień 1992): 77–92. http://dx.doi.org/10.1017/s0961137100000267.

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The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics,1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately prescribed liturgical reform. As E. H. Fellowes commented in 1941, ‘very little attention has been drawn to the problems that must have confronted precentors, organists, choirmasters and composers, when the Latin liturgy was replaced by the Book of Common Prayer issued in the vernacular tongue’.2 To that list he might have added celebrants; and however great these problems may have appeared at choral foundations which maintained close contact with the principal reformers, they must have seemed almost insuperable to the priests at remote parish churches throughout the country.

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Sylvand, Thomas. "CONSIDERATIONS ABOUT CLASSICAL ORGAN MUSIC IN AFRICA". African Musicology Online 8, nr 2 (24.11.2021): xx. http://dx.doi.org/10.58721/amo.v8i2.11.

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African related pieces in the organ Repertoire is a question not often challenged even if few scholarly studies exist; most of them concerning Afro-American composers. Practically, this means that in order to schedule a concert, “usual” organists will not give many names and these names won’t be the same in New-York, Lagos or Paris, where the “reputation” of Jean-Louis Florentz, for instance did not go as far as the landscapes he used to dream. Because of a specific project (Myrelingues, born in Lyon, but involving international partners); this question of Organ Repertoire became a pragmatic issue, including the opportunity of commissioning new works. This article gathers information from various sources related to the expanse of this field. In connection with this experience, Africa is considered a very large connecting topic including non-African composers. In addition, it also opens questions of inter-textuality, the importance of figures and consequences of dialog between musical works during the process of a kind of “birth” of such a Repertoire.

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Georgakarakou, Maria. "The Impact of Blindness on the Physical and Vocal Development of Visually Impaired Singers". Journal of Singing 80, nr 1 (15.08.2023): 35–41. http://dx.doi.org/10.53830/sqsg7980.

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Traditionally, music has been viewed as the quintessential non-visual art. In past centuries, a handful of blind individuals became renowned composers, singers, or organists. In fact, popular culture helped form a rather inaccurate relationship between blindness and music to the extent that visually impaired people are often expected to excel by default in the musical arts. In some cultures, parents tend to automatically choose music as their blind child’s ideal vocation. As a totally blind professional singer and voice pedagogue herself, the author has evaluated a significant number of young, visually impaired vocalists who seemed unable to use their voices as reliable instruments. Researchers have found that blindness affects the developmental stages of a person with regard to posture, gross motor skills, and muscle development and coordination.1 As a voice instructor, the author finds that visually impaired youths whose developmental stages have deviated from the norm must follow a specially designed curriculum in order to effectively learn the psycho-motor aspects of vocal technique. The goal of this article is to illuminate a path that voice teachers may follow to ensure that their blind students can maintain healthy voices and engage in rewarding singing.

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Domagała, Jarosław. "Statistics regarding music education in Poland in the interwar period". Konteksty Kształcenia Muzycznego 7, nr 1(11) (31.12.2020): 79–122. http://dx.doi.org/10.5604/01.3001.0014.6470.

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Statistical issues regarding music education in the 2nd Republic of Poland have not been discussed thoroughly so far. This article attempts to do so. The source material comprises statistical data from the Ministry of Art and Culture, the Ministry of Religious Affairs and Public Education, as well as articles published in music literature of the interwar period. Presented statistics cover music schools, solo singing schools, schools for organists, schools of eurhythmics and art dance, as well as drama schools. Music was taught in all the aforementioned institutions, therefore reports treated all these schools en bloc. Existing sources enumerate schools, their managerial staff and the establishments’ addresses. Preserved statistical data also enabled a more detailed analysis, such as, for instance, recognition of pupils’ preferences as regards their choice of instruments, as well as music education accessibility in various parts of the country. The preserved statistical source material is probably incomplete, does not show a full picture of the then music education. It presents, however, with great accuracy, the figures regarding this type of education. Statistical information was collected truly meticulously by the Ministry of Religious Affairs and Public Education, particularly in the late 1920s and in the 1930s. Along with primary and secondary education, music education became an important element of the overall education system in the interwar period.

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Presseisen, Filip. "Organ accompaniment to silent films, part 2". Notes Muzyczny 1, nr 15 (22.06.2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the process of adding sound to silent films, creating publications containing the so-called genre music (i.e., music for specific tyles of scenes), as well as cue-sheets which appeared since 1909 and which were particularly useful for improvising pianists and organists. It also describes the practice of orchestra accompaniment and different sizes of lineups connected with it.

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Ongaro, Giulio. "Sixteenth-century patronage at St Mark's, Venice". Early Music History 8 (październik 1988): 81–115. http://dx.doi.org/10.1017/s0261127900000905.

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The chapel of St Mark's in Venice occupied a prominent place in the musical life of most of the sixteenth and seventeenth centuries, so that a Venetian writer could justly remark: ‘The chapel of these Lords is thought to be among the best in the world, and [singers] have come to serve from France and Spain.’ Yet, in spite of its importance in the history of Western music, our knowledge of its development and organisation is far from complete and contains large gaps. It will suffice to point out that we know a lot more about the Gabrielis – organists – than we do about Zarlino in his capacity as maestro and composer, that the first modern study of the chapel, barely eight years old, is the recent Vespers at St Mark's by James Moore, and that the venerable Storia della musica sacra nella già cappella ducale di S. Marco in Venezia by Francesco Caffi, the only comprehensive study of the subject, has, in default of more modern work, been reprinted several times in recent years. The situation is gradually improving, with several new studies on music in Venice and at St Mark's already available or in preparation, but one of the issues not yet treated adequately is the question of patronage at St Mark's and of the social and economic status of its singers.

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Rahmisyari, Rahmisyari. "Pengaruh Kepribadian Dan Dukungan Organisasi Terhadap Perilaku Kewarganegaraan Organisasional Pada Kantor Kepolisisan Daerah Gorontalo". Jurnal Sosial Teknologi 2, nr 9 (15.09.2022): 792–99. http://dx.doi.org/10.36418/jurnalsostech.v2i9.411.

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Penelitian ini bertujuan untuk mengetahui dan menganalisis Pengaruh kepribadian dan persepsi dukungan organisasi terhadap perilaku kewarganegaraan organosasional pada Kantor Kepolisian Daerah Gorontalo Penelitian ini menggunakan sampel senbanyak 53 orang, angket merupakan alat pengumpul data pokok dan data diuji melalui analisis jalur Hasil penelitian ini menunjukkan bahwa kepribadian (X1), dan persepsi dukungan organisasl (X2) secara simultan berpengaruh yang positif dan significant terhadap perilaku kewarganegaraan organisasional pegawai Kantor Kepolisian Daerah Gorontalo (Y) sebesar 0,603 atau 60,3, % dan sisanya penyebab lain yang tidak termasuk dalam midel penelitian ini sebesar 39,7% Variabel kepribadian (X1) secara parsial berpengaruh positif dan significant terhadap perilaku kewarganegaraan organisasional (Y) dengan koefisien sebesar 0,392, dan persepsi dukungan organisas (X2) secara parsial berpengaruh positive dan signifikan terhadap perilaku kewarganegaraan organisasional (Y) sebesar 0,442.

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Rahmisyari, Rahmisyari. "Pengaruh Kepribadian Dan Dukungan Organisasi Terhadap Perilaku Kewarganegaraan Organisasional Pada Kantor Kepolisisan Daerah Gorontalo". Jurnal Sosial Teknologi 2, nr 9 (15.09.2022): 792–99. http://dx.doi.org/10.59188/jurnalsostech.v2i9.411.

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Penelitian ini bertujuan untuk mengetahui dan menganalisis Pengaruh kepribadian dan persepsi dukungan organisasi terhadap perilaku kewarganegaraan organosasional pada Kantor Kepolisian Daerah Gorontalo Penelitian ini menggunakan sampel senbanyak 53 orang, angket merupakan alat pengumpul data pokok dan data diuji melalui analisis jalur Hasil penelitian ini menunjukkan bahwa kepribadian (X1), dan persepsi dukungan organisasl (X2) secara simultan berpengaruh yang positif dan significant terhadap perilaku kewarganegaraan organisasional pegawai Kantor Kepolisian Daerah Gorontalo (Y) sebesar 0,603 atau 60,3, % dan sisanya penyebab lain yang tidak termasuk dalam midel penelitian ini sebesar 39,7% Variabel kepribadian (X1) secara parsial berpengaruh positif dan significant terhadap perilaku kewarganegaraan organisasional (Y) dengan koefisien sebesar 0,392, dan persepsi dukungan organisas (X2) secara parsial berpengaruh positive dan signifikan terhadap perilaku kewarganegaraan organisasional (Y) sebesar 0,442.

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Bartle, Graham A. R. "How 1,250,000,000 People Train their Performing Musicians: A Microscopic View of the Training of Pianists, Opera Singers, Orchestral Musicians, Conductors, Organists and Sound Recording Technicians in Six Countries". International Journal of Music Education os-15, nr 1 (maj 1990): 31–37. http://dx.doi.org/10.1177/025576149001500107.

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De Sena Aldeia, Maria Carlos Lina. "JORGE, Lídia. O organista / The organist. Edição bilíngue. Alfragide: D. Quixote, 2014. 43 p." Navegações 9, nr 1 (29.08.2016): 93. http://dx.doi.org/10.15448/1983-4276.2016.1.25100.

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Brigatti, E., i A. Hernández. "Exploring the onset of collective motion in self-organised trails of social organisms". Physica A: Statistical Mechanics and its Applications 496 (kwiecień 2018): 474–80. http://dx.doi.org/10.1016/j.physa.2017.12.147.

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Strizhakova, Elena A. "F. J. Fetis and his role in the development of French organ playing school in the second half of the 19th century". Contemporary Musicology, nr 4 (2020): 75–89. http://dx.doi.org/10.56620/2587-9731-2020-4-075-089.

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The article focuses on life and work of the Belgian musicologist F. J. Fetis— the first director of the Royal Conservatory of Brussels. His enthusiasm about Bach’s music influenced the formation of the French-Belgian organ playing school and the repertoire of the second half of the 19th century. His influence would not be possible without his active journalistic work and his high profile as a musicologist and a theorist. He managed to create favorable working environment for the first graduates of the conservatory, in particular, J.-N. Lemmens. His position as a follower of Bach’s tradition was instrumental in raising the profile of the conservatory. It also helped to attract musicians not only from Belgium, but also from France. In the 1860s, Lemmens used Bach’s works to train Guilmant and Widor, young French organists and composers studying at the Brussels Conservatory. By the end of the 19th century, the work of the two composers laid the foundation for the “new” organ repertoire, which was very much needed already in the middle of the century. “Serious” music that followed Bach’s tradition contrasted with the spontaneous sentimental improvisation of a number of other French organ composers. Towards the turn of the 19th and 20th centuries, Fetis's aesthetic preferences, through Lemmens' pedagogical work, eventually shaped a substantive part of the organ repertoire. The new repertoire was marked by the revival of choral works based on Gregorian chants. Thus, a series of examples shows the continuity of the traditions of choral works by the 18th century German composers and the 1950s and the 20th century French composers.

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Fragoso, Mauro Maia. "La dinámica cultural de una sociedad mediante los procesos de constitución y desintegración del territorio benedictino fluminense (1590–1922)". Sztuka Ameryki Łacińskiej 2 (2012): 117–33. http://dx.doi.org/10.15804/sal201205.

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Thanks to Edith Stein’s phenomenology, philosophy (including philosophy of culture) cannot be perceived as a static knowledge, unconnected with other fields of life and science. Based on such an assumption, research on cultural dynamics associated with functioning of the Benedictine order, which is presented in this article, has been divided according to three theoretical problems. One of them is the appearance of Benedictines (the first ones in Brazil) in Rio de Janeiro state, treated not only in literal, physical sense, but also as a spiritual phenomenon. The next part focuses on territorial borders – the area belonging to the order and connected with its functioning. It describes donations which contributed to the creation of cohesive area of the order’s properties as well as its activity. The last aspect that enables depiction of Benedictines’ presence in a social as well as territorial and cultural context is existence and functioning of the house of slaves (la casa de esclavos benedictina fluminense). What is particularly worth describing in this respect is a specific relationship between “a master” and “a slave” (señor y siervo) and an opportunity for individual development of some slaves in accordance with their interests, as was the case of a master of painting, Antonio Teles, or organists, Matias (known only by his first name) and José Campistas. Without emphasizing a relationship between human actions and the area of a social group’s activity, it would be impossible to point at the contribution of an institution to the heritage of the region to which it belonged. Dynamic presence of the order is illustrated with photos of São Bento church as well as a Benedictine monastery in Rio de Janeiro, being one of the most distinguished monuments of the metropolis, which is not only the evidence of bygone splendour, but also a centre of present Benedictine activity

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