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Relevant bibliographies by topics / Organ music Analysis / Dissertations / Theses

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Dissertations / Theses on the topic 'Organ music Analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Consult the top 24 dissertations / theses for your research on the topic 'Organ music Analysis.'

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1

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

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2

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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<p> 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

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3

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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4

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

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<p> Joseph Ahrens (1904-97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly infl

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5

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. Thi

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6

Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.

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7

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

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8

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

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for

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9

Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871051.

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10

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

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The Buxheim Organ Book, the largest fifteenth-century manuscript of keyboard tablature, has never before been examined as a whole in light of musica ficta issues, although it contains far more accidentals than any contemporaneous source in mensural notation. Although tablature has been used by various scholars to examine accidentals in sixteenth-century music, studies of fifteenth-century accidentals have focussed on theoretical evidence and small groups of pieces from mensural sources. The author uses the Buxheim Organ Book to extend the investigations of accidentals in tablature back

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11

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

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The noted Bach scholar Christoph Wolff and two other researchers made one of the more noteworthy musicological finds of the late twentieth century in 1984, when they first rediscovered and then published MS LM 4708 of the John Herrick Music Library of Yale University. This MS, which was published under the title The Neumeister Collection, contains 82 organ chorales, many previously unknown, by members of the Bach circle. Of those 82 chorales, five pieces appear without attribution and six works have been published that were previously attributed to other composers. Wolff's edition, which lists

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12

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

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The manuscripts and published editions of the sacred choral works by Belgian composer Joseph Jongen sacred choral music were collected and listed, detailing the discernable pertinent characteristics of each work. Jongen is predominantly known for his organ works, but his choral works constituent a worthy contribution to the vocal music repertoire, especially his Mass, Op. 130. Jongen's music reflects the Impressionistic style while stemming from the school of César Franck. Choral directors and other musicians interested in Jongen's sacred choral works can use this work when exploring new rep

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13

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

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This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided i

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14

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

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

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15

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

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This document consists of the following elements: (1) an examination of Healey Willan's background in the English Cathedral tradition; (2) a study of the formation of his compositional style based on his knowledge of English composers and treatises of the day; (3) a look at the German influences on his compositional style; and (4) an analysis showing how he merged these styles into a unified whole to create a monumental work for the organ. Included are musical examples of English and German keyboard works compared with examples from Willan's introduction, Passacaglia and Fugue in order to illu

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16

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

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17

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

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One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of th

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18

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

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

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19

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

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John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the

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20

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

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Este trabalho objetiva fornecer subsídios para uma maior compreensão dos elementos estruturais da Suíte para Órgão do Oratório “Sete Palavras de Cristo na Cruz”, opus 257 (1991) do compositor brasileiro Amaral Vieira e sua relação com o Oratório, do mesmo nome, opus 255a, através da análise relacionada com o texto e contexto do Oratório. A metodologia consiste no levantamento de informações a cerca da obra, questionário destinado ao compositor sobre o Oratório e Suíte para Órgão, identificação de aspectos retóricos e análise musical da obra observando a relação texto/música. Este trabalho pode

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21

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

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Three features of the musical speech of Paul Cooper figure prominently in his compositions for the organ, and specifically the Organ Concerto (1982). These are a "signature chord", a "Lombardian snap", and the process of pitch centering by assertion. It is a matter of greater importance to see how these features are presented within a much wider context. The Organ Concerto itself was commissioned in 1982 by Clyde Holloway and Christ Church Cathedral, Houston, Texas, in conjunction with the Cathedral's Whitsuntide services. Cooper chose to pattern the Concerto in the style of a Baroque concerto

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22

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

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Calvin Hampton is an important figure in American music of the mid-to-late twentieth century. He was a composer of many genres, but was noted by his contemporaries as an organist and composer of hymn tunes and anthems. However, since his death in 1984, his organ works---particularly the Five Dances for Organ---have become well-known through recordings and artist recitals. This detailed analysis of the dances begins with scenario interpretations for the titled dances. The following chapters analyze the elements that characterize these scenarios according to harmony, ostinato, development of ost

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23

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

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24

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

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This paper explores aspects of Sir Charles Villiers Stanford's life and music, with an emphasis on his sacred works for solo voice, choir, and organ, and an analysis of the Six Bible Songs and Hymns or Chorales (to follow the Bible songs), Opus 113 for baritone solo, SATB choir, and organ. The second chapter is a brief biography of significant events and major accomplishments in Stanford's life. The third chapter provides an overview of his compositional style, with an emphasis on the defining characteristics of his vocal music. The fourth chapter focuses on Stanford's sacred vocal music, par

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