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Dissertations / Theses on the topic 'Organ music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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

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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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4

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

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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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6

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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7

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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8

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

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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

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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 f

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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.<br>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 lo

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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

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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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16

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

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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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19

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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20

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 num

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22

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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23

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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24

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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25

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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26

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.<br>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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27

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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28

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

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29

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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30

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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31

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

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32

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

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33

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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34

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 lig

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35

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.<br>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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36

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 consider

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37

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 h

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38

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 reporte

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39

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

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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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42

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

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45

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

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46

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.<br>text

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47

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<br>text

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48

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<br>text

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49

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.<br>text

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50

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<br>text

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