Relevant bibliographies by topics / Organs (Musical instruments)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Organs (Musical instruments)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Organs (Musical instruments)"

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Cottingham, James P. "Life cycles of free reed instruments: The accordion-concertina family and the reed organ-harmonium family as case studies." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011035.

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In 1800, the free reed instruments of European origin did not exist. Beginning in the 1820s, there was very rapid invention and innovation in the development and production of instruments like the reed organ and accordion so that within a few decades these instruments had reached something approaching their final form. By 1900 instruments with hand-driven bellows (accordions and concertinas) and instruments with foot-driven air supplies (reed organs and harmoniums) of a wide variety of types were being manufactured and played worldwide in large numbers. From around 1900 through the 1920s, there was a sharp drop in the number of new reed organs and harmoniums manufactured and sold. This number decreased to near zero by mid-century and has remained there. Meanwhile, the manufacture of the “squeeze box” instruments has remained robust to the present day. Factors involved in the discrepancy between these two families of instruments of almost identical acoustical design will be discussed. These include changes in musical styles and taste, socio-economic factors, and competition from other musical instruments.
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Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (June 27, 2016): 227–30. http://dx.doi.org/10.4312/mz.52.1.227-230.

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The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history and to evaluate this process from the standpoint of Slovene musical and cultural history.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.

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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.

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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.
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Uvarova, Olga V. "SCIENTIFIC AND PEDAGOGICAL DEVELOPMENTS IN THE FIELD OF SOUND FORMATION ON WIND INSTRUMENTS." EurasianUnionScientists 2, no. 2(71) (2020): 15–17. http://dx.doi.org/10.31618/esu.2413-9335.2020.2.71.584.

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The priority direction in modern conditions of musical and pedagogical activity is the training of highly qualified specialists. The main factor of successful methodological work in the field of wind instrument performance is the study of scientific achievements in physiology, pedagogy, and psychology. Currently, in the pedagogical practice of wind art, there are a number of issues that require a conceptual understanding of the physiological components of the voice and articulation apparatus, as well as the dependence of sound quality on these organs. The subject of the analysis is the correct functioning of the larynx as a resonator. The analysis of scientific and theoretical developments in the field of sound formation on wind instruments allowed us to explain a number of pedagogical approaches in the practice of musical and performing arts
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Baretzky, B., M. Friesel, and B. Straumal. "Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life." MRS Bulletin 32, no. 3 (March 2007): 249–55. http://dx.doi.org/10.1557/mrs2007.30.

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AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.
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Bernat, Sebastian. "Pipe organ and organ music in Poland as a part of world heritage." Muzeológia a kultúrne dedičstvo 10, no. 2 (2022): 23–42. http://dx.doi.org/10.46284/mkd.2022.10.2.2.

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The pipe organ, as a musical instrument and an important object of cultural heritage, has been gaining increasing interest from the international community in recent years. This paper aims at examining the possibilities of preserving organs and organ music in Poland in an international context. As part of the study, an analysis of UNESCO lists was conducted. Furthermore, the organ-building assets in Poland and tourist products developed on their basis (including cultural trails dedicated to organs and organ museums) were studied. Attention was also drawn to other sites and forms of the organ of possible interest to tourists, and to the functioning of organ festivals during the COVID-19 pandemic and virtual organ projects implemented in that period. In addition, public awareness concerning the organ in Poland and Europe as well as organ festivals and other associated tourist products was examined. Finally, actions aimed at preserving Poland’s organ heritage were proposed with reference to practices in other European countries. It was concluded that one of the possible ways to integrate the conservation of organ heritage is a comprehensive approach through the landscape. Organs and their music also form a part of the local landscape, both as landforms reminiscent of the instruments and as artistic installations and sounds, shaping a sense of local and regional identity. It is also very important to engage in cross-border cooperation (including an exchange of good practices) and educational projects with regard to the safeguarding of organ heritage.
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Thistlethwaite, Nicholas. "Re-Making the English Organ: Musical and Liturgical Contexts, 1830–1870." Nineteenth-Century Music Review 12, no. 1 (June 2015): 71–93. http://dx.doi.org/10.1017/s1479409815000051.

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The article describes the evolution of the English organ under the influence of changes in musical style and liturgical practice between 1830 and 1870. A preliminary discussion of the Georgian organ and the performance conventions of its players provides a benchmark against which to measure the ensuing changes. S.S. Wesley is taken as a case study with reference to changes made to the Hereford Cathedral organ in 1832; it is argued that these reflect Wesley's musical priorities, a point that is further illustrated by a consideration of the registration markings found in the original manuscripts of ‘The Wilderness’ (1832) and ‘Blessed be the God and Father’ (1834). They also demonstrate an innovative use of the pedals.In the following section the influence of Mendelssohn is discussed. His performances of Bach in England during the 1830s and 1840s promoted a radical change is organ design and performance practice; the C-compass organs with German pedal divisions built by (among others) William Hill were ideal instruments both for Bach's organ music and for Mendelssohn's own organ sonatas which combined classical form with a romantic sensibility.The concluding section reviews developments in the years 1850–70. It considers changes in console design and the growing taste for orchestral registers, even in church organs. Choral accompaniments also became more orchestral in character, and a number of representative examples from Ouseley's Special Anthems (1861, 1866) are discussed. Liturgical changes after 1850 are also considered, together with their impact on the role of the organ in worship.
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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.
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Ломтев, Денис Германович. "The Mechanical Musical Instruments in the Product Range of (he Company Julius Heinrich Zimmermann." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 48–65. http://dx.doi.org/10.26176/mosconsv.2021.45.2.003.

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Рекламные объявления и брошюры, каталоги товаров, отчеты с выставок, инструкции по эксплуатации и, наконец, сохранившиеся в музейных собраниях образцы самоиграющих музыкальных инструментов проливают свет на историю их производства и продажи фирмой «Юлий Генрих Циммерман». Детально рассматриваются конструктивные особенности и репертуар музыкальных шкатулок и автоматов марки «Фортуна», занявших в России лидирующие позиции по продажам механических инструментов со стальной гребенкой в качестве источника звука. Еще одним продуктом фирмы, несколько уступавшим по продажам «Фортунам», был оргофон. Источником звука в нем служили металлические язычки, приводимые в колебание потоком воздуха. С целью расширения ассортимента торговый дом Циммермана распространял через магазины собственной торговой сети музыкальные автоматы других производителей. Особенно активно продвигались на российском рынке механические фисгармонии американской Aeolian Company и механические пианино «Миньон» немецкой фабрики M. Welte & Sohne из Фрайбурга The production and sale of mechanical musical instruments by the company Julius Heinrich Zimmerman will be analysed on the basis of the advertisements, catalogs, reports of exhibitions instructions for use and the exhibits still intact. The constructions and the repertoire of the Fortuna musical boxes and automatons are described in detail. In Russia, they were the best-selling mechanical musical instruments with a tone comb as the sound source. Another successful own brand product of the company Jul. Heinr. Zimmermann was the Orgophon. The source of the sound of this instrument was metal tongues, driven into vibration by the flow of air. Zimmermann also traded in mechanical instruments from other manufacturers to expand his range. The sales leaders among them were mechanical pump organs of the American Aeolian Company and Welte-Mignon reproducing pianos of the German factory M. Welte & Sohne from Freiburg im Breisgau.
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Dissertations / Theses on the topic "Organs (Musical instruments)"

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Morgan, Deirdre Anne Elizabeth. "Organs and bodies : the Jew's harp and the anthropology of musical instruments." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1559.

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The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound.
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Still, Tamara G. "Paul Fritts and Company, organ builders : the evolution of the mechanical-action organ in the United States during the 20th century with historical emphasis on the instruments of Paul Fritts /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11254.

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Pereira, Kenny Alberto Simões 1970. "Atividade organística no Brasil : renovação ou queda de uma cultura? /." São Paulo, 2016. http://hdl.handle.net/11449/141463.

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Orientador: Dorotéa Kerr
Banca: Ney de Souza
Banca: Leonildo Campos
Banca: Nahim Marun Filho
Banca: Lutero Rodrigues
Resumo: Esta pesquisa tem por objetivo entender a forma de construção da atividade organística como uma cultura do cristianismo. Procura-se delinear os conteúdos dessa cultura e demonstrar como ela teve seus princípios geradores duradouros por tantos séculos. Em um segundo momento analisa a atividade organística no Brasil traçando seu perfil e analisando sua situação atual e suas problemática diante das novas religiosidades. Esta pesquisa procurou analisar a atividade organística no Brasil a partir dos estudos culturais tendo como principais autores teóricos Clifford Geerts, Jan Assmann e Zygmunt Bauman"
Abstract: The objective of this research is to understand how the construction to perform organ music has been historically generated in Christian culture. In the first part, this thesis proposes to outline how Christian principles that have lasted for centuries were instrumental in this cultural activity.The second portion of the thesis outlines the historical trajectory of the activities and compositions of organ music in Brazil, and notes the current problems resulting from the influence of new religious beliefs on this cultural endeavor.This research and analysis of the cultural studies of organ music in Brazil follow the theoretical propositions of authors Clifford Geerts, Jan Assman, and Zygmunt Bauman.
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Bernardo, Felipe Antônio 1987. "A atividade organística no Brasil Colonial e suas relações com Portugal /." São Paulo, 2016. http://hdl.handle.net/11449/143120.

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Orientador: Dorotéa Kerr
Banca: Celina Chariler
Banca: Ricardo Kubala
Resumo: A atividade organística no período colonial brasileiro foi intensa. Muitos órgãos vieram de Portugal para o Brasil e postos de organista foram criados nas principais igrejas. Para compreender qual era a música praticada no Brasil é preciso um olhar para a música de órgão portuguesa, afinal os primeiros organistas que aqui tocaram vieram de Portugal ou aprenderam com eles. O órgão ibérico tem muitas particularidades que participaram do desenvolvimento composicional da música portuguesa para teclado
Abstract: The organ activity in the Brazilian colonial period was intense. Many organs came from Portugal to Brazil and organist posts were created in the main churches. To understand what the music practiced in Brazil, is necessary to take a look at the Portuguese organ music, after the first organists who have played here came from Portugal or learned from them. The Iberian organ has many exclusive features which participated in the compositional development of the Portuguese keyboard music
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Gianelli, Gustavo Biciato 1983. "As mudanças na atividade organística a partir dos desenvolvimentos tecnológicos do século XX /." São Paulo, 2016. http://hdl.handle.net/11449/143096.

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Orientador: Dorotéa Machado Kerr
Banca: Lutero Rodrigues
Banca: Alzira Lobo de Arruda Campos
Resumo: O objetivo deste trabalho foi investigar de que formas os desenvolvimentos tecnológicos ocorridos no século XX afetaram a prática musical organística. Transformações históricas, musicais e sociais foram abordadas com o objetivo de compreender as relações estabelecidas entre o instrumento órgão, os músicos, a sociedade e a tecnologia. Tal compreensão pode incentivar novas ideias e novos pontos de vista sobre a função do órgão na sociedade contemporânea, que em grande parte têm vínculos cada vez mais frágeis com a música organística. Por meio de pesquisas em documentos sociais, científicos, mídias distintas, arquivos e entrevistas foi possível formar um panorama das mudanças ocorridas. A análise dessas foi realizada sob a ótica da Sociologia da Tecnologia, em especial da Teoria da Construção Social da Tecnologia, que tem como principal característica tratar as inovações como reações a anseios e desejos de determinado grupo social. A princípio são apresentados conceitos sobre as teorias envolvidas, e é discutido como foram aplicadas no desenvolvimento do trabalho. São analisadas então as principais fases das mudanças ocorridas na prática organística no período abordado: a invenção do Órgão Hammond, em 1935, e as condições que levaram a este desenvolvimento; o surgimento dos órgãos direcionados ao mercado doméstico e a popularização do instrumento eletrônico; o surgimento das tecnologias digitais e os novos rumos da prática organística. Nas conclusões foi demonstrado que, embora ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The objective of this study was to investigate how technological developments in the 20th century affected the organ-related musical practice. Historical, musical and social changes were addressed in order to understand the relations between the instrument organ, musicians, society and technology. Such understanding can encourage new ideas and views on the role of the organ in contemporary society, which has increasingly fragile ties to the organ-related music. Through research in social and scientific documents, different media, files and interviews was possible to form an overview of the changes. The analysis of these was carried out from the perspective of Sociology of Technology, particularly the theory of social construction of technology, whose main characteristic is to treat innovations as reactions to longings and desires of a particular social group. The principle concepts on the theories involved are presented, and is discussed as they were applied in the development of work. Following are analyzes of the main changes in organ-related practice in the covered period: the invention of the Hammond Organ in 1935, and the conditions that led to this development; the emergence of organs directed to the domestic market and popularization of electronic instrument; the emergence of digital technologies and new ways of organ-related practice. In the conclusions was demonstrated that, although the presence of electronic organs is increasingly evident, often not as a supplement... (Complete abstract click electronic access below)
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Stuber, Jon Allan. "Pieter A. Visser, organ builder : his life, work and rejuvenation of principles of classical organ building /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008253.

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Cagle, Caroline Woodell. "Technology in Society: The Pipe Organ in Early Modern England." Diss., Virginia Tech, 2002. http://scholar.lib.vt.edu/theses/available/etd-04172003-005110.

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Berrow, James. "John Nicholson, organ builder of Worcester : background, life and work." Thesis, University of Reading, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296695.

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

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Thesis (D. Creative Arts)--University of Wollongong, 2005.
Title from PDF title page (viewed on Aug. 13, 2005). Ill., musical examples, and most tables present in print version are lacking in the electronic version, as are accompanying sound recordings on 2 compact discs. Includes bibliographical references (p. 185-191) and discography (p. 192-193).
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Chen, Yunfeng. "Lou Harrison's Organ concerto with percussion orchestra : the fusion of Asian musical rhetoric with the western world's oldest musical instrument /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11440.

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Books on the topic "Organs (Musical instruments)"

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Hülphers, Abraham Abrahamsson. Historical disquisition on music and instruments: Particularly on the organ's structure in general, also a short description of organs in Sweden. Omaha, NE (15122 D Plaza, Omaha 68144-5502): J.W. Harker, 1992.

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Tiggelen, Philippe John van. Componium: The mechanical musical improvisor. Louvain-la-Neuve: Institut Supérieur d'archéologie et d'histoire de l'art, Collège Érasme, 1987.

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F, Williams Peter. The king of instruments: How churches came to have organs. London: SPCK, 1993.

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1928-, Gellerman Robert F., ed. The American reed organ and the harmonium: A treatise on its history, restoration and tuning, with descriptions of some outstanding collections, including a stop dictionary and a directory of reed organs. Vestal, N.Y: Vestal Press, 1996.

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Keyboards. London: Raintree, 2012.

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Rushworth, Graeme D. Historic organs of New South Wales: The instruments, their makers and players, 1791-1940. Sydney, NSW: Hale & Iremonger, 1988.

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Kauert, Kurt. Der Musikwinkel und die Harmonika. Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2000.

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Gemert, Hans van. Organos históricos del Perú =: Historic organs of Peru. Hillbrow, Sudáfrica: H. van Gemert, 1990.

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Earl, Bush Douglas, ed. The organ: An encyclopedia. New York: Routledge, 2005.

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Newton, Ronald G. Organa cantuariensia: Organs in Canterbury, New Zealand, 1850-1885 : a documentation. Christchurch, N.Z: School of Music, University of Canterbury, 1992.

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Book chapters on the topic "Organs (Musical instruments)"

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Fletcher, Neville H., and Thomas D. Rossing. "Pipe Organs." In The Physics of Musical Instruments, 467–93. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_17.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipe Organs." In The Physics of Musical Instruments, 552–80. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_17.

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Bucur, Voichita. "Restoration of Pipe Organs." In Handbook of Materials for Wind Musical Instruments, 707–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_20.

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Fletcher, Neville H., and Thomas D. Rossing. "Flutes and Flue Organ Pipes." In The Physics of Musical Instruments, 426–66. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_16.

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Fletcher, Neville H., and Thomas D. Rossing. "Flutes and Flue Organ Pipes." In The Physics of Musical Instruments, 503–51. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_16.

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Bucur, Voichita. "Marble, The Nondegradable Material for Pipe Organ." In Handbook of Materials for Wind Musical Instruments, 787–800. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_21.

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Bucur, Voichita. "Degradation of Organ Pipes and of Brass Instruments." In Handbook of Materials for Wind Musical Instruments, 637–78. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_18.

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Bucur, Voichita. "Organic Auxiliary Materials—Leather and Parchment." In Handbook of Materials for Wind Musical Instruments, 311–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_7.

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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "The Glass Organ: Musical Instrument Augmentation for Enhanced Transparency." In Smart Graphics, 179–90. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02115-2_15.

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Machlin, Paul S. "Born Again: The Pipe Organ as Jazz Instrument." In Stride: The Music of Fats Waller, 41–77. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08567-5_3.

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Conference papers on the topic "Organs (Musical instruments)"

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Chonpairot, Jaremchai. "Changes of Musical Instruments’ Names Along the Long Journey: Adopting, Adapting, Transforming and Changing." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-1.

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Abstract:
Through a long distance migration of some musical instruments, their relationships are sometimes given by their names. In this paper, the author will investigate the traces of their origins and the present locations of selected instruments. A number of musical instruments’ names will be analyzed through linguistic aspects -- adopting, adapting, transforming and changing. These names include vina plucked instruments, sa diev monochord, taro fiddle, ku drum, pey or oboe, sralai oboe, and ken bamboo mouth organ.
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