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Dissertations / Theses on the topic 'Organs (Musical instruments)'
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1
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 KerrBanca: 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 KerrBanca: 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
Mestre
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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 KerrBanca: 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)
Mestre
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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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Javadova, Jamila. "Anthoni van Noordt historical and analytical aspects of his Tabulatuurboeck van Psalmen en fantasyen of 1659 /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6092.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Sept. 30, 2002, Nov. 27, 2007, and one recital of unknown date, at the University Park United Methodist Church, Dallas, Tex. Includes bibliographical references (p. 62-66).
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Stone, Justin. "The changing fortunes of the organ: the viewpoints of church organists in the Anglican churches of Port Elizabeth." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/23502.
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This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
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Kilbey, Margaret. "Music-making in the English parish church from the 1760s to 1860s, with particular reference to Hertfordshire." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:ad312575-0d25-401a-a06a-a31fda3b7db8.
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This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve congregational psalmody, and church organs and barrel-organs were given with this objective in mind. Gentry involvement with amateur military bands of music also influenced the instrumentation of choir-bands. These actions were mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. This dissertation argues that methods adopted to improve congregational singing in one generation were reviled in the next. The suggestion that teaching charity school children to sing would result in a congregation of singing adults became a recurring theme, yet time and again it met with little success. Nineteenth-century reform of church music-making has often been presented as a clear-cut progression, with the replacement of choir-bands by a barrel-organ or harmonium, but this dissertation argues that these phases were sometimes parallel rather than sequential, with no inevitable outcome. Furthermore, new evidence reveals that nineteenth-century church rate disputes had a profound effect on church music-making, an area of research neglected in modern literature. Lack of available seating became a significant problem in parish churches owing to the often compulsory attendance of schoolchildren, which opens up another new area of research. This dissertation argues that attempts to reform music-making contributed to alterations in the church fabric long before ecclesiological reorderings, and had long-lasting repercussions.
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Han, Namhee. "Rethinking Grigny's Récit de tierce en taille in the liturgical context of the organ mass." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Morgan, Robert Huw. "The Preludes and fugues (opus 36) of Marcel Dupre︠ and their relationship to the harmonic and melodic processes as set forth in the Traité d'improvisation à l'orgue /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11303.
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Yarnelle, Edward Joseph. "Pipe and electronic church organ acquisitions since 1975 in selected Roman Catholic parishes in the United States." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722778.
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A survey was conducted to determine current conditions pertaining to church organ acquisitions and renovations in selected Roman Catholic parishes in the United States. A need exists to ascertain what problems are occurring with the process of organ acquisition, what solutions are possible, and how trends in organ acquisition are measuring up with the principles outlined by Vatican II.Addresses of organ companies were obtained from the current National Association of Pastoral Musician's Organ Builders Directory_ (1988). The 105 organ companies queried sent the researcher the addresses of 711 past and current Roman Catholic customers; each customer was sent a questionnaire. Fifty-eight percent of the contacts responded, supplying significant information from 362 parishes in the forty-eight contiguous United States. Information was obtained regarding: organ installation/renovation, selection, organ companies considered, console placement, parish size, age of church building, fund-raising, greatest difficulties experienced, points of advice based on experience, diocesan organ acquisition policies, acoustical concerns, and reasons for choosing a pipe or an electronic instrument.Reviews of related research and discussions of current publications, Roman Catholic church music legislation, new technologies used for accompanying church music, and differing opinions of church leaders supplement the survey research.Parishes reported their most difficult problems encountered during organ acquistion and offered their best points of advice for avoiding problems. The data include opinions regarding pipe and electronic instruments; organ companies frequently utilized; examples of sucessful organ console placement; the status and examples of diocesan written policies concerning keyboard accompaniment instruments; the benefits of combining fund-raising with parish education and communication; and the need for greater concern and education regarding acoustics.Case studies describe Roman parishes that achieved quality worship services after thorough preparations for their organ acquisition. Beginning parishes need the greatest amount of help for organ planning. Conclusions call for national-level attention and education about the organ acquisition process, and encourage dioceses to facilitate this goal with well-written policies.School of Music
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Batista, Gisele Sant'Ana. "Os órgãos de tubos de Guilherme Berner na cidade do Rio de Janeiro /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95157.
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Orientador: Dorotéa Machado KerrResumo: Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico - dissertações, livros, artigos e entrevistas - bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro.
Abstract: Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner's arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro.
Mestre
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Boonzaaier, Devandre. "A theoretical study on the Alexander technique for the organ." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1015727.
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The aim of this research is to provide a theoretical framework of the Alexander Technique for organists. Frederick Matthias Alexander was an Australian actor who developed a technique to enable and enhance his own performance. This innovative technique is now used across the world, including South Africa. In this study the researcher provides a Literature Study of the Alexander Technique. Furthermore, he investigates and reports on the practises of a number of organists. A multiple case study approach was adapted and data was collected by means of questionnaires, personal observations and informal interviews. The data gathered in this study is described and analysed. The study culminates with a description of a theoretical framework for the application of the Alexander Technique for organists.
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Van, Wyk Theodore Justin. "The Harmonische Seelenlust (1733) by G.F. Kauffmann (1679-1735) a critical study of his organ registration indications /." Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09152005-095735/.
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Alcorn-Oppedahl, Allison A. (Allison Ann). "Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278307/.
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Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument.
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Van, Rooyen Hentus. "The Keyboard Toccatas of Michelangelo Rossi (ca. 1602-1656): Performance Perspectives for Organists." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609112/.
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This dissertation provides comprehensive performance perspectives for the interpretation of the published keyboard toccatas by Michelangelo Rossi (ca.1602-1656) in his collection, Toccate e Correnti d'Intavolatura d'Organo e Cimbalo (c. 1634). This document consults the following sources on keyboard practice in the early-Baroque period: Girolamo Diruta's Il Transilvano Dialogo Sopra Il Vero Modo Di Sonar Organi, & Istromenti da penna (1593); Adriano Banchieri's Conclusioni nel Suono dell'Organo (1609); Costanzo Antegnati's L'Arte Organica (1608); and the prefaces to Girolamo Frescobaldi's publications Toccate e Partite d'Intavolature di Cembalo, Libro Primo (first version 1615; second version 1615, 1616, 1628; and third version 1637), and Fiori Musicali (1635). These sources provide information on most aspects of keyboard—and specifically organ—playing in the decades leading up to, and at the time of, the initial publication of Rossi's toccatas: including the toccata as genre, Italian organs from the late-Renaissance/early-Baroque, registration, tempo, pedaling, fingering, articulation, and ornamentation. In addition to the performance perspectives, this dissertation also provides a new modern edition of the ten toccatas by Michelangelo Rossi. This edition is based on the 1657 Bologna facsimile. The goal of this edition is two-fold. First to present an accurate text of the facsimile and second to adjust certain beam-groupings, spacing on the staves, and the use of accidentals in a more modern sense.
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Batista, Gisele Sant'Ana [UNESP]. "Os órgãos de tubos de Guilherme Berner na cidade do Rio de Janeiro." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95157.
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Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0
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batista_gs_me_ia.pdf: 2073531 bytes, checksum: a55c07f0cac8a7ae6122a25baef41954 (MD5)Universidade Estadual Paulista (UNESP)
Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico – dissertações, livros, artigos e entrevistas – bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro.
Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner’s arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro.
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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 into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.
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Wagstaff, Laura Frances. "Instrument of enlightenment : a cultural history of the pipe organ in pre-revolutionary eighteenth-century France /." 2009. http://hdl.handle.net/10288/1220.
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Stuber, Jon Allan 1960. "Pieter A. Visser, organ builder : his life, work and rejuvenation of principles of classical organ building." 2001. http://hdl.handle.net/2152/12843.
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Dykstra, Ruth Elaine Pearsall Edward R. Speller Frank. "Possible orchestral tendencies in registering Johann Sebastian Bach's organ music an historical perspective /." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3128859.
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Dykstra, Ruth Elaine. "Possible orchestral tendencies in registering Johann Sebastian Bach's organ music : an historical perspective /." Thesis, 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3128859.
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Dykstra, Ruth Elaine 1945. "Possible orchestral tendencies in registering Johann Sebastian Bach's organ music : an historical perspective." 2004. http://hdl.handle.net/2152/12930.
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Silva, Lucas Sallum Castro. "Instrumentos músico-visuais: sintetização de sons com cores." Master's thesis, 2014. http://hdl.handle.net/10316/35608.
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Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia da Universidade de CoimbraEste projeto de investigação envolve as áreas de teoria da cor, música e design de interação. Seu ponto central parte de uma pesquisa histórica específica sobre instrumentos musicais que produzem cor ao invés de som, criados principalmente entre meados do século XIX e começo do século XX. Ao entender as motivações e as reflexões na relação entre som e cor destes criadores e de outros pensadores da teoria da cor, é proposto uma inversão da abordagem onde a cor seja elemento modificador do som através de um sintetizador musical, buscando a elaboração de uma relação contemporânea e fundamentada ao ambiente digital.
This research project involves the areas of color theory, music and interaction design. The starting point is through a historical research on musical instruments that produce color instead of sound, created primarily between the mid-nineteenth century and early twentieth century. By understanding the motivations and reflections on the relationship between sound and color of these creators and other thinkers of color theory, we propose a reversal of approach where color is modifying element of sound through a music synthesizer, seeking the development of a contemporary relationship and grounded in digital environment.
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Wargovich, Bridgette Elizabeth. "The king of musical instruments and The Spirit of the Liturgy: the pipe organ and its liturgical repertoire analyzed in light of Ratzinger's theology of liturgical music." Thesis, 2018. https://hdl.handle.net/2144/32700.
Full textAbstract:
Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation.
The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today.
This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.