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Books on the topic 'Theatre organ'

Author: Grafiati

Published: 26 July 2024

Last updated: 28 July 2024

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1

Strony, Walter. The secrets of theatre organ registration. 2nd ed. Carefree, AZ: W. Strony, 1991.

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2

Eddington, Jelani. The art of theatre organ arranging. Racine, WI: RJE Productions, 2009.

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3

Sanderson, John. Frank Olsen: Theatre organ virtuoso : a memoir. Thorold, Ont: Sanmar Marketing, 1985.

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4

John, Sanderson. Frank Olsen, theatre organ virtuoso: A memoir. Thorold, Ont., Canada: Sanmar Marketing, 1985.

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5

Inkster, Donald. Union Cinemas Ritz: A story of theatre organs and movie variety shows. Hove, England: Wick Book Publishers, 1999.

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6

M, Hall Ben, ed. The best remaining seats: The golden age of the movie palace. New York, N.Y: Da Capo Press, 1988.

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7

Thiele, John. When the mighty Wurlitzer reigned in the Regent. Campbelltown, S. Aust: J. D. Thiele, 2011.

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8

Schütz, Karl. Theater- und Kinoorgeln in Wien. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1991.

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9

Schamberger, Fiona Claire. Hermann Nitsch: Das Gesamtkunstwerk des Orgien Mysterien Theaters und seine Disziplinen = The Orgian Mysterian Theatre and its disciplines as a total art work. Klagenfurt: Museum moderner Kunst Kärnten, 2012.

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10

Turley, Fred. Mighty music at the movies: The cinema organ in Sheffield and the surrounding area. Sheffield: Sheaf Pub., 1990.

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11

Turley, Fred. Mighty music at the movies. Sheffield: Sheaf, 1990.

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12

Goltz, Maren. Das Kirchenmusikalische Institut: Spuren einer wechselvollen Geschichte : Dokumentation der Ausstellung "Das Kirchenmusikalische Institut" im Rahmen der Wandelausstellung zum Bach-Jahr 2000 in Leipzig. Leipzig: Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig, 2001.

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13

Encyclopedia of the American theatre organ. Pasadena, Calif: Showcase Publications, 1985.

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14

Junchen, David L. Encyclopedia of the American Theatre Organ. Organ Historical Society, 1989.

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15

Junchen, David L. Encyclopedia of the American Theatre Organ. Organ Historical Society, 1995.

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16

B, Yeats W. Beltaine: The Organ of the Irish Literary Theatre. Taylor & Francis Group, 2012.

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17

B, Yeats W. Beltaine: The Organ of the Irish Literary Theatre. Taylor & Francis Group, 2014.

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18

B, Yeats W. Beltaine: The Organ of the Irish Literary Theatre. Routledge, 2012.

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19

B, Yeats W. Beltaine: The Organ of the Irish Literary Theatre. Taylor & Francis Group, 2012.

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20

B, Yeats W. Beltaine: The Organ of the Irish Literary Theatre. Taylor & Francis Group, 2012.

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21

Kinoorgeln: Installationen der Gegenwart in Deutschland = Theatre organs, cinema organs. Frankfurt am Main: E. Bochinsky, 1998.

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22

Irish Literary Theatre (Corporate Author) and W. B. Yeats (Editor), eds. Beltaine: The Organ of the Irish Literary Theatre; Number One to Number Three, May 1899-April 1900 (English Little Magazines, No. 15). Frank Cass & Co, 2001.

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23

Richard, Wagner. Parsifal: Drame sacre en trois actes (Collection Theatre de Caen/Actes sud). Actes sud, 1995.

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24

Kinoorgeln und Kinomusik in Deutschland. Stuttgart: J.B. Metzler, 1995.

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25

Wehl, Feodor Von. Die Deutsche Schaubühne: Organ Für Theater und Literatur, Fuenfter Jahrgang. Creative Media Partners, LLC, 2023.

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26

Wehl, Feodor Von. Die Deutsche Schaubühne: Organ Für Theater und Literatur, Fuenfter Jahrgang. Creative Media Partners, LLC, 2023.

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27

Wise, Matt, and Paul Frost. Role of the intensive care unit. Edited by Patrick Davey and David Sprigings. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199568741.003.0148.

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The intensive care unit (ICU) can be defined as an area reserved for patients with potential or established organ failure and has the facilities for the diagnosis, prevention, and treatment of multi-organ failure. Usually, the ICU is located in close proximity to A & E, the radiology department, and the operating theatres, as it is between these areas that patient flows are greatest. In large urban hospitals, there may be more than one ICU, some of which serve specific patient populations, such as paediatrics, neurosurgery, cardiothoracic surgery, liver failure, and burns. Many hospitals also have high-dependency units (HDUs) that offer higher nurse-to-patient ratios and more advanced monitoring than a general wards does, as well as limited organ support. In the UK, the distinctions between ICU, HDU, and general ward have been abandoned in favour of a classification based on the patient’s needs rather than their location.

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28

Vogler, Georg Joseph. Pièces de clavecin (1798) and Zwei und dreisig Präludien (1806). Edited by Floyd K. Grave. A-R Editions, 1986. http://dx.doi.org/10.31022/c024.

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Abbé Vogler reveals a complex and adventurous personality in these two sets of keyboard music. While Pièces de clavecin features textural novelty in variations on melodies purportedly of Scandinavian, Russian, African, and Chinese origin, Zwei und dreisig Präludien (designed for either organ or piano and supplied with optional pedal parts) blends echoes of current chamber and theater styles with far-reaching excursions into realms of chromatic harmony and motivic elaboration.

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29

Glixon, Jonathan E. Mirrors of Heaven or Worldly Theaters? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190259129.001.0001.

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This book explores the musical world of the nuns of Venice and its lagoon, concentrating on the period from the sixteenth century to the fall of Venice around 1800. It looks at sacred music performed both by the nuns themselves and by professional musicians they employed. Following a historical introduction, the book considers the nuns as collective patrons, both of musical performances by professionals in their external churches, primarily for the annual feast of the patron saint, a notable attraction for both Venetians and foreign visitors, and of musical instruments, namely organs and bells. Next, the study examines the rituals and accompanying music for the transitions in a nun’s life, most importantly the ceremonies through which she moved from the outside world to the cloister. Then the book turns to liturgical music within the cloister, performed by the nuns themselves, from chant to simple polyphony, and to the rare occasions where more elaborate music can be documented. Two more chapters look at, respectively, the teaching of music to both nuns and girls resident in convents as boarding students, and at entertainment, musical and theatrical, by and for the nuns. Appendices include a calendar of musical events at Venetian nunneries, details on nunnery organs, lists of teachers, and inventories of musical and ceremonial books, both manuscript and printed. A companion website features editions of complete musical works, excerpts from which are included in the text as examples, along with sound files.

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30

Hicks, Michael. Buildings and Professors. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0002.

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This chapter discusses the beginnings of the Mormon Tabernacle Choir. It first considers the construction of the Salt Lake Tabernacle on April 6, 1852, before turning to the schoolhouse that Brigham Young built to provide vocal lessons for as many as 200 children at a time under the direction of David Calder, who championed a modified form of John Curwen's Tonic sol-fa method. Graduates of the Tonic sol-fa classes sang in concerts in the Salt Lake Theater, the dedication of which featured an anthem, “God Bless Brigham Young,” or “The Saints' National Anthem”; this suggested that the Mormons now saw their society as self-contained, a new “nation” outside the nation they had left. The music to this new anthem was composed by Charles John Thomas, the newly appointed director of the theater orchestra and, on Sundays, of the Tabernacle Choir. The chapter also considers the acoustics of the Salt Lake Tabernacle, the Tabernacle organ, and the appointment of Thomas Griggs as the new Choir conductor on August 19, 1880.

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31

Wild, Jonathan, Emma Nofal, Imeshi Wijetunga, and Antonia Durham Hall. Emergency surgery (DRAFT). Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198749813.003.0007.

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Emergency general surgery comprises patients with surgical problems requiring surgical intervention or post-operative surgical patients who require further surgical intervention or symptom palliation at any time of the day or night. Beyond the cases discussed below, this will include also emergency presentations from all of the sub-specialty chapters covered so far. Over 600,000 emergency hospital admissions are made to general surgery. Of these patients, they comprise the sickest patient cohort relative to the majority of elective patients, which results from sepsis, shock, or organ dysfunction from the underlying causative pathology, as well as the impact of any pre-existant comorbid states. This often has a significant impact on patient outcome, with high rates of morbidity and mortality relative to elective surgery. With this in mind, a lot of work has been channelled into improving outcomes for these patients. Furthermore, emergency and trauma surgery is beginning to establish itself as a subspecialty in itself. This chapter starts by making applied discussion of the assessment and initial investigation of acute abdominal pain, a complaint that comprises half of the annual 600,000 emergency general surgical admissions. It covers the pertinent features of diagnosis, investigation, and management of a range of common or serious emergency surgical and trauma cases that will be encountered on the acute surgical take. Kidney transplantation is not in itself an emergency operation when you consider the degree of pre-operative preparation of recipient donors, but is included in this chapter as it is commonly encountered by junior trainees on the emergency theatre list when donors are found at short notice.

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32

Bergengruen, Maximilian, Alexander Honold, Gerhard Neumann, Ursula Renner, Günter Schnitzler, and Gotthart Wunberg, eds. Hofmannsthal Jahrbuch zur Europäischen Moderne. Rombach Wissenschaft, 2018. http://dx.doi.org/10.5771/9783968216843.

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Das Hofmannsthal-Jahrbuch ist weltweit das wichtigste Organ der Hofmannsthal-Forschung. Es bietet neben der Veröffentlichung bisher unpublizierter Briefwechsel Beiträge namhafter Wissenschaftler zur europäischen Kultur der Moderne. Inhalt: - Christine Lubkoll / Michael Ott: in memoriam Gerhard Neumann - Noch mehr Hungerkünstler und eine kleine Prosa. Mitgeteilt von Ursula Renner - Elsbeth Dangel-Pelloquin: »Wunderbare Fügung«. Heinrich Zimmer als Nachlassverwalter Hofmannsthals - Katharina Geiser: Geschichten wie aus dem Roman. Heinrich und Christiane Zimmer, Eugen und Mila Esslinger - Mathias Mayer: Die Komik des Scheiterns. Dimensionen eines Existenzialismus bei Hofmannsthal - Cristina Fossaluzza: »Ein Hauch von Mystizismus«: Hofmannsthals Scheitern an Goldoni in der Komödie »Cristinas Heimreise« - Steffen Burk: Die Welt als Wille und Vorstellung: Zur Schopenhauer-Rezeption Richard Beer-Hofmanns in »Der Tod Georgs« - Franz-Josef Deiters: »gebrochenen Zuständen ein ungebrochenes Weltverhältnis gegenüberzustellen« – Max Reinhardts und Hugo von Hofmannsthals Theater der Stimmung - Jürgen Daiber: Therapeutisches Scheitern: Freud, das Kokain und die Literatur - Inka Mülder-Bach: »Das geht gut«, »das wird gut«: Dynamiken des Scheiterns im »Andreas«-Fragment - Gregor Streim: »Ausgleich von Revolution und Tradition«. Hofmannsthals ambivalentes Verhältnis zum ›Berliner‹ Theater in den zwanziger Jahre - Stephan Kraft: Hugo von Hofmannsthals »Unbestechlicher« als Geist der Komödie - Juliane Vogel: Komische Schwärme. Zur Poiesis des Sozialen bei Hugo von Hofmannsthal - Elsbeth Dangel-Pelloquin: Hofmannsthal 1968. Zur Gründung der Hofmannsthal-Gesellschaft vor 50 Jahren

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33

Bergengruen, Maximilian, Gerhard Neumann, Ursula Renner, Günter Schnitzler, and Gotthart Wunberg, eds. Hofmannsthal Jahrbuch zur Europäischen Moderne. Rombach Wissenschaft, 2016. http://dx.doi.org/10.5771/9783968216867.

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Das Hofmannsthal-Jahrbuch ist weltweit das wichtigste Organ der Hofmannsthal-Forschung. Es bietet neben der Veröffentlichung bisher unpublizierter Briefwechsel Beiträge namhafter Wissenschaftler zur europäischen Kultur der Moderne: Das Hofmannsthal-Jahrbuch ist weltweit das wichtigste Organ der Hofmannsthal-Forschung. Es bietet neben der Veröffentlichung bisher unpublizierter Briefwechsel Beiträge namhafter Wissenschaftler zur europäischen Kultur der Moderne: Hausbesuche. Hermann Menkes bei Wiener Künstlern und Sängerinnen. Eingeleitet, kommentiert und mit dem Entwurf einer Bibliographie von Ursula Renner Paul Bourget, Du dilettantisme, Herausgegeben und übersetzt von Rudolf Brandmeyer Katja Kaluga und Katharina J. Schneider: Die Legende vom Fuchs-Schlössel. Zur Geschichte von Hofmannsthals Haus in Rodaun und seinen VorbesitzerInnen Sabine Schneider: Hofmannsthals »Turm«-Dramen Hans-Thies Lehmann: »Der Turm« als Tragödie auf dem Theater Nicola Gess: Choreographie der Intrige. Zum dramatischen Rhythmus in Hofmannsthals »Der Turm« Alexander Honold: »Der Turm« und der Krieg Roland Borgards: »wo ist dem Tier sein End?« Das Politische, das Poetische und die Tiere in Hofmannsthals »Turm« Roland Innerhofer: »Der Turm« im Kontext der zeitgenössischen österreichischen Dramatik Stefan Breuer: Peripetien der Herrschaft. Hugo von Hofmannsthals »Der Turm« und Max Weber Michael Pilz: »Wir werden dreifache Front zu nehmen haben…« Alfred Walter Heymel, Rudolf Borchardt und die literaturkritische Praxis der »Süddeutschen Monatshefte«. Zur Positionierung einer Rundschauzeitschrift im literarischen Feld der Jahre 1904-1914 Dalia Klippenstein: Pantomime auf einem Blatt Papier: zu den Selbstbildnissen von Egon Schiele

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34

Inkster, Donald. "Union Cinemas Ritz". Wick Book Publishers, 1999.

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35

The Best of Broadway/Complete Words and Music for 80 Great Songs of the American Musical Theatre Arranged for All Chord Organs (183 Pages). Xs Books, 1987.

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36

Dēmosios kai idiōtikos vios kai politismos tōn vyzantinōn: Theatro, mousikē, mousika organa, hippodromos tēs Kōnstantinoupolēs, heortastikes, teletourgikes, psychagōgikes, athlētikes ekdēlōseis, metra kai stathma. Thessalonikē: Ekdotikos Oikos Kyromanos, 2006.

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37

Oleskiewicz, Mary. Keyboards, Music Rooms, and the Bach Family at the Court of Frederick the Great. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041488.003.0002.

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Using historical architectural plans, inventories, and images, this study locates and describes the musical spaces and the keyboard instruments upon which Johann Sebastian, Carl Philipp Emanuel, and Wilhelm Friedemann Bach would have performed at the Prussian court. King Frederick II’s many palaces—and those of the king’s close family members—featured from one to five music rooms, in addition to small palace theaters and orangeries. Oleskiewicz takes the reader on a virtual tour of each palace (with help of an illustrated web companion) and solves many long-standing puzzles about enigmatic features of several keyboard works, specific locations of known performances at court by the Bachs, and the numbers and types of organs, fortepianos and other keyboards at court by Marx, Shudi, Silbermann, and others.

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38

Turley, Fred. Mighty Music at the Movies. Sheaf Publishing Ltd, 1998.

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39

Publication, Connie Kirksey. Anatomy Coloring Book for Kids: My First Human Body Parts and Human Organs Anatomy Coloring Book for Kids - Human Body Theater Preschool Anatomy and Body Systems Coloring Book - Educational Books for Kids. Independently Published, 2020.

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