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Bibliografías temáticas / Organs (Musical instruments)

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Literatura académica sobre el tema "Organs (Musical instruments)"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 31 de enero de 2023

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Artículos de revistas sobre el tema "Organs (Musical instruments)"

1

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 (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, ther

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2

Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (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

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3

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 (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). Th

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4

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

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5

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

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6

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 (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 collaboration

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7

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 o

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8

Thistlethwaite, Nicholas. "Re-Making the English Organ: Musical and Liturgical Contexts, 1830–1870." Nineteenth-Century Music Review 12, no. 1 (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

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9

Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (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 musi

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10

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. Ист

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