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Artykuły w czasopismach na temat „Organ music”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Drakeford, Richard, Jaques Casterede, Naji Hakim, and Odile Pierre. "Organ Music." Musical Times 132, no. 1779 (1991): 264. http://dx.doi.org/10.2307/965710.

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2

Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1770 (1990): 449. http://dx.doi.org/10.2307/966643.

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3

Bye, Antony. "Organ Music." Musical Times 131, no. 1774 (1990): 678. http://dx.doi.org/10.2307/966742.

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4

Bond, Ann, and Malcolm Rudland. "Organ Music." Musical Times 131, no. 1771 (1990): 511. http://dx.doi.org/10.2307/1193681.

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5

Djohan, Djohan, Asep Hidayat Wirayudha, and Aghisna Indah Mawarni. "Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik." Resital:Jurnal Seni Pertunjukan 24, no. 2 (2023): 136–45. http://dx.doi.org/10.24821/resital.v24i2.9747.

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As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, esp

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6

Rochester, Marc. "New Organ Music." Musical Times 127, no. 1726 (1986): 646. http://dx.doi.org/10.2307/964296.

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7

Bond, Ann. "New Organ Music." Musical Times 126, no. 1709 (1985): 435. http://dx.doi.org/10.2307/964374.

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8

Rochester, Marc. "New Organ Music." Musical Times 127, no. 1723 (1986): 584. http://dx.doi.org/10.2307/964408.

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9

Bond, Ann, and John Steel. "New Organ Music." Musical Times 126, no. 1711 (1985): 561. http://dx.doi.org/10.2307/964481.

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10

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1729 (1987): 165. http://dx.doi.org/10.2307/964515.

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11

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1727 (1987): 49. http://dx.doi.org/10.2307/964650.

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12

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1728 (1987): 105. http://dx.doi.org/10.2307/964796.

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13

Rochester, Marc. "New Organ Music." Musical Times 128, no. 1730 (1987): 233. http://dx.doi.org/10.2307/965446.

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14

Cummings, Graham. "Recent Organ Music." Musical Times 133, no. 1787 (1992): 48. http://dx.doi.org/10.2307/966252.

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15

Whitehouse, Matthew. "Astronomical Organ Music." Culture and Cosmos 16, no. 1 and 2 (2012): 393–97. http://dx.doi.org/10.46472/cc.01216.0263.

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Music inspired by astronomical phenomena is familiar to INSAP participants. In this presentation, I will present two pieces of astronomy-inspired music composed specifically for the organ: Nebulae and Nova. The music will be accompanied by a slide show of astronomical images. Nebulae is my original work and is a musical narrative on the process of star formation. It has been performed throughout the United States, including at Notre Dame Cathedral in Paris in October 2010. Nova is by the American composer Myron Roberts, and is a depiction of a supernova explosion.

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16

Bailey, Candace, John Blow, and Barry Cooper. "Complete Organ Music." Notes 54, no. 4 (1998): 987. http://dx.doi.org/10.2307/900098.

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17

Sholl, Robert. "New Organ Music." Musical Times 137, no. 1841 (1996): 40. http://dx.doi.org/10.2307/1003449.

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18

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1707 (1985): 309. http://dx.doi.org/10.2307/961328.

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19

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1705 (1985): 179. http://dx.doi.org/10.2307/961687.

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20

Rochester, Marc. "New Organ Music." Musical Times 126, no. 1706 (1985): 243. http://dx.doi.org/10.2307/962202.

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21

Elcombe, Keith. "Baroque Organ music." Early Music XXIX, no. 4 (2001): 655–56. http://dx.doi.org/10.1093/earlyj/xxix.4.655.

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22

Smaczny, Jan. "Czech Organ Music." Nineteenth-Century Music Review 6, no. 2 (2009): 156–58. http://dx.doi.org/10.1017/s1479409800003220.

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23

Quinney, R. "Buxtehude's organ music." Early Music 37, no. 3 (2009): 501–2. http://dx.doi.org/10.1093/em/cap062.

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24

Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The

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25

Moger, Peter. "Kenneth Leighton's Organ Music." Musical Times 126, no. 1711 (1985): 553. http://dx.doi.org/10.2307/964477.

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26

Bond, Ann. "Organ Music and Records." Musical Times 131, no. 1772 (1990): 572. http://dx.doi.org/10.2307/966525.

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27

Patterson, Myron B., and Gerhard Krapf. "Organ Music for Lent." Notes 43, no. 4 (1987): 925. http://dx.doi.org/10.2307/898179.

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28

Quinn, Iain. "SAMUEL BARBER'S ORGAN MUSIC." Tempo 65, no. 256 (2011): 38–51. http://dx.doi.org/10.1017/s0040298211000155.

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The publication of three previously unpublished early organ works of Samuel Barber (1910–1981) in the hundredth year since his birth allows an opportunity to consider his output afresh for an instrument he knew well from his childhood years. Known to millions through the broadcast, concert and film media, Barber's most-played work, the Adagio from the String Quartet, op. 11 (1936) has remained a familiar voice to contemporary ears 75 years after its composition. Indeed it could be fairly suggested that it has become to America what Elgar's Nimrod has to the British; a piece that can summon up

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29

Kitchen, J. "Music reviews. Organ manuals." Early Music 29, no. 1 (2001): 134–36. http://dx.doi.org/10.1093/em/29.1.134.

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30

Webber, G. "Mostly German organ music." Early Music 41, no. 4 (2013): 684–89. http://dx.doi.org/10.1093/em/cat114.

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31

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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32

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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33

Reynolds, Gordon. "Organ." Musical Times 133, no. 1791 (1992): 260. http://dx.doi.org/10.2307/1193719.

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34

Bond, Ann, and Arthur Wills. "Organ." Musical Times 126, no. 1705 (1985): 179. http://dx.doi.org/10.2307/961688.

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35

Lipov, A. N. "Спронк В. Испытание параметров музыки: Хальберштадтское исполнение ORGAN2/ASLSP Джона Кейджа как экспериментальная система". Studia Culturae, № 53 (20 лютого 2023): 81. http://dx.doi.org/10.31312/2310-1245-2022-53-81-109.

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Is being performed at Halberstadt, Germany, by ORGAN2/ASL SP (1987), an organ piece by the American avant-garde composer, John Milton Cage (1912–1992), music theorist and pioneer in aleatorics, electronic music and the non-standard use of musical instruments, whom music critics have called one of the most influential American composers of the 20th, known for his radical attempts to subvert listeners’ conventional ideas of what music is and should be. With this performance, with a running time of 639 years and being the world’s longest performance of a piece of music that will reach its finale

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36

Bond, Ann, and Peter Hurford. "Making Music on the Organ." Musical Times 130, no. 1751 (1989): 47. http://dx.doi.org/10.2307/966115.

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37

Bond, Ann, and Peter Hurford. "Making Music on the Organ." Musical Times 129, no. 1750 (1988): 693. http://dx.doi.org/10.2307/966674.

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38

Walker, Diane Parr, Viktor Lukas, and Ann Wyburd. "A Guide to Organ Music." Notes 46, no. 4 (1990): 951. http://dx.doi.org/10.2307/941269.

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39

Peterson, Edward A. "Music for the reed organ." Journal of the Acoustical Society of America 99, no. 4 (1996): 2461–500. http://dx.doi.org/10.1121/1.415494.

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40

JOHNSTONE, H. D. "EDITING MAURICE GREENE'S ORGAN MUSIC." Music and Letters 81, no. 1 (2000): 170–72. http://dx.doi.org/10.1093/ml/81.1.170-b.

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41

Hilson, J. "Two Interludes from Organ Music." English 63, no. 243 (2014): 347–48. http://dx.doi.org/10.1093/english/efu013.

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42

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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43

&, J. W. Walker; amp, and Sons. "Bolton Organ." Musical Times 128, no. 1727 (1987): 6. http://dx.doi.org/10.2307/964618.

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44

Hill, Cecil, and Hannalore Reuter. "Organ Museum." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965248.

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45

Bond, Ann, and Basil Ramsey. "Organ Records." Musical Times 132, no. 1775 (1991): 732. http://dx.doi.org/10.2307/965569.

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46

Mellers, Wilfrid, and Jonathan Freeman-Attwood. "Organ Records." Musical Times 131, no. 1769 (1990): 394. http://dx.doi.org/10.2307/965775.

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47

Buxton, Mark. "Organ Records." Musical Times 131, no. 1767 (1990): 283. http://dx.doi.org/10.2307/966172.

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48

Bond, Ann. "Organ Records." Musical Times 131, no. 1773 (1990): 627. http://dx.doi.org/10.2307/966199.

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49

Bond, Ann, and Gordon Reynolds. "Organ Records." Musical Times 131, no. 1771 (1990): 513. http://dx.doi.org/10.2307/1193682.

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50

Bond, Ann, Peter Williams, and Barbara Owen. "The Organ." Musical Times 130, no. 1753 (1989): 181. http://dx.doi.org/10.2307/1193843.

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