2024-03-29T14:57:36Zhttps://scholarworks.iu.edu/dspace-oai/requestoai:scholarworks.iu.edu:2022/144382021-10-18T08:34:24Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Harper, Monica Alexandra
2012-05-03T13:49:07Z
2012-05-03T13:49:07Z
2012-05-03
http://hdl.handle.net/2022/14438
en_US
No license.
church curriculum, congregational song, church songs, protestant curriculum
A Course of Study on the History of Congregational Song for Use in Mainline Protestant Church Classes
Document (D. Mus.)--Indiana University, 2012.
oai:scholarworks.iu.edu:2022/145982021-10-18T08:36:25Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Shin, Minkyoo
2012-07-17T13:48:41Z
2012-07-17T13:48:41Z
2012-07-17
http://hdl.handle.net/2022/14598
en_US
No license.
Metric, Organ, Modern, Dances
Metric analyses of selected modern "dances" for organ
Document (D. Mus.)--Indiana University, 2012.
oai:scholarworks.iu.edu:2022/151712021-10-18T07:06:01Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Bang, Shin-Kyung
2012-12-03T14:56:32Z
2012-12-03T14:56:32Z
2012-12-03
http://hdl.handle.net/2022/15171
en_US
License terms: No license.
Widor
The evolution of Widor's compositional style, as evidenced in his ten organ symphonies
Document (D. Mus.)--Indiana University, 2012
oai:scholarworks.iu.edu:2022/152772021-10-18T07:33:33Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Elsholz, Scott M.
2013-02-08T14:46:00Z
2013-02-08T14:46:00Z
2013-02-08
http://hdl.handle.net/2022/15277
Johann Heinrich Buttstett (also Buttstedt, Buttstädt; 1666-1727) was a prominent central German organist, composer, and theorist who, by the second decade of the 18th century, had achieved a fair degree of popularity and, indeed, notoriety. Having studied with Johann Pachelbel, Buttstett was thoroughly entrenched in the often conservative central German compositional style.
Today, Buttstett is most well-known for the heated theoretical debate he entered into with Johann Mattheson. In his Ut, mi, sol, re, fa, la, tota musica et harmonia aeterna (ca. 1715), Buttsett took Mattheson to task on virtually every idea presented in Das neu-eröffnete Orchestre (1713). Mattheson responded in kind in 1717 with his Das beschütze Orchestre, and lines between traditional, quite conservative music theory (Buttstett) and evolving theoretical currents of the 18th century (Mattheson) were clearly drawn. In his generation, Johann Heinrich Buttstett was a strong advocate for returning to well-established musical ideas of the past.
In 1713, Buttstett published what was to be the first of a series of keyboard music collections. For unknown reasons, the Musicalische Clavier=Kunst und Vorraths=Kammer would be the only collection to enter into print, although other works have been transmitted through manuscript copies (including chorale preludes and a variety of free works). In the preface to this collection, Buttstett discusses the very ideas of music theory that he would later invoke in his argument against Johann Mattheson. This collection thus stands as an important testament to Buttstett’s varied art.
No significant study of Johann Heinrich Buttstett has ever been written in the English language, and with the exception of Ernst Ziller’s 1934 (revised 1971) biography of Buttstett and Klaus Beckmann’s modern edition, there is virtually no mention of Buttstett’s Musicalische Clavier=Kunst und Vorraths=Kammer in academic literature. This document will seek to remedy these deficiencies and shed some light on this interesting publication.
en_US
No license.
Buttstett, Buttstedt, Buttstadt, Mattheson, Pachelbel, Clavierkunst, Musicalische Clavierkunst und Vorrathskammer, Compenius, Organ, Erfurt Predigerkirche, Guido d'Arezzo, Johann Gottfried Walther, stylus phantasticus, Johann Christoph Bach, Double dot, ornamentation
Opening a forgotten cabinet: Johann Heinrich Buttstett's Musicalische Clavier-Kunst und Vorraths-Kammer (1713)
Document (D. Mus.)--Indiana University, 2013
oai:scholarworks.iu.edu:2022/172372021-10-18T07:27:48Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Nave, Carol Jean
2014-01-15T13:14:12Z
2014-01-15T13:14:12Z
2014-01-15
http://hdl.handle.net/2022/17237
en_US
Bach, passacaglia, sound recording, recording, performance history, organ
Documenting performance through sound recording: Bach's Passacaglia in C minor, BWV 582
D. Mus.
oai:scholarworks.iu.edu:2022/174472021-10-18T07:41:21Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Sonnenberg, Elaine
2014-04-17T15:27:58Z
2014-04-17T15:27:58Z
2014-04-17
http://hdl.handle.net/2022/17447
en_US
Sanborn, Thomas Prentice, 1823-1903.
Thomas Prentice Sanborn: his life, career, and extant organs
D.Mus.
oai:scholarworks.iu.edu:2022/175732021-10-18T07:04:20Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Stamey, Sarah Moon
2014-05-07T13:29:24Z
2014-05-07T13:29:24Z
2014-05-07
http://hdl.handle.net/2022/17573
This document provides a thorough biography of Dame Ethel Smyth (1858-1944) in reference to her organ works and an analysis of the works themselves. A performance practice guide concludes the document, with the aim of making her works more accessible. The performance practice guidelines address articulation, phrasing, tempo, ornamentation, and registration, based on the performance practice of the day and organs she may have known.
en_US
Ethel Smyth, Organ works, chorale preludes, Prelude on a Traditional Irish Air, Brahms, Victorian era, Bach revival
The organ music of Ethel Smyth: a guide to its history and performance practice
D. Mus.
oai:scholarworks.iu.edu:2022/198782021-10-18T15:04:33Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Kim, Sunghee
2015-05-07T19:26:59Z
2015-05-07T19:26:59Z
2015-05-07
http://hdl.handle.net/2022/19878
en_US
No license.
Naji Hakim Te Deum
Te Deum by Naji Hakim: historical background and structural analysis
D. Mus.
oai:scholarworks.iu.edu:2022/203262021-10-18T08:46:36Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Powell, Hanna Katja Elina
2015-07-30T15:55:02Z
2015-07-30T15:55:02Z
2015-07-30
http://hdl.handle.net/2022/20326
en_US
License terms: Attribution Non-commercial Share Alike (by-nc-sa)
children, hymns, children's hymns, church, orff, kodály, kodaly
Teaching children hymns in the church setting using Orff- and Kodály-based strategies
D. Mus.
oai:scholarworks.iu.edu:2022/204092021-10-18T09:28:59Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Pope, Patrick Eugene
2015-10-07T16:16:26Z
2015-10-07T16:16:26Z
2015-10-07
http://hdl.handle.net/2022/20409
en_US
No license.
organ, pedagogy, music, education
A handbook for introducing undergraduates to the organ and its literature
D. Mus.
oai:scholarworks.iu.edu:2022/208102021-10-18T09:37:23Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Herris, Mark
2016-04-27T13:35:30Z
2016-04-27T13:35:30Z
2016-04-27
http://hdl.handle.net/2022/20810
en_US
No license.
Ruggles, Organbuilder, Mechanical, Tracker, Pipe, Organs
A profile of Charles M. Ruggles, builder of hand-crafted mechanical action organs
D. Mus.
oai:scholarworks.iu.edu:2022/208232021-10-18T09:37:03Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Guyer, James W.
2016-04-29T14:16:31Z
2016-04-29T14:16:31Z
http://hdl.handle.net/2022/20823
en_US
No license.
Kimball, pipe, organ, church, school, college, temple, renovation, rebuild, refurbishment, refurbish, restoration, Chicago, Denver, Columbus, Pittsburgh, Grove, City, Cambridge, John's, Cathedral, First, Congregational, Rodef, Shalom, Christ, Scientist
W.W. Kimball Company as organ builders: their history, instruments & legacy
D. Mus.
oai:scholarworks.iu.edu:2022/213442021-10-18T12:38:14Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Kang, Woosug
2017-04-25T15:18:31Z
2017-04-25T15:18:31Z
2017-04-25
http://hdl.handle.net/2022/21344
en
No license.
Vierne, Organ, Fantasie, Impressionism
Louis Vierne's Pièces de fantaisie pour grand orgue: its significance in the history of organ music
D. Mus.
oai:scholarworks.iu.edu:2022/215902021-10-18T14:48:18Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Kronner, Patrick
2017-07-12T14:15:33Z
2017-07-12T14:15:33Z
2017-07-12
http://hdl.handle.net/2022/21590
en
Arthur Foote, organ, America, Second New England School, American Guild of Organists
Made in America: the organ works of Arthur Foote
D. Mus.
oai:scholarworks.iu.edu:2022/218412021-10-18T17:11:37Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Gehrenbeck, Sarah Roberta Read
2017-12-13T15:14:33Z
2017-12-13T15:14:33Z
2017-12-13
http://hdl.handle.net/2022/21841
en
Attribution Non-commercial No Derivatives (by-nc-nd)
Shape-note
Read
Barber
Bolcom
"Why should the devil have all the pretty tunes?" : the great awakening of a new American idiom : organ music based on shape-note hymns
D. Mus.
oai:scholarworks.iu.edu:2022/218482021-10-18T17:08:43Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Boudra, Andrea
2017-12-14T16:55:51Z
2017-12-14T16:55:51Z
2017-12-14
http://hdl.handle.net/2022/21848
en
Larry King, Larry Peyton King, Organ Music, Organ
Let us love in deed and truth: the life and work of Larry Peyton King (1932-1990)
D. Mus.
oai:scholarworks.iu.edu:2022/219482021-10-18T17:06:36Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Putri, Kartika
2018-03-22T15:45:34Z
2018-03-22T15:45:34Z
2018-03-22
http://hdl.handle.net/2022/21948
en
church music, music education, organ
Come to us, creative spirit: a practical guide for congregational education and outreach through music ministry
D. Mus.
oai:scholarworks.iu.edu:2022/229382021-10-18T18:24:28Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Moss, Katie T.
2019-04-18T14:34:37Z
2019-04-18T14:34:37Z
2019-04-18
http://hdl.handle.net/2022/22938
en
David Evan Thomas, analysis, performance, organ
Of things hoped for : the organ works of David Evan Thomas
D. Mus.
oai:scholarworks.iu.edu:2022/229972021-10-19T02:31:44Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Lee, Dongho
2019-04-30T15:20:35Z
2019-04-30T15:20:35Z
2019-04-30
http://hdl.handle.net/2022/22997
en
Imaginary Continuo, Reduction Analysis, J. S. Bach, Piece d'Orgue, BWV 572
SELF-TAUGHT : USING THE IMAGINARY CONTINUO AND REDUCTION ANALYSIS AS PEDAGOGICAL APPROACH TO PERFORMANCE STUDIES THROUGH THE LENS OF J. S. BACH’S PIÈCE d’ORGUE, BWV 572
Thesis
oai:scholarworks.iu.edu:2022/244372021-10-19T01:43:05Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Gabriel, Priscilla W., 1988-
2019-10-02T13:00:59Z
2019-10-02T13:00:59Z
2019-10-02
http://hdl.handle.net/2022/24437
en
agency, social structure, organists, choir directors, organist-choirmasters, music directors, effectiveness, sociology
Agency, social structure, and the effectiveness of organist-choirmasters: what's the relationship?
D. Mus.
oai:scholarworks.iu.edu:2022/248382019-12-04T18:37:08Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Middleton, Matthew
Middleton, Matthew
2019-12-04T18:37:08Z
2019-12-04T18:37:08Z
2019-12-04
http://hdl.handle.net/2022/24838
en
Choir, Organ, Accompanying
Choral Accompaniment at the Organ
Thesis
oai:scholarworks.iu.edu:2022/249262021-10-19T04:47:42Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Rudy, Jonathan D.
2019-12-19T15:40:10Z
2019-12-19T15:40:10Z
2019-12
http://hdl.handle.net/2022/24926
The profession of sacred music, especially where leading worship and designing
liturgy is concerned, requires extensive experience, skill, knowledge, and training.
Although there are many educational programs available in the field, there are also vast
numbers of church musicians who lack even basic training in sacred music-related skills.
Many churches ask pianists or other musicians to lead worship without any provision for
further training. Musicians who work in a church often do so as a second career, which
renders additional training and its requisite cost a challenge. Furthermore, while
churches are spread throughout the world, sacred music programs are not; they often are
located in major metropolitan centers, at university campuses, and sometimes (in the case
of camps and conferences) are offered only sporadically. International church growth is
exponential, and with it the need for trained church musicians rises, yet local programs do
not begin to approach the quantity or quality of education needed. While a wealth of
training is available today, most adequate educational offerings remain inaccessible to a
vast number of today’s sacred musicians.
en
Organ
Education
Music
Sacred
Church
Choral
Remote
Online
Distance
Learning
Sacred Music Online Course: An Internet-based Practicum for Organists and Church Musicians
Doctoral Dissertation
oai:scholarworks.iu.edu:2022/249422021-10-19T04:43:58Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Efflerova, Viera
2019-12-20T14:00:03Z
2019-12-20T14:00:03Z
2019-12-20
http://hdl.handle.net/2022/24942
This document explores organ music of four Slovak national composers, Ján Levoslav Bella, Mikuláš Moyzes, Mikuláš Schneider-Trnavský, and Alexander Albrecht through the lense of historical context. Contains a brief overview of Slovak organs and significant builders.
en
Ján Levoslav Bella, Mikuláš Moyzes, Mikuláš Schneider-Trnavský, Alexander Albrecht, Jan Veit, Fest, Vest, Podkonický, Zorkovský, Šaško, Pažický, Možný, Bratislava, Sibiu
The organ music of the Slovak romantics
Thesis
oai:scholarworks.iu.edu:2022/249462021-10-19T04:44:08Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Price, Stephen C.
2019-12-20T16:06:48Z
2019-12-20T16:06:48Z
2019-12-20
http://hdl.handle.net/2022/24946
en
Organ, Organist, Pedagogy, Style, Gestures
Time, motion, and emotion: an organist's guide to connecting musical styles and physical gestures
Thesis
oai:scholarworks.iu.edu:2022/254372021-10-18T16:22:52Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Sunstein, Aaron
2020-05-10T23:59:25Z
2020-05-10T23:59:25Z
2020-05-10
http://hdl.handle.net/2022/25437
Girolamo Frescobaldi was the first influential composer to concentrate on keyboard music. Although Frescobaldi’s life and compositions have been the focus of significant historical research, there are few analyses of his music. The present dissertation examines the motivic, contrapuntal, and formal design of six contrasting pieces written throughout Frescobaldi’s career. At the measure by measure level, motivic and rhythmic play in Frescobaldi’s music creates moments where listener expectations are thwarted or fulfilled in unexpected ways. In the context of entire compositions, motivic variation, broadly defined, gives shape and strategy to the progression of the piece.
Frescobaldi imagined diverse ways of sustaining interest and creating coherence in the instrumental genres that he cultivated. While motivic combination and variation is the common thread in Frescobaldi’s music, an exploration of other musical parameters that is specific to each piece complements the motivic plot and makes possible the development of extended musical forms. Through close analysis of six pieces by Frescobaldi, this dissertation demonstrates how Frescobaldi’s compositional creativity in terms of contrapuntal, motivic, and variation strategies resulted in the redefinition of existing musical genres as well as the creation of new ones.
The analyses precede in chronological order according to when the pieces were published. The pieces are selected from a cross section of Frescobaldi’s publications spanning the composer’s entire period of compositional activity. Some pieces are from collections that are considered primarily contrapuntal (Fantasie, Capricci) whereas others are more homophonic or figured bass grounded (Cento Partite, Toccata, Canzona). After an introduction to the analyses in Chapter 1, Chapter 2 addresses S’io miro in te from the madrigal book of 1608. Chapter 3 focuses on Fantasia Seconda, from the composer’s other 1608 publication, the keyboard Fantasie. Chapter 4 analyzes Toccata Duodecima from the first book of toccatas (1615). The analysis in Chapter 5 is of the Capriccio Terzo sopra il Cucho from the publication of 1624. Chapter 6 analyzes Canzona Quinta à 3, due Canti e Basso (1635) and Chapter 7 the Cento Partite sopra Passacagli from 1637.
en
Frescobaldi, keyboard, organ, analysis, contrapuntal strategy, motive, variation, Cento Partite, Fantasie
Contrapuntal strategies in the music of Girolamo Frescobaldi (1583-1643): reimagining polyphonic genres
D. Mus.
oai:scholarworks.iu.edu:2022/254922020-05-22T17:07:51Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Paradies, Elena
2020-05-22T14:25:24Z
2020-05-22T14:25:24Z
2020-05
http://hdl.handle.net/2022/25492
Pre-college organ students have a short time in which to learn basic organ technique, let alone master repertoire of different styles from a wide range of historical periods and acquire fundamental knowledge of music theory. Additionally, many of these students enter organ study without having developed even basic piano technique. In this context, the teacher's important role is to plan the learning process and to work systematically, providing professional support and covering all these areas for which compact and organized reference materials would be helpful, so that all of these skills and bodies of knowledge are developed in a systematic way. Currently, there is no single resource that brings together reference materials for a teacher faced with such a task. This document seeks to address that situation.
en
https://creativecommons.org/licenses/by-nc-nd/4.0/
organ pedagogy e-book
digital teaching of organ music
pre-college organ students
organ music ornamentation
Teaching Pre-College Organ Students: Methods of the Twenty-First Century
Doctoral Dissertation
oai:scholarworks.iu.edu:2022/260272021-12-09T19:46:30Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Simental, Nicole
2020-12-21T14:33:04Z
2020-12-21T14:33:04Z
2020-12-21
https://hdl.handle.net/2022/26027
en
Gregorian Adaptations in Spanish
O beauty, ever ancient, ever new : Gregorian adaptations and accompaniments for the liturgical seasons of Advent and Lent in Spanish
Thesis
oai:scholarworks.iu.edu:2022/263132021-10-19T04:17:57Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Stanley, Jonathan (Jonathan Michael)
2021-03-15T15:35:58Z
2021-03-15T15:35:58Z
2021-03-15
http://hdl.handle.net/2022/26313
en
tracker, Felgemaker, Johnson, Koehnken and Grimm, Prante, organ Madison, Indiana
A survey of the mid to late nineteenth-century mechanical action organs of Madison, Indiana
Thesis
oai:scholarworks.iu.edu:2022/264042021-12-10T14:49:47Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Rogahn, Peter
2021-05-03T01:00:13Z
2021-05-03T01:00:13Z
2021-05-02
https://hdl.handle.net/2022/26404
en
music, organ, Marcel Dupré, French, analysis
A performance guide to Marcel Dupré's works for organ and piano
Thesis
oai:scholarworks.iu.edu:2022/269812022-05-31T16:53:42Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Tatsuta, Yumiko
2021-12-07T15:59:15Z
2021-12-07T15:59:15Z
2021-12-07
https://hdl.handle.net/2022/26981
Max Reger (1873-1916) composed more than 200 organ pieces in his 43 years of life.
These, including his masterpiece Phantasie und Fuge über B-A-C-H, Op. 46 (1900), are frequently performed to this day.
In this document, the author will examine Op. 46 by analyzing the overall form and thematic structure of the piece, including a study of its compositional context and background.
Particular attention will be paid to the performance practice of this work regarding registration, taking into consideration the historical registration and components of the Walze (Rollschweller) of the Sauer organ Op. 650, on which Op. 46 was premiered by Karl Straube (1873-1950), who was a champion of Reger’s music.
The author will provide a solution for reproducing the German Romantic registration sound on the Maidee H. And Jackson A. Seward Organ, C. B. Fisk, Op. 135, in Indiana University’s Jacobs School of MusicAuer Hall.
The first chapter will provide an overview of Reger’s life and his music.
The second chapter will be focused on his compositional background during his Weiden period, referencing original letters from Reger as well as letter records from The Max-Reger-Institute in Karlsruhe, which are not officially published.
The third chapter will be dedicated to analyzing the forms and thematic structures of Phantasie und Fuge über B-A-C-H, Op. 46, revealing the style of composition and harmonic language which Reger inherited from the old masters, and how his own harmonic practice varied from this.
The final chapter will be a performance practice study.
en
Max Reger, Organ, Phantasie und Fuge über B-A-C-H, Op. 46, Fantasy and Fugue on B-A-C-H, Karl Straube, Weiden, Sauer, Walze, Rollshcweller, German Romantic, double fugue, crescendo fugue, Elsa Reger
Engaging Max Reger's Phantasie und Fuge über B-A-C-H, Op. 46 : compositional context and performance practice
Thesis
oai:scholarworks.iu.edu:2022/270182022-12-29T16:06:39Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Cogswell, Evan
2021-12-17T15:09:37Z
2021-12-17T15:09:37Z
2021-12-17
https://hdl.handle.net/2022/27018
en
Messiaen, Wagner, Trinite, Trinity, Meditations, Organ, Musikdrama, Improvisation
Méditations sur le Mystère de la Sainte Trinité : Messiaen's cosmic musikdrama
Thesis
oai:scholarworks.iu.edu:2022/270932023-01-09T20:01:49Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Burk, Katie
2022-01-20T16:24:39Z
2022-01-20T16:24:39Z
2022-01-20
https://hdl.handle.net/2022/27093
en
Herbert Howells, Howells, organ, pipe organ, evensong, Magnificat, Nunc Dimittis, canticle, accompaniment
A study of the organ accompaniments and musical style of the evening canticle settings by Herbert Howells
Thesis
oai:scholarworks.iu.edu:2022/284032023-07-11T16:35:25Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Ding, Dalong
2022-11-15T13:47:27Z
2022-11-15T13:47:27Z
2022-11-15
https://hdl.handle.net/2022/28403
Alexander Konstantinovich Glazunov (1865–1936) was one of the greatest Russian composers who developed the musical traditions of Rimsky Korsakov, Borodin, Tchaikovsky, Balakirev and others. In his life during the end of the 19th century and the first half of the 20th century, he composed a large number of musical works including symphonies, ballets, chamber music, and concertos. Later in his career, he turned to the organ, producing three organ solo pieces: Prelude and Fugue No.1 in D Major for organ, Op.93; Prelude and Fugue No.2 in d minor for organ, Op.98 and his last work Fantasia in g minor for organ, Op.110.
Glazunov began composing his first organ work, Op.93, in 1906 and finished it in the same year when he was teaching as a faculty member and the director of the Saint Petersburg Conservatory. It was his first attempt to compose a work for the instrument. What made him decide to write a musical work for the organ? What are the historical background and stylistic influences of this composition? And as a mature composer who had already composed eight symphonies but for the first time was composing for the organ, how did the composer treat the instrument in terms of compositional techniques such as pedaling, articulation, and registration? According to one of his letters, the composer was hesitant about publishing his Op.93 because he doubted whether this work was "organistic" enough. The second organ piece, Op.98 was finished in 1914. Compared with Op.93, what is the difference between the two pieces in terms of the form, and thematic structure? And how did Op.93 influence Op.98 in terms of the style? Glazunov's last compositional work Organ Fantasia op.110 was finished in 1935, the year before his death. He dedicated this work to the French composer and organist Marcel Dupré (1886–1971). What made him turn to a new genre? Did Marcel Dupré influence Glazunov's last organ composition in terms of style?
In this dissertation, I will offer answers to the preceding questions by providing a thorough analysis of each work, including the form, and thematic structure, and provide the study of the historical background, stylistic influence, and performance practice of these compositions.
I will also provide a study in depth of the registration of Glazunov's organ works from different editions of the musical score, along with a detailed registration plan with a score for the C.B.Fisk organ Op. 135.
en
ALEXANDER GLAZUNOV, Life of Alexander Glazunov, Alexander Glazunov organ music analysis, Russian music, Russian organ music, Late Romantic Russian organ music, Prelude and Fugue Op.93, Prelude and Fugue Op.98, Fantasia Op.110
Organ music of Alexander Glazunov
Thesis
oai:scholarworks.iu.edu:2022/290352023-05-08T07:01:54Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
Fletcher, Lucas
2023-05-05T15:40:53Z
2023-05-05T15:40:53Z
2023-05-05
https://hdl.handle.net/2022/29035
en
Kilgen, pipe organ, restorative conservation, restoration
A Grande Restoration for a Petit Ensemble: The Restorative Conservation of Kilgen Opus 5395
Thesis
oai:scholarworks.iu.edu:2022/290492023-05-09T07:02:04Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14088
te Velde, Brent
2023-05-08T14:04:12Z
2023-05-08T14:04:12Z
2023-05-08
https://hdl.handle.net/2022/29049
en
J.S. Bach, fugue, Italian fugue subjects, motive, BWV 946, BWV 951a, BWV 950, BWV 579, BWV 574, BWV 951
J.S. Bach's Fugues with Borrowed Italian Material and the Early Evolution of his Contrapuntal Practice
Thesis