Doctoral Final Projects--Organ (DM)
Permanent link for this collectionhttps://hdl.handle.net/2022/14088
Browse
Browsing Doctoral Final Projects--Organ (DM) by Issue Date
Now showing 1 - 20 of 36
- Results Per Page
- Sort Options
Item A Course of Study on the History of Congregational Song for Use in Mainline Protestant Church Classes(2012-05-03) Harper, Monica AlexandraItem Metric analyses of selected modern "dances" for organ(2012-07-17) Shin, MinkyooItem The evolution of Widor's compositional style, as evidenced in his ten organ symphonies(2012-12-03) Bang, Shin-KyungItem Opening a forgotten cabinet: Johann Heinrich Buttstett's Musicalische Clavier-Kunst und Vorraths-Kammer (1713)(2013-02-08) Elsholz, Scott M.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.Item Documenting performance through sound recording: Bach's Passacaglia in C minor, BWV 582(2014-01-15) Nave, Carol JeanItem Thomas Prentice Sanborn: his life, career, and extant organs(2014-04-17) Sonnenberg, ElaineItem The organ music of Ethel Smyth: a guide to its history and performance practice(2014-05-07) Stamey, Sarah MoonThis 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.Item Te Deum by Naji Hakim: historical background and structural analysis(2015-05-07) Kim, SungheeItem Teaching children hymns in the church setting using Orff- and Kodály-based strategies(2015-07-30) Powell, Hanna Katja ElinaItem A handbook for introducing undergraduates to the organ and its literature(2015-10-07) Pope, Patrick EugeneItem A profile of Charles M. Ruggles, builder of hand-crafted mechanical action organs(2016-04-27) Herris, MarkItem Louis Vierne's Pièces de fantaisie pour grand orgue: its significance in the history of organ music(2017-04-25) Kang, WoosugItem Made in America: the organ works of Arthur Foote(Indiana University, 2017-07-12) Kronner, PatrickItem "Why should the devil have all the pretty tunes?" : the great awakening of a new American idiom : organ music based on shape-note hymns(Indiana University, 2017-12-13) Gehrenbeck, Sarah Roberta ReadItem Let us love in deed and truth: the life and work of Larry Peyton King (1932-1990)(Indiana University, 2017-12-14) Boudra, AndreaItem Come to us, creative spirit: a practical guide for congregational education and outreach through music ministry(Indiana University, 2018-03-22) Putri, KartikaItem Of things hoped for : the organ works of David Evan Thomas(Indiana University, 2019-04-18) Moss, Katie T.Item 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(Indiana University, 2019-04-30) Lee, DonghoItem Agency, social structure, and the effectiveness of organist-choirmasters: what's the relationship?(Indiana University, 2019-10-02) Gabriel, Priscilla W., 1988-Item Sacred Music Online Course: An Internet-based Practicum for Organists and Church Musicians([Bloomington, Ind.] : Indiana University, 2019-12) Rudy, Jonathan D.; Fishell, JanetteThe 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.