Doctoral Final Projects--Organ (DM)

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    Organ music of Alexander Glazunov
    (Indiana University, 2022-11-15) Ding, Dalong
    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.
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    Engaging Max Reger's Phantasie und Fuge über B-A-C-H, Op. 46 : compositional context and performance practice
    (Indiana University, 2021-12-07) Tatsuta, Yumiko
    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.
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    A performance guide to Marcel Dupré's works for organ and piano
    (Indiana University, 2021-05-02) Rogahn, Peter
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    A survey of the mid to late nineteenth-century mechanical action organs of Madison, Indiana
    (Indiana University, 2021-03-15) Stanley, Jonathan (Jonathan Michael)
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    Teaching Pre-College Organ Students: Methods of the Twenty-First Century
    ([Bloomington, Ind.] : Indiana University, 2020-05) Paradies, Elena
    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.
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    Contrapuntal strategies in the music of Girolamo Frescobaldi (1583-1643): reimagining polyphonic genres
    (Indiana University, 2020-05-10) Sunstein, Aaron
    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.
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    The organ music of the Slovak romantics
    (Indiana University, 2019-12-20) Efflerova, Viera
    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.
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    Sacred Music Online Course: An Internet-based Practicum for Organists and Church Musicians
    ([Bloomington, Ind.] : Indiana University, 2019-12) Rudy, Jonathan D.; Fishell, Janette
    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.
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    Choral Accompaniment at the Organ
    (Indiana University, 2019-12-04) Middleton, Matthew; Middleton, Matthew
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    Agency, social structure, and the effectiveness of organist-choirmasters: what's the relationship?
    (Indiana University, 2019-10-02) Gabriel, Priscilla W., 1988-
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    Of things hoped for : the organ works of David Evan Thomas
    (Indiana University, 2019-04-18) Moss, Katie T.
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    Let us love in deed and truth: the life and work of Larry Peyton King (1932-1990)
    (Indiana University, 2017-12-14) Boudra, Andrea