Thesis (Ph. D.)--University of Queensland, 2006. / Includes bibliographical references.

No description available.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 15, 1999, July 16, 2001, Apr. 29, 2005, and Nov. 17, 2005. Includes bibliographical references (p. 36-37).

Numerous scholars have studied the Clavierübung III, but their studies mainly focused on the relationship between the chorale text and Bach♠s response in music. Analysis without explaining J.S. Bachs word painting in other chorale preludes can be found easily, but most analyses treat rhetoric, especially those dealing with Clavierübung III. There have been numerous studies linking Bach's organ works to Lutheran doctrine. However, to give a better understanding of the work's structure and its implications for performance, a contrapuntal analysis is indispensable. This study deals with an analysis focused on canonic and fugal techniques in selected large chorales, and it will provide a better understanding of Clavierbung III. For purposes of comparison with typical fugal techniques, the C minor fugue from the Well-Tempered Clavier I, BWV 847, is taken as a model. This work reveals typical eighteenth-century, late Baroque fugal structure with a well-defined subject. The episode modulates through the keys of Eb major-G minor and C minor. Below is an outline of the present paper. Chapter I discusses the purpose of this study. Chapter II covers the earlier research on Clavierübung III and includes a discussion of the general background of the Clavierübung III. Chapter III provides a contrapuntal analysis of the three chorale preludes. A translation of the text will be included in each analysis.Chapter IV, the conclusion, will summarize and confirm the findings from the present study of the analysis.

Thesis (Ed. D.)--Teachers College, Columbia University, 1986. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 312-314.

Thesis (Ph. D.)--University of Colorado, 1974. / Typescript. Appendix (leaves [125]-336) "includes all fifty keyboard chorales discussed in the body of the study." Includes bibliographical references (leaves [118]-124).

Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.

Title from accompanying document. / Digitized by Kansas Correctional Industries

In this study the liturgical usage of the organ is investigated within a post-modern society. It focuses specifically on the church services of the Dutch Reformed Congregations of Port Elizabeth with regards to the functionality of the organ during morning and evening services. The objectives of the study are to demonstrate the current situation of musical worship in the Dutch Reformed Congregations of Port Elizabeth. Furthermore it serves as a way to indicate any deficiency in the field, which would need to be addressed. In order to achieve these objectives, both a qualitative and quantitative study is undertaken. The qualitative study investigates existing literature regarding the church service and its music. The quantitative study comprises an analysis of self-administered questionnaires that was handed over for completion by the Dutch Reformed Congregations of Port Elizabeth. The results obtained were electronically processed to percentages and graphic illustrations. In this mini-treatise it is argued that the usage of other music instruments (in the form of music worship groups) during church services could possibly lead to a change in the liturgical function of the organ. It was found that the usage of the organ in the Dutch Reformed Congregations of Port Elizabeth was mainly retained during morning services. During evening services however, the usage of other music instruments was in the majority, which resulted in a decrease of organ usage. It was further discovered that a large group of organists are not involved with music worship groups. Training of organists in a contemporary style of music worship will therefore serve as a significant purpose to fulfil this deficiency.

This study represents an effort to analyze the forms used by Flor Peeters in his Thirty Chorale Preludes on Well-Known Hymn Tunes, op. 68, 69, and 70. Through this analysis it has been found that Flor Peeters has systematically used certain devices in the treatment of the cantus firmus. Furthermore, these devices can be used as a criterion in developing a classification system for the chorale preludes, which logically divide into six groups or types. The first type includes the chorale preludes in which the composition begins immediately with the first phrase of the chorale melody and continues without interruption to the end of the melody. The chorale melody is used in its entirety, the last note occasionally being sustained as an inverted organ point or organ point to form a coda. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The second type resembles the first type, with the exception that the chorale melody has been treated with ornamentation. Included in the third type are the chorale preludes in which the chorale melody appears in detached phrases, each phrase being separated from the next by an interlude or transition, the first phrase usually being preceded by an introduction. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The final note of the chorale melody may be sustained as an organ point or inverted organ point. Ornamentation constitutes the major difference between the third and fourth types. In the fourth type the chorale melody has been ornamented. The fantasia-type chorale preludes included in the fifth type make free use of the chorale melody. Entire phrases of the original chorale melody are omitted. The phrases used in the composition may appear in fragments or complete phrases with rhythmic and notational changes. The sixth type contains the chorale preludes wherein the chorale melody forms the basis of a series of variations, which constitute a partita. Each of the partitas in this type consists of an opening movement, three or five variations, and a finale. The variations are usually developed according to the specifications of types I, II, and IV. A minor consideration of this study is the harmonic devices used by Flor Peeters. Secondary chords and their sevenths, as well as parallel open fifths, are characteristic of the harmonic treatment. Like the composers of the Baroque period, Flor Peeters has composed the ornamented, figured, and the partita types of chorale preludes. In the thirty compositions considered in this study there is not an example of the canonic or the motet types. Even though Flor Peeters has not adhered to these latter types, he has made use of such devices as fugal expositions and imitation.