Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on September 12, 2006). PDF text of dissertation: xi, 76 p. : ill. (some col.) ; 46.33Mb. UMI publication number: AAT 3208110. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

Thesis (D.Mus.)-University of Pretoria, 2005. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

The lecture recital was given April 16, 1971. An Excellent Meane, six settings of Gloria Tibi Trinitas, Eterne rerum conditor, and Te Deum laudamus by William Blitheman, In Nomine by John Taverner, and Ecce tempus idonem by Thomas Tallis were performed, together with a choir of four men's voices, following a lecture on various aspects of organ music in early Tudor England. In addition to the lecture recital, three other public recitals, all solo programs, were performed. The first solo recital, including works of Dietrich Buxtehude, Johann Sebastian Bach, Paul Hindemith, and Max Reger, was performed on March 14, 1971. On October 23, 1972, the second solo recital was performed. The program included compositions by Olivier Messiaen, Johann Sebastian Bach, Cesar Franck, and Charles-Marie Widor. On October 17, 1977, the third solo recital, including works by Johann Sebastian Bach, Girolamo Frescobaldi, Johann Jacob Froberger, Dietrich Buxtehude, James Hathaway Tallis, and Maurice Durufle, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

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Orientador: Dorotéa Machado Kerr / Banca: Lutero Rodrigues / Banca: Alzira Lobo de Arruda Campos / Resumo: O objetivo deste trabalho foi investigar de que formas os desenvolvimentos tecnológicos ocorridos no século XX afetaram a prática musical organística. Transformações históricas, musicais e sociais foram abordadas com o objetivo de compreender as relações estabelecidas entre o instrumento órgão, os músicos, a sociedade e a tecnologia. Tal compreensão pode incentivar novas ideias e novos pontos de vista sobre a função do órgão na sociedade contemporânea, que em grande parte têm vínculos cada vez mais frágeis com a música organística. Por meio de pesquisas em documentos sociais, científicos, mídias distintas, arquivos e entrevistas foi possível formar um panorama das mudanças ocorridas. A análise dessas foi realizada sob a ótica da Sociologia da Tecnologia, em especial da Teoria da Construção Social da Tecnologia, que tem como principal característica tratar as inovações como reações a anseios e desejos de determinado grupo social. A princípio são apresentados conceitos sobre as teorias envolvidas, e é discutido como foram aplicadas no desenvolvimento do trabalho. São analisadas então as principais fases das mudanças ocorridas na prática organística no período abordado: a invenção do Órgão Hammond, em 1935, e as condições que levaram a este desenvolvimento; o surgimento dos órgãos direcionados ao mercado doméstico e a popularização do instrumento eletrônico; o surgimento das tecnologias digitais e os novos rumos da prática organística. Nas conclusões foi demonstrado que, embora ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The objective of this study was to investigate how technological developments in the 20th century affected the organ-related musical practice. Historical, musical and social changes were addressed in order to understand the relations between the instrument organ, musicians, society and technology. Such understanding can encourage new ideas and views on the role of the organ in contemporary society, which has increasingly fragile ties to the organ-related music. Through research in social and scientific documents, different media, files and interviews was possible to form an overview of the changes. The analysis of these was carried out from the perspective of Sociology of Technology, particularly the theory of social construction of technology, whose main characteristic is to treat innovations as reactions to longings and desires of a particular social group. The principle concepts on the theories involved are presented, and is discussed as they were applied in the development of work. Following are analyzes of the main changes in organ-related practice in the covered period: the invention of the Hammond Organ in 1935, and the conditions that led to this development; the emergence of organs directed to the domestic market and popularization of electronic instrument; the emergence of digital technologies and new ways of organ-related practice. In the conclusions was demonstrated that, although the presence of electronic organs is increasingly evident, often not as a supplement... (Complete abstract click electronic access below) / Mestre

This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.

Orientador: Dorotéa Kerr / Banca: Celina Chariler / Banca: Ricardo Kubala / Resumo: A atividade organística no período colonial brasileiro foi intensa. Muitos órgãos vieram de Portugal para o Brasil e postos de organista foram criados nas principais igrejas. Para compreender qual era a música praticada no Brasil é preciso um olhar para a música de órgão portuguesa, afinal os primeiros organistas que aqui tocaram vieram de Portugal ou aprenderam com eles. O órgão ibérico tem muitas particularidades que participaram do desenvolvimento composicional da música portuguesa para teclado / Abstract: The organ activity in the Brazilian colonial period was intense. Many organs came from Portugal to Brazil and organist posts were created in the main churches. To understand what the music practiced in Brazil, is necessary to take a look at the Portuguese organ music, after the first organists who have played here came from Portugal or learned from them. The Iberian organ has many exclusive features which participated in the compositional development of the Portuguese keyboard music / Mestre

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A survey was conducted to determine current conditions pertaining to church organ acquisitions and renovations in selected Roman Catholic parishes in the United States. A need exists to ascertain what problems are occurring with the process of organ acquisition, what solutions are possible, and how trends in organ acquisition are measuring up with the principles outlined by Vatican II.Addresses of organ companies were obtained from the current National Association of Pastoral Musician's Organ Builders Directory_ (1988). The 105 organ companies queried sent the researcher the addresses of 711 past and current Roman Catholic customers; each customer was sent a questionnaire. Fifty-eight percent of the contacts responded, supplying significant information from 362 parishes in the forty-eight contiguous United States. Information was obtained regarding: organ installation/renovation, selection, organ companies considered, console placement, parish size, age of church building, fund-raising, greatest difficulties experienced, points of advice based on experience, diocesan organ acquisition policies, acoustical concerns, and reasons for choosing a pipe or an electronic instrument.Reviews of related research and discussions of current publications, Roman Catholic church music legislation, new technologies used for accompanying church music, and differing opinions of church leaders supplement the survey research.Parishes reported their most difficult problems encountered during organ acquistion and offered their best points of advice for avoiding problems. The data include opinions regarding pipe and electronic instruments; organ companies frequently utilized; examples of sucessful organ console placement; the status and examples of diocesan written policies concerning keyboard accompaniment instruments; the benefits of combining fund-raising with parish education and communication; and the need for greater concern and education regarding acoustics.Case studies describe Roman parishes that achieved quality worship services after thorough preparations for their organ acquisition. Beginning parishes need the greatest amount of help for organ planning. Conclusions call for national-level attention and education about the organ acquisition process, and encourage dioceses to facilitate this goal with well-written policies. / School of Music