Thesis (D. Mus. Arts)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 94-106).

This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve congregational psalmody, and church organs and barrel-organs were given with this objective in mind. Gentry involvement with amateur military bands of music also influenced the instrumentation of choir-bands. These actions were mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. This dissertation argues that methods adopted to improve congregational singing in one generation were reviled in the next. The suggestion that teaching charity school children to sing would result in a congregation of singing adults became a recurring theme, yet time and again it met with little success. Nineteenth-century reform of church music-making has often been presented as a clear-cut progression, with the replacement of choir-bands by a barrel-organ or harmonium, but this dissertation argues that these phases were sometimes parallel rather than sequential, with no inevitable outcome. Furthermore, new evidence reveals that nineteenth-century church rate disputes had a profound effect on church music-making, an area of research neglected in modern literature. Lack of available seating became a significant problem in parish churches owing to the often compulsory attendance of schoolchildren, which opens up another new area of research. This dissertation argues that attempts to reform music-making contributed to alterations in the church fabric long before ecclesiological reorderings, and had long-lasting repercussions.

From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."

Orientador: Dorotéa Kerr / Banca: Ney de Souza / Banca: Leonildo Campos / Banca: Nahim Marun Filho / Banca: Lutero Rodrigues / Resumo: Esta pesquisa tem por objetivo entender a forma de construção da atividade organística como uma cultura do cristianismo. Procura-se delinear os conteúdos dessa cultura e demonstrar como ela teve seus princípios geradores duradouros por tantos séculos. Em um segundo momento analisa a atividade organística no Brasil traçando seu perfil e analisando sua situação atual e suas problemática diante das novas religiosidades. Esta pesquisa procurou analisar a atividade organística no Brasil a partir dos estudos culturais tendo como principais autores teóricos Clifford Geerts, Jan Assmann e Zygmunt Bauman" / Abstract: The objective of this research is to understand how the construction to perform organ music has been historically generated in Christian culture. In the first part, this thesis proposes to outline how Christian principles that have lasted for centuries were instrumental in this cultural activity.The second portion of the thesis outlines the historical trajectory of the activities and compositions of organ music in Brazil, and notes the current problems resulting from the influence of new religious beliefs on this cultural endeavor.This research and analysis of the cultural studies of organ music in Brazil follow the theoretical propositions of authors Clifford Geerts, Jan Assman, and Zygmunt Bauman. / Doutor

Note:

The twenty-first century has already seen some aesthetically exciting sacred architectural spaces. Much liturgical music, however, is centuries old. With regard to performing old music, philosophers such as Steven Davies, etc., have debated the aesthetic merits of striving for authenticity of performance. If authenticity is a valid performance aesthetic principle, as I contend it is, the following paradox arises: Some contemporary sacred spaces are the sites of moving, aesthetically valid performances of sacred music. But how is it possible to have aesthetically valid authentic performances of sacred music in twenty-first century sacred spaces?... The question of authenticity in this unique musical genre focuses on performance space, liturgical function, musical instruments, performer/listener interaction, and cultural conditions. ...Using architectural examples constructed in the twenty-first century, this thesis will propose a set of aesthetic criteria for achieving an authentic setting for sacred music from all periods. / by Daniel Copher. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

The aim of this research is to provide a theoretical framework of the Alexander Technique for organists. Frederick Matthias Alexander was an Australian actor who developed a technique to enable and enhance his own performance. This innovative technique is now used across the world, including South Africa. In this study the researcher provides a Literature Study of the Alexander Technique. Furthermore, he investigates and reports on the practises of a number of organists. A multiple case study approach was adapted and data was collected by means of questionnaires, personal observations and informal interviews. The data gathered in this study is described and analysed. The study culminates with a description of a theoretical framework for the application of the Alexander Technique for organists.

The lecture recital was given July 22, 1974. A discussion of the tientos of Cabezon, Aguilera de Heredia, Coelho, Correa de Arauxo, and Cabanilles included an analysis of eight specific works, a comparison of styles, and information about performance practices. The eight works were then performed. In addition to the lecture recital three other public recitals were performed, consisting entirely of solo literature for the organ. The first solo recital, on July 2, 1971, included works of Titelouze, deGrigny, Franck, and Alain. The second solo recital, on June 18, 1973, consisted of works by Bach, Klebe, Bruhns, Reger, Heiller, and Liszt. The final solo program, on June 7, 1974, included works by Boyvin, Buxtehude, Mozart, Alain, and Reger. All four programs, recorded on magnetic tape, are filed, along with the written version of the lecture material, in the North Texas State University library.

No description available.

This study examines the development of German pipe organ culture and French classical pipe organ culture from a single common origin in the Duchy of Brabant, during 1450-1850, with respect to select major attributes of organ construction, organ music and organ technique. The respective music of Dieterich Buxtehude (1637-1707), Praeludium in G Minor, BuxWV 149, for the North German contrapuntalists, and of Câesar Franck (1822- 1890), Choral No. 3 in A Minor, for the classical French symphonic tradition, is highlighted and appended with suggested technique for each work. / by Margaret R. Miller. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.