This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.

No description available.

No description available.

Wie gerecht kann eine historisch gewachsene Notationsform einem bestimmten Stil und seiner Ausführung werden? Im sogenannten stylus phantasticus des ausgehenden 16. und 17. Jahrhunderts wird ein freies Spiel gefordert, während aber gleichzeitig ›konventionell‹ notiert wird. Bisherige Beiträge zu diesem Themengebiet stellten vor allem die kompositorische Freiheit dieses Stils in den Mittelpunkt und bezogen sich in Interpretationsfragen auf die Ausführung rhetorischer Figuren. Im Folgenden soll – was zunächst viel basaler erscheinen mag – zusätzlich das Verhältnis von interpretatorischer Freiheit zur Taktmaßnotation untersucht werden, wofür zwei Beispiele musikalischer Interpretation herangezogen werden. Diese Analysen sollen zeigen, wie nah bzw. weit entfernt das (vom Komponisten / von der Komponistin vermutlich intendierte) klangliche Resultat von der eigentlichen Notation ist. / To what extent can a type of notation that has developed over time do justice to a specific musical composition style and its execution? In the so-called stylus phantasticus of the late 16th and 17th centuries, free playing is demanded, while at the same time ‘conventional’ notation is used. Previous contributions to this subject have focused on freedom in terms of composition and the execution of rhetorical figures. In the following, the relationship between freedom of interpretation and metrical notation will also be examined (which may at first seem much more basic), taking into account two different recordings. Their analysis will show how close or far away the acoustic result (as presumably intended by the composer) is from what is actually notated.

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

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.

The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

If we are to account for a “decisive turn,” four questions must be asked, based upon the preceding considerations. First, what was the artistic ambience in seventeenth-century France that could have imposed a secular keyboard style upon a church-associated instrument? Second, what harpsichord composer or composers had sufficient contact with these organists to influence them to use a more secular style? Third, what stylistic similarities exist between that composer and the organists whose work he may have influenced? Fourth, are any of the same stylistic similarities present in the organ works of other seventeenth-century organ composers? By answering these questions, the writer intends to present evidence that Jaques Champion de Chambonnières was the inspirer of these four stylistic traits which appeared in French Baroque organ music during the second half of the seventeenth century. In so doing we shall regard his influence as a part of the cultural and artistic ambience which existed in France at that time.

This study is unique as the basic research acknowledges the chorale prelude as a genre in South Africa. The compilation of a catalogue of organ chorale preludes by South African composers is also a first and important contribution to the knowledge of this genre. The history of the organ in South Africa is an integral part of this study and offers a background and context for the research on this specific category of music. Knowledge of the contributions to this genre in South Africa is however limited because the available literature on these topics is dated. Due to the restricted publishing opportunities in South Africa, works are unpublished or informally published and not re-printed or even published in other countries. All available literature was thoroughly researched whereafter there was a need to extrapolate the unsatisfactory data with the primary research. Many composers and organ specialists were approached and different library collections were consulted. The church plays a key role in the history of the organ in South Africa, and this results in the fact that most organ repertoire, by South African composers, is liturgical (church) music. Unfortunately, knowledge of early compositions is unknown and the first documented chorale preludes date from the late 19th and early 20th century. It is only since the middle of the 20th century that South African composers have been actively contributing to the genre reaching a climax during 2010 and 2011 when two volumes of chorale preludes were published by the Suider-Afrikaanse Kerkorrelistevereniging (SAKOV). 1170 Chorale preludes by 78 composers are catalogued with a chronological discussion of the key works, with reference to different styles and forms, as a well-developed genre. / Dissertation (MMus)--University of Pretoria, 2014. / Music / unrestricted