L'ascension / O. Messiaen -- Messe pour les paroisses / F. Couperin -- Toccata, adagio and fugue in C major, BWV 564 / J. S. Bach -- Trois impressions, op.72 / S. Karg-Elert -- Symphony in E minor, op.20, no.2 / L. Vierne / text

Improvisation on the Te Deum / Charles Tournemire -- From Six fugues on B-A-C-H / Robert Schumann -- Two chorale preludes / J. S. Bach -- Premiere fantaisie ; Deuxieme fantaisie / Jehan Alain -- Finale from Sixth symphony / Louis Vierne -- Improvisation on a submitted theme / text

Praeludium et Fuga in D, BWV 532 / J. S. Bach -- Fantasia auf die Manier eines Echo / J. P. Sweelinck -- Sonata IV, op.65, no.4 / F. Mendelssohn -- Improvisation on Nearer my God to Thee, op.81 / S. Karg-Elert -- Sonata, op.65 / H. Parker -- Symphonie VI, op.42, no.2 / C. M. Widor / text

Symphonie romane, op.73 / C. M. Widor -- Nun komm der Heiden Heiland, BWV 659 ; Trio super Nun komm der Heiden Heiland, BWV 660 ; Nun komm der Heiden Heiland, BWV 661 / J. S. Bach -- Nun danket alle Gott, op.67, no.28 / Max Reger -- Choral mit Variationen "Wie gross ist des allmacht'gen Gute / F. Mendelssohn -- Les enfants de Dieu / O. Messiaen -- Drop, drop slow tears, op.104 / V. Persichetti -- Le monde dans l'attente du Sauveur, op.23 / M. Dupre / text

Symphonie IV, op.13, VI. Finale / C. M. Widor -- Toccata, villancico y fuga / A. Ginastera -- Noels pour orgue / J. F. Dandrieu -- Praeludium et fuga in D, BWV 532 / J. S. Bach -- Le banquet celeste / O. Messiaen -- 1ere sonate / A. Guilmant / text

The purpose of the research was to add to the body of knowledge concerning pipe organ literature by locating and describing compositions for pedals alone. The search was made with indexes, abstracts, organ literature bibliographies, Union Catalogues, on-line computer services, correspondence with publishers, and an examination of the general performance literature, method books and etude books.The study included works for organ solo which are primarily for pedals alone. A work with a few manual chords was not excluded, but a work which consistently uses the manuals, even in the most subsidiary role, was not included. The study was concerned with compositions which are intended for public performance. Exercises were omitted.FindingsThe efforts of thirty-three composers have produced thirty-nine compositions or collections of for pedals alone. One of the works makes exclusive use of clusters, three use dodecaphonic techniques, and four are from the Romantic Era. The remainder are compositions divided between twentieth-century moderate styles and twentieth-century conservative styles.Seventeen of the works require a pedal board with thirty-two pedals, eighteen of the works require at least thirty pedals, and three may be played on an instrument with twenty-five pedals. One work which does not use traditional notation could presumedly be played on any instrument.Thirteen works, one of which is in Langlais' collection of etudes, employ pre-existing tunes which are treated to variations or other compositional techniques. The other works use a variety of formal designs including fugue, fantasy, sonatina, rondo, dance forms, passacaglia, free form, and other designs.Alkan has the earliest complete work for pedals alone which is readily available.

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 1, 2004, Jan. 31, 2005, Jan. 30, 2006, and Apr. 21, 2008. Includes bibliographical references (p. 50-64), and discography (p. 41-49).

Though widely known as a skillful improviser and teacher in his day, César Franck has been largely overlooked concerning the pivotal role he played in the revival of French organ music after the bloody and destructive Revolution of 1789. This dissertation presents evidence of Franck's importance as teacher, performer, and composer who served as a crucial bridge between the ruinous state of organ music after the French Revolution and the vibrant French organ school of the twentieth century. Chapter 1 presents the problem and provides background for the study. Chapter 2 presents an overview of the effects of the Revolution on the state, the church, and organ music. Chapter 3 is a description of post-revolutionary political developments, improved organ design and construction, and music education efforts that lead to the beginnings of recovery of French organ music. Chapter 4 is a detailed picture of Franck's educational, performing, and compositional activities. Chapter 5 reveals the significant influence and legacy of Franck as a result of his teaching, performing, and composition. The final chapter is a conclusion of the findings.

Organ music in Latvia has a long history spanning over seven centuries of organ building and organ music making; however, national music traditions were not established until the end of the 19th century and the beginning of the 20th century. The scope of this dissertation is to provide an overview of Latvian organ music, to define what features of the musical and social-historical contexts of the Republic of Latvia have contributed to the development of organ music in the country, and to provide practical information for organists and anyone interested in Latvian organ music. The research divides into four chapters. In Chapter One, “Latvian Organ Studies”, the existing sources of information on Latvian organ music such as books, research papers and scores are reviewed. Other sources of information such as library collections, Internet resources and organizations are listed. The second chapter, “The ‘Language’ of Latvian Organ”, explores the two key components of the voice of Latvian organ – Latvian organ music, both solo and collaborative literature, and Latvian organs. The third chapter is entitled ”A Performer’s Analysis of Selected Organ Compositions”. In order to establish the voice of Latvian organ music three major organ works are examined: Fantasia in g (1902) by Alfrēds Kalniņš (1879-1951), Variations on the Name B-A-C-H (1969) by Marģeris Zariņš (1910-1993) and Te Deum (1991) by Pēteris Vasks (1946). Each analysis begins with the composer’s biography, followed by information on the composer’s organ oeuvre and the piece. Structural and harmonic analysis, as well as performance suggestions that include registration, tempo and articulation issues are provided. Chapter Four, “Summary and Recommendations”, concludes the dissertation. Four appendices contain comprehensive lists of Latvian organ works, both solo and collaborative literature, and list additional resources.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 79-80). Available also in a digital version from Dissertation Abstracts.