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.

The lecture recital was given on August 9, 1974. Chorale partitas by Sweelinck, Scheidt, B051hm, and Walther were performed following a lecture on the chorale partita in the Baroque period. The lecture included a discussion of the instruments that the partitas were written for and the functions for which they were written. The works of Sweelinck and Scheidt and their influence on later composers were discussed. A number of lesser-known composers and their works were mentioned. Also, there was a discussion of works by well-known composers such as Bohm, Pachelbel, Buxtehude, Walther, and Bach. In addition to the lecture recital, three other public recitals were performed, all of which consisted of solo compositions for the organ. The first solo recital, including works of Buxtehude, Bach, Walther, Pepping, ?ranck, Alain, and Durufle, was performed on July 18, 1971. On August 13, 1972 the second solo recital was performed. Compositions by Greene, Stanley, Searle, Willan, Dandrieu, Roger-Ducasse, and Langlais were included in the program. The third solo recital, which included works by Sweelinck, Bach, Guillou, and Reubke, was performed on June 5, 1974. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation.

This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.

No description available.

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.

This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

Acompanha 2 CD-ROM / Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:17:29Z (GMT). No. of bitstreams: 1 Carpinetti_MiriamEmerickdeSouza_M.pdf: 54528489 bytes, checksum: 814585747f2b52c1fbc81bfd65fec518 (MD5) Previous issue date: 2008 / Resumo: Com interesse em difundir o órgão, instrumento distante do público brasileiro, esta dissertação de mestrado articulará informações práticas de consulta sobre suas características físicas e qualidades expressivas. Não estando o órgão, inserido na atual cultura brasileira, uma vez que há pouca divulgação do instrumento, em face de escassa produção de obras nacionais e pouca literatura em português, esta pesquisa torna-se, assim, um importante referencial para seu estudo. Ela visa prover um material prático de consulta para a compreensão do idiomático do órgão tubular bem como de sua escrita, seu funcionamento e suas características fônicas, utilizando como ilustração, diferentes transcrições da obra "Quadros de uma Exposição" (1874) de Modeste Petrovich Moussorgsky (1839-1881). O trabalho é composto de dois capítulos. No primeiro, são apresentadas informações como a descrição do instrumento, sua notação e técnica interpretativa, ilustradas por exemplos extraídos das transcrições para órgão, no segundo. Neste, comparam-se os diversos procedimentos utilizados nas transcrições publicadas e gravadas, especialmente apontando dentro desse universo, os procedimentos menos fiéis ao texto original. Este trabalho mostrará os elementos de notação, textura, tessitura, dinâmica, registração, resultados tímbricos e acústicos, os quais são muito diversificados, devido ao fato dos autores das transcrições serem oriundos de países europeus que cultivaram, durante séculos, tradições organísticas diferenciadas. É intenção, pois, que esta pesquisa sirva de apoio para a compreensão da arte de registrar, das adaptações que os organistas precisam fazer ao interpretarem obras em diferentes órgãos, assim como para a realização de composições e transcrições idiomáticas. / Abstract: Aiming at exposing the organ, an instrument distant from the Brazilian audiences, this dissertation will deal with practical information for consulting the organ's physical characteristics and its expressive qualities. Due to little exposure, and scarce production of national works for this instrument, together with scarce literature on this subject in Portuguese and the organ's not being included in current Brazilian culture, this research presents itself as an important reference for the study of the organ. It envisages to be a practical research material for the understanding of the pipe organ's idiomatic writing, its functioning and its sound characteristics, these being illustrated by different transcriptions of Modeste Petrovich Mussorgsky's (1839-1881) Pictures at an Exhibition (1874). This project has two chapters. In the first one, data like the description of the instrument, its notation and interpretive techniques are presented; and in the second they are illustrated with examples taken from transcriptions for the organ. In the latter, various procedures utilized in published and commercial transcriptions and recordings are compared, especially pinpointing the procedures which are less faithful to the original text in that universe. This work will show the elements of notation, texture, tessitura, registration, timbre and acoustic results, which are highly varied due to the fact that the authors of such transcriptions having come from different European countries which cultivated differentiated organ traditions along the centuries. The intent of this dissertation is thus to support one in the art of registration, in the adaptations that organists need to make when interpreting pieces on different organs, as well as in the rendering of compositions and idiomatic writings. / Mestrado / Mestre em Música