Gerald Near's Chantworks has pedagogical value for the intermediate-level organ student seeking to attain advanced-level skills. Chantworks, composed for organ solo, is a collection of twenty-three pieces of short to moderate duration, based upon Gregorian chants. Gerald Near is an established composer who has won awards, completed numerous commissions, and published a multitude of organ and choral works. The Chantworks pieces are analyzed for their usefulness in the development of the following skills: (1) the advanced use of the expression pedal; (2) advanced manual changes and registration changes; (3) voice-crossing; and (4) the ability to play Gregorian chants with rhythmic sensitivity and appropriate phrase shaping. The study highlights the particular usefulness of Near's collection by comparing its technical demands to selected organ instructional books and musical collections that have been identified as having pedagogical value. This study provides a definition of an "intermediate organist," listing techniques acquired from the successful completion of any of the selected organ pedagogy publications. An examination of selected organ pedagogy publications addresses several techniques characteristic of pipe organ performance mastery that are not emphasized in the method books, but that would be necessary for an organist to acquire in order to tackle the more difficult works of the organ literature. Musical examples and explanations will illustrate how these other techniques can be learned and practiced in a structured manner through the study of pieces from Gerald Near's Chantworks collection. Several pieces within Chantworks contain passages that have pedagogical bearing on aspects of general musicianship, such as irregular meters and cross rhythms. Appendix A includes a compilation of information about each piece within the Chantworks collection, with emphasis on each piece's compositional style, pedagogical merits, and other details worthy of analysis.

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Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation. The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today. This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.

Orientador: Dorotéa Machado Kerr / Resumo: Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico - dissertações, livros, artigos e entrevistas - bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro. / Abstract: Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner's arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro. / Mestre

O objetivo da presente pesquisa é, decifrando o significado do termo Clavier (-teclado?, em sentido genérico), na obra tecladística de J. S Bach - especialmente nos Prelúdios e Fugas que compõem Das Wohltemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - concentrar-se naqueles que apresentam maiores problemas de execução ao cravo e propor uma leitura dessas peças ao órgão de tubos, levando em conta a linguagem instrumental de cada instrumento. / The objective of the present study remains in the meaning of the word Clavier (-keyboard?, in a general sense) in Bach\'s keyboard works - especially the Preludes and Fuges of Das Wolhtemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - to focus in those pieces that presents more difficulties to perform on a harpsichord and suggest a pipe organ performance according to each instrumental language.

O objetivo da presente pesquisa é, decifrando o significado do termo Clavier (-teclado?, em sentido genérico), na obra tecladística de J. S Bach - especialmente nos Prelúdios e Fugas que compõem Das Wohltemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - concentrar-se naqueles que apresentam maiores problemas de execução ao cravo e propor uma leitura dessas peças ao órgão de tubos, levando em conta a linguagem instrumental de cada instrumento. / The objective of the present study remains in the meaning of the word Clavier (-keyboard?, in a general sense) in Bach\'s keyboard works - especially the Preludes and Fuges of Das Wolhtemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - to focus in those pieces that presents more difficulties to perform on a harpsichord and suggest a pipe organ performance according to each instrumental language.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-17Bitstream added on 2014-06-13T19:35:38Z : No. of bitstreams: 1 batista_gs_me_ia.pdf: 2073531 bytes, checksum: a55c07f0cac8a7ae6122a25baef41954 (MD5) / Universidade Estadual Paulista (UNESP) / Estudo sobre a vida e as atividades do construtor alemão Guilherme Berner (1907- 1954), radicado no Estado do Rio de Janeiro. Trata-se de um estudo de caso que visa informar sobre a história do órgão de tubos na cidade do Rio de Janeiro e, conseqüentemente, no Brasil. Os documentos pessoais foram consultados no arquivo de Berner, cedido para esta pesquisa por seu filho Walter Berner. O texto final, tendo por propósito a elaboração de um catálogo desses instrumentos, baseia-se em levantamento bibliográfico – dissertações, livros, artigos e entrevistas – bem como em pesquisa de campo sobre os órgãos construídos por Berner na cidade do Rio de Janeiro e Petrópolis. Nesse estudo procurou-se explanar sobre as condições de manutenção desses instrumentos, o contexto sacro-religioso em que estão inseridos e sua importância como documentos da atividade musical no Rio de Janeiro. / Study of the life and activities of the German organ builder Guilherme Berner (1907- 1954), based in the state of Rio de Janeiro. It is a case study which seeks to inform about the history of the pipe organ in the city of Rio de Janeiro and, consequently, in Brazil. The personal documents were consulted in Berner’s arquives, lent to this research by his son, Walter Berner. The final text is based on a bibliographical list of dissertations, books, articles and interviews with organists, organ builders and religious authorities, as well as on the results of field work done on the organs constructed by Berner in the cities of Rio de Janeiro and Petropolis, in order to catalog these instruments. This study presents the maintenance conditions of these instruments, the sacred-religious context in which they are inserted and their importance as documents of the musical activity in Rio de Janeiro.

O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital. / The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.

O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital. / The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:41:57Z (GMT). No. of bitstreams: 1 Cecilio_Handel1963-_D.pdf: 445970084 bytes, checksum: de312d4ce2a393453696c7aedc77b3f1 (MD5) Previous issue date: 2014 / Resumo: O órgão de tubos, mesmo não tendo sua gênese dentro do ambiente eclesiástico, foi pela Igreja Cristã adotado e convertido em um instrumento litúrgico por excelência, tendo sido consagrado no século XVI pelo Concilio de Trento. Neste ambiente, foi possível ao órgão ter seu desenvolvimento técnico de construção, e a ampliação de seus recursos e de variedades tímbricas. A arte organística brasileira, com raízes na escola de organaria ibérica, teve início no século XVI, sendo mantida a tradição organística ao longo dos séculos seguintes. A princípio foram usados pequenos órgãos positivos de mesa e órgãos realejos vindos de Portugal. Posteriormente, no século XVIII, a Coroa Portuguesa supre as catedrais e igrejas brasílicas com grandes órgãos fixos. Ainda neste mesmo século, os órgãos começam a ser construídos in loco, quando ocorre a gênese da organaria brasileira. Considerando-se o desaparecimento da grande maioria dos órgãos de tubos dos períodos colonial e imperial brasileiro, através de um levantamento histórico documental se tornou possível um resgate destes instrumentos. Diversos documentos eclesiásticos registraram compras de órgãos de tubos, gastos com assentos e manutenção desse instrumentos, como também pagamentos aos organistas. Os cronistas de época e os diários de viajantes, como fontes de dados, citam o uso destes instrumentos. A arte organística da Ordem de São Bento se manifesta através de seus órgãos adquiridos, de seus monges organistas e organeiros. Os mosteiros beneditinos portugueses e brasileiros adotaram o órgão de tubos como o instrumento de seus Ofícios Divinos, mantendo essa tradição até os dias atuais. Objetivando resgatar a arte e a tradição organística colonial e imperial brasileira, levantou-se, por meio de registros documentais e de crônicas de época, os órgãos, organistas e organeiros, em uma abordagem detalhada, concisa e objetiva / Abstract: The pipe organ, while not having its genesis within the church environment, was adopted by the Christian Church and converted into a liturgical instrument par excellence, having been consecrated in the sixteenth century by the Council of Trent. In this environment, it was possible to have and this tradition body building technical development, and expansion of its resources and timbral variety. The Brazilian organ-related art, with roots in the school of Iberian organ building, began in the sixteenth century, the organ-related tradition was maintained throughout the following centuries. At first, small positive organs table and realejos organs coming of Portugal were used. Later, in the eighteenth century, the Portuguese Crown meets the Brazilian cathedrals and churches with large fixed pipe organs. Also in this same century, the organs begin to be built in situ, occurring when the genesis of Brazilian organ building. Considering the disappearance of most pipe organs of colonial and Brazilian imperial periods, through a documentary historical survey became possible ransom these instruments. Various church documents recorded purchases of pipe organs, install and maintenance of this instruments, as well as payments to organists. The chroniclers of the time and the diaries of travelers, such as data sources, mentioning the use of these instruments. The organ-related art of the Order of Saint Benedict is manifested through acquired of their pipe organs, their organist monks and organ builders. The Portuguese and Brazilian Benedictine monasteries adopted the pipe organ as the instrument of his divine service, keeping this tradition to the present day. Aiming to rescue the organ-related art and colonial and Brazilian imperial tradition, rose through documentary records and chronicles of the time, the organs, organists and organ builders, in a detailed, concise and objective approach / Doutorado / Fundamentos Teoricos / Doutor em Música