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.

No description available.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1975. / In Dutch; includes summaries in English and German. "Stellingen" ([2] p.) inserted. Vita. Includes indexes. Includes bibliographical references (p. 392-396).

Thesis (Ph. D.)--University of Southern California, 1971. / Typescript. Includes index. Includes bibliographical references (leaves 554-560).

abstract: This study examines the effectiveness of various types of alternative resources in organ building in order to determine whether a change to more sustainable materials would benefit or hinder the overall sound production of the instrument. The qualities of the metals and woods currently used in organ production (e.g. lead, walnut, etc.) have been prized for centuries, so the substitution of different, more sustainable materials must be considered with regards to the sonic alterations, as well as the financial implications, of using alternatives to make the organ more “green.” Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting. The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history. / Dissertation/Thesis / Doctoral Dissertation Music 2014

No description available.

Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part. Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work. Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.

No description available.

The writer has examined the performance practices of the positive, portative, and regal organs in both the sacred and secular genre. Throughout the research the aspect of the prominent position of the church and its dogmatic practices were demonstrated to be highly influential in the usage of the organ. Church accounts of payments to various organ builders are the principal source of the information concerning the liturgical function and organ placement within the church. The secular aspect of the performance practices of the small organs was dominated by the religious dramatic mystery and miracle presentations and the various court entertainments. The utilization of the organ in both the sacred and secular genres was an important link in the lessening of the church's dominance over the people of the time.The development of musical styles and the progressive accumulation of construction and acoustical properties was directly proportional to the development and evolution of these small, organs. The span of the three centuries analyzed in the thesis were the most critical years in this process of evolvement.The vocal and instrumental forms were explored in regard to the function of the organ as a solo or ensemble member. Specific circumstances of employment have been investigated as to the nature and the probable organ model indicated for a specific performance situation.In addition, the thesis has analyzed prominent composers, performers, and writers whose contributions were influential during their lifetime and in the course of music performance practices in general. / School of Music

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).