Matching Items (192)
ContributorsGambhir, Rittika (Performer) / Olarte, Aida (Performer) / Gambhir, Ruchika (Performer) / Chen, Neilson (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
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Description
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,

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.
ContributorsGregoire, Jonathan M (Author) / Marshall, Kimberly (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his

Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments.

The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
ContributorsWhitten, Emma (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsHan, Sarah (Performer) / Kim, Hyewon Rina (Performer) / Chen, Neilson (Performer) / ASU Library. Music Library (Contributor)
Created2018-04-07
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Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since

Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
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Description
The organ is in a continued state of evolution, tonally and mechanically, designed by the builder to meet certain expectations related to the musical aesthetics of the time. Organ building in the United States has been influenced by both European organ building traditions and American innovations. During the early twentieth

The organ is in a continued state of evolution, tonally and mechanically, designed by the builder to meet certain expectations related to the musical aesthetics of the time. Organ building in the United States has been influenced by both European organ building traditions and American innovations. During the early twentieth century, Ernest M. Skinner emerged as one of the greatest organ builders in America. Throughout his life, Skinner's quest was to create an "ideal organ," capable of playing a variety of music. Skinner's vision was rooted in the Romantic Movement and influenced by the dynamic gradations and rich, colorful sonorities of orchestral and operatic music of the era. A number of technological developments were applied to the design of the organ which made the romantic organ possible. The prominent European organ builders of the nineteenth century created organs that defined the romantic-style instrument in their respective countries. By the end of the century, American organ builders were creating their own versions. Skinner traveled to Europe to learn what he could from the foreign builders. Skinner built organs that synthesized European and American elements, along with his own innovations, as continuation of nineteenth-century trends that brought the romantic-symphonic organ to its fullest realization. Additionally, Skinner developed many new organ timbres, including a number of stops that imitate various orchestral instruments. The result of Skinner's creative work is the the American symphonic organ. This paper attempts to illustrate how the tonal designs of organs built by Walcker, Cavaillé-Coll, and Willis influenced the work of Skinner and the American symphonic organ. The work of each builder is discussed with descriptions of their designs. The designs and innovations of Skinner are examined as related to these European builders. A number of organ specifications are provided to supplement the information presented here. Today, American symphonic organs, particularly those built by Skinner, are revered for their warmth and charm and are inspiring the work of present day organ builders who are incorporating elements of this style into their own designs.
ContributorsGerber, James Theodore (Author) / Marshall, Kimberly (Thesis advisor) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012
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Description
The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples

The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation.
ContributorsHoward, Devon (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012
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Description
Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these

Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these ideas by commissioning a new work for clarinet and electronics that can be performed alone, combined with movement, or with an interactive video accompaniment. Primary work for this project has been the audio recording, music video, and live dance performance of the new work, entitled Agents of Espionage, which can be viewed at: http://www.youtube.com/watch?v=SAZ20kCb0Qg or http://www.youtube.com/watch?v=94- C7wWTeKs&context;=C4063fdcADvjVQa1PpcFPv1fBtuWcqgV638q_BRacH7 XWR-xy1B7A=. The entirety of the project, including creating the music, video, audio recordings, and dance was completed on a limited budget of under $500USD, using all student performers and creators. The accompanying written document outlines the various steps for completing each portion of the project, interviews with the artists involved, including Zachary Bramble, composer; Jason Mills, videographer; and Jacquelyn Achord, choreographer; and an analysis of the music from the performer's perspective. This paper should convey ideas about how future undertakings of this sort are possible. This work has been greatly inspired by Martin Fröst and his collaboration with Fredrik Hogberg on the piece The Invisible Duet.
ContributorsViliunas, Brian Bodo (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Marshall, Kimberly (Committee member) / Schuring, Martin (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsCao, Yuchen (Performer) / Chen, Sicong (Performer) / Soberano, Chino (Performer) / Nam, Michelle (Performer) / Collins, Clarice (Performer) / Witt, Juliana (Performer) / Liu, Jingting (Performer) / Chen, Neilson (Performer) / Zhang, Aihua (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-25
ContributorsMarshall, Kimberly (Performer) / Meszler, Alexander (Performer) / Yatso, Toby (Narrator) / ASU Library. Music Library (Publisher)
Created2018-09-16