Matching Items (93)
ContributorsMiles, Karey (Performer) / Sadownik, Stephanie (Performer) / Nguyen, Sarahkim (Performer) / Chung, Kylie (Performer) / Reyes, Rachel (Performer) / Cullen, Audrey (Performer) / Kuebelbeck, Stephen (Performer) / Holm, Melanie (Performer) / ASU Library. Music Library (Publisher)
Created2021-10-17
Description
Organ culture of the late nineteenth century played an important role in the development of cities on the American Western Frontier. By 1869, the transcontinental railroad connected cities across the United States, enabling coast-to-coast travel and spawning a new tourist industry. Rail travelers stopping in Utah frequently visited the Tabernacle and were impressed by the organ, requesting to hear it played. The Salt Lake Tabernacle free daily organ recital program was initiated to meet that demand. This came at a critical time in the growth of the city as it sought to develop a positive image of itself. These organ recitals became a highlight of travelers’ journeys across the United States, shaping the image of Utah as a place of culture and refinement. Although free daily organ recital programs sprang up across the country during the early twentieth century, very few persisted for more than a decade. Today, the only two remaining continuous free daily organ recital series are given on the Salt Lake Tabernacle organ and on the Wanamaker organ in Philadelphia. Location, promotion, purpose, and programming were key factors vital to the early and continued success of the program. At a time when attendance is in decline for organ recitals, and indeed for all classical art music, the elements of this uniquely successful program may suggest new approaches for sharing organ music.
ContributorsHarris, Valerie (Author) / Marshall, Kimberly (Thesis advisor) / Saucier, Catherine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
Description
The purpose of this lecture-recital is to explore the Protestant Reformation’s effect on the lives of a selected number of composing organists who were active in the field of church music before, during, and after the Reformation. The organists were selected based on the prominence of their positions and the significance of their compositions in the history of the organ. The lecture thus focuses on their employment situations and the repertoire they created. Jan Pieterszoon Sweelick is one of the most extreme examples of changed employment due to the Reformation. Trained as a Catholic organist, and taking up his position at the Oude Kerk Amsterdam at the age of 19, Sweelinck was forced to adapt quickly when the city converted to Calvinism within that same year. He became the civic organist, playing daily recitals on the organ instead of liturgical music, which was prohibited by the Calvinists.
Because of his background in music and his compositional inclinations, Martin Luther created a liturgy that was much friendlier to musicians than was that of Calvin. Lutheranism fostered many fine organist-composers, culminating in the music of J.S. Bach. Early in the Reformation, Hans Kotter was fired from his position in Catholic Fribourg due to his Protestant leanings. Samuel Scheidt also suffered because of religious turmoil. He published three extraordinary volumes of organ music, entitled Tabulatura nova, in 1624, but the onset of the Thirty Years War cost him his employment. His final compositions are simple chorale harmonizations, reflecting the upheaval of the Reformation and the War. In Catholic Italy and Spain, where Reformers never gained a strong foothold, Marco Antonio Cavazzoni and Antonio de Cabezón were able to continue their work with little change.
Due to the nature of their work and instruments, organists stand at the nexus of religion, economics, politics, and art. This lecture-recital seeks to reveal these relationships following the Reformation. These significant organist-composers provide case studies for how the changing religious and political climates of the Reformation affected the work of organists and the music they composed.
ContributorsTucker, Julia (Author) / Marshall, Kimberly (Thesis advisor) / Saucier, Catherine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2023
Description
The unmeasured Fantasias by Johann Gottfried Müthel appear as part of a collection of pedagogical exercises to foster improvisation. The information he gives in the notation of his fantasias can be elucidated with a historiographical interpretation of musical rhetoric. Müthel developed musical figures and contrasting textures in accordance with contemporary rhetorical principles of inventio, dispositio and elaboratio. An analysis of Müthel’s G-minor Fantasia provides a link between musical rhetoric and performance, as seen through its improvisatory gestures. Issues of performance practice that arise in the G-minor Fantasia are the execution of ornaments, rhythmic alterations, registration, and articulation. This paper explores primary sources contemporary to Müthel to make sense of these issues. The unmeasured Fantasias are written for a keyboard with pedal. At the time that they were written, the pedal fortepiano and pedal clavichord were seen by musicians such as Carl Phillip Emanual Bach to be the superior instruments for performing improvisations. While the notation and texture of the Fantasias suggests that Müthel intended them for organ, a consideration of the possibilities provided by the fortepiano suggests that it may be more suited to conveying aspects of the galant aesthetic.
ContributorsMealey, Natalie (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsMarshall, Kimberly (Performer) / Hofeling, Jacob (Performer) / Whitten, Emma (Performer) / Graber, James (Performer) / Cole, Nina (Performer) / Gregoire, Jonathan (Performer) / Snavley, Ashley (Performer) / ASU Library. Music Library (Publisher)
Created2013-12-07
ContributorsMarshall, Kimberly (Performer) / ASU Library. Music Library (Publisher)
Created2014-11-09
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-06
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-07
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-07
ContributorsMarshall, Kimberly (Performer) / Schuring, Martin (Performer) / ASU Library. Music Library (Publisher)
Created2015-01-18