The Evolution of Organ Music in the 17th Century: A Study of European Styles

Further information on the Library's opening hours is available at: The evolution of organ music in the 17th century: This historical book surveys, analyzes, and discusses the major national styles of 17th century European organ music. It includes musical examples to illustrate the various styles"--Provided by publisher. Request this item to view in the Library's reading rooms using your library card.

The evolution of organ music in the 17th century; a study of European styles.

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Advanced search Search history. Browse titles authors subjects uniform titles series callnumbers dewey numbers starting from optional. See what's been added to the collection in the current 1 2 3 4 5 6 weeks months years. In the Middle Ages, music was classified among the seven liberal arts, those tools of thought considered essential to the formation of the free intellect.

At Furman, musicology courses are essential components of each of our five music degrees, both as requirements and electives. Several courses are available to majors and non-majors in fulfillment of the general education requirements. VP Visual and Performing Arts Introduction to the fundamentals of music, exploring a variety of musical genres, and developing an appreciation of the diverse musical genres. Although the focus for each section varies, all sections address certain fundamentals of music: Requires out-of-class listening and attendance at live concerts.

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Intended for non-music majors. Includes the study of significant artists and their recordings in a social and historical context. MUS Exploration of important composers and works, topics will include: WC World Cultures Prerequisite: MUS Examination of music from selected regions of the world. Emphasis on understanding the culture, meaning, and identities found in music outside the western European paradigm.

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The primary purpose of the anthem leading session is to help increase skills in conducting from the console. In the anthem leading sessions, the student leads the class in a brief vocal warm-up and rehearsal of the accompanied anthem. Students are expected to prepare these presentations at the highest possible professional level as if auditioning for a major church job.

A very brief and well-prepared presentation on the context some information on the history of the work, composer of the music, author of the text, appropriate liturgical use of the hymn or anthem is also expected.

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The class, the presenter, and the faculty engage in a discussion about the presentation, offering helpful advice and comments in a workshop format. Every organ student who is studying at Eastman for the first time, regardless of degree level, is automatically enrolled in this course, taught in small groups by Anne Laver as a complement to weekly organ lessons.

This involves an introduction to playing the pedal clavichord, culminating in a brief jury performance in the spring semester. Because of this, a balanced and therefore healthy playing technique is actually required to produce a good sound at all, so it is an ideal instrument for the development of a truly musical technique. Instruction in effective playing techniques for other important keyboard instruments — harpsichord, piano, fortepiano, harmonium as well as organ — are also addressed in this two-semester course. The organ literature course is designed to provide a comprehensive survey of solo organ repertoire, instrument-building traditions and issues concerning performance practices from antiquity to the present day.

The curriculum is a four-semester cycle, based around a weekly class for which reading, written work and listening tasks will be assigned. The class sessions may take a format ranging from lectures and student presentations to seminar-style discussion and are supplemented by occasional playing workshops focusing on particular areas of the repertoire.

Baroque Music - Classical Music from the Baroque Period

For their success, these workshops depend on the variety of instruments available locally and regionally. The approach taken is that of allowing the musical language of the instruments themselves to have final say on issues of performance practice which, when taken out of their appropriate musical context could well seem a mere academic exercise. For example, the repertoire on the 18th century Italian organ at the Memorial Art Gallery, careful examination of voicing and tuning give firsthand insights into the musical vocabulary of that time.

Likewise, the two four-manual E. Skinner instruments — at the Church of the Ascension and St. Workshops have also been held on modern and avant-garde playing techniques e.

The evolution of organ music in the 17th century; a study of European styles. - Free Online Library

A requirement for all undergraduate organ majors, and recommended for all members of the department, the Organ Maintenance course covers all aspects of pipe organ construction, as well as tuning and general maintenance. Keyboard Continuo Realization is a two-semester course taught by Edoardo Bellotti. The course focuses mainly on realization at the harpsichord in order to give those less familiar with the harpsichord than with the organ an opportunity to become well-acquainted with basic harpsichord technique, to learn more about the instrument, and — above all — to become skilled at making a good sound.

From time to time the class will visit the organ, however, and also occasionally the clavichord. The organ was, especially in the seventeenth century, every bit as important as the harpsichord as a continuo instrument, and the clavichord has an interesting, if somewhat obscure, history of use as an accompanimental instrument as well.

Students are required to practice their exercises every day, and to play them in class.

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Once one has gained fluency in realizing the exercises, the goal is to play them again and again so that one internalizes, by the coordination of sight, sound, and the feeling in the hand, the movement of bass and harmony. This, and this alone, will build skill in realizing a figured bass at sight; it will also reinforce inner hearing. Practice at the harpsichord, rather than at the piano or even the organ, is strongly encouraged. Just as the harpsichord is not a substitute for the piano, so the piano is not a substitute for the harpsichord. The first semester course focuses on helping the student become proficient in realizing the basic figures, following the development of continuo during 17 th — 18 th century, with a particular attention to the relationship between thorough bass and counterpoint.