scholarly journals Is unequal temperament coming back for pipe organs

1979 ◽  
Vol 66 (S1) ◽  
pp. S68-S68
Author(s):  
Donald E. Hall
Keyword(s):  
Pipe Organs

Pipe Organs

1998 ◽  
pp. 552-580
Author(s):  
Neville H. Fletcher ◽  
Thomas D. Rossing
Keyword(s):  
Pipe Organs

scholarly journals Big Sound and Extreme Fungi—Xerophilic, Halotolerant Aspergilli and Penicillia with Low Optimal Temperature as Invaders of Historic Pipe Organs

Life ◽  
2018 ◽  
Vol 8 (2) ◽  
pp. 22 ◽  
Author(s):  
Katja Sterflinger ◽  
Christian Voitl ◽  
Ksenija Lopandic ◽  
Guadalupe Piñar ◽  
Hakim Tafer
Keyword(s):  
Optimal Temperature ◽  
Pipe Organs

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

scholarly journals Acoustic documentation of 12 pipe organs and analysis of their plena

1994 ◽  
Vol 04 (C5) ◽  
pp. C5-645-C5-648
Author(s):  
J. STEPÁNEK ◽  
Z. OTCENÁSEK
Keyword(s):  
Pipe Organs

Architectural requirements of pipe organs

1999 ◽  
Vol 106 (4) ◽  
pp. 2200-2200 ◽  
Author(s):  
Ewart A. Wetherill
Keyword(s):  
Pipe Organs

Stages with high ceilings, pipe organs, and active acoustics

2013 ◽  
Vol 134 (5) ◽  
pp. 3985-3985
Author(s):  
Roger W. Schwenke ◽  
Steve Ellison
Keyword(s):  
Pipe Organs ◽  
Active Acoustics

Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life

MRS Bulletin ◽  
2007 ◽  
Vol 32 (3) ◽  
pp. 249-255 ◽  
Author(s):  
B. Baretzky ◽  
M. Friesel ◽  
B. Straumal
Keyword(s):  
19Th Century ◽  
Industrial Revolution ◽  
Materials Science ◽  
Dynamic Range ◽  
Pipe Organ ◽  
Organ Building ◽  
Pipe Organs ◽  
Organ Pipes ◽  
The Aesthetic ◽  
Organ Builders

AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.

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