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Projects
Your search for keyword 'organ' returned 6 results in 'Projects'.
Composing for organ and electronics: spaces and practices
Michele Del Prete
My research focusses on site-specific compositional and performance practices of music for organ and electronics and their musical-spatial values. I will compose and perform as electronic performer music for organs and electronics particularly focusing on instruments of the Renaissance-Baroque Dutch and North German/Hanseatic School. The compositional output will consist of tape music based on recorded organ sounds, works for organ and live electronics and works for sound environments of multiple organs and electronics. On the occasion of this research I will investigate the relation between organ and electroacoustic music clarifying which are the explicit and implicit references of electroacoustic practices to much older models, outlining an understanding of electronics as contingent, essentially non-reproducible post-digital practice.
Case study Käte van Tricht (1909-1996)
Karin Gastell
In the second half of the 20th century, historical informed performance practice became the leading way in rendering “early” organ music. In advance to this development a so called modern approach had been presented, documented with “almost authentic Bach playing á la Straube” by Straube's student Käte van Tricht in her 1945 to 1992 recordings.
Basso Continuo Sources from the Dutch Republic c.1620-c.1790
Kathryn Cok
Between 1600 and 1800 countless manuals appeared on the subject: the improvised bass part on the harpsichord, pianoforte or organ. Musician and researcher Kathryn Cok unravels the secrets of the Dutch basso continuo accompaniment for modern-day musicians.
The Polyphonic Touch
Andrew Wright
Different performances of the same work can communicate more or less polyphonic expression through the employment of expressive divergence. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression.