Making Music on the Organ

Making Music on the Organ

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Description

In this handbook, Peter Hurford, the established organist and founder of the International Organ Festival in 1963, aims to record the ideas which underpin his performance and teaching. It is written particularly for players, both amateur and professional, and for those who are curious as to the organ's musical potential. With a discussion of the position of both the organ and the organist in relation to the rest of the musical scene, the book also comprises chapters on the workings of the instrument and on interpretation, including an examination of the interpretation of Bach. In addition, the author offers advice on technical problems.show more

Product details

  • Hardback | 168 pages
  • 160 x 236 x 20mm | 439.98g
  • Oxford University Press
  • Oxford, United Kingdom
  • music examples, 14 figures, reading list, index
  • 0193222647
  • 9780193222649

Table of contents

Note on usage. Introduction. Part 1 The organist's place in musical performance: integrity of musician and instrument; the organ's unique characteristics; problems for the travelling performer. Part 2 How the organ works: working essentials; the action of key mechanisms; architectural layout; organ-pipes; sound quality and tonal design; changes of colour and dynamic - registrational aids; the tremulant. Part 3 A basic physical approach to the organ: balance and posture; physical symptoms of nervous tension; co-ordination and an approach to the keyboard; hints on clothing. Part 4 The technical basis of movement and expression: pipe speech; touch, time and silence - the techniques of musical projection inncluding silence and comparative touch, inequality and agogic accentuation, rubato. Part 5 Some thoughts on interpretation: introduction; some technical considerations in performing Baroque organ music including musical line, fingering and "phrasing", dialogue; Part 6 Towards a grounding in Bach interpretation: harmonic structure; Bach's musical line; rhythm, pulse and tempo; hints on ornamentation; hints on the registration of Bach, his contemporaries and his immediate predecessors. Part 7 The French Classical School: musical style; the organ and registration upon it; ornamentation. Part 8 Renaissance: the instrument; the player; the composer; integrity and the student's objectives. Appendix: specifications of organs. Reading list. Index.show more

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