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dc.contributor.advisorBauer, Michael
dc.contributor.authorStotler, Mark Evan
dc.date.accessioned2019-09-06T22:02:31Z
dc.date.available2019-09-06T22:02:31Z
dc.date.issued2019-05-31
dc.date.submitted2019
dc.identifier.otherhttp://dissertations.umi.com/ku:16631
dc.identifier.urihttp://hdl.handle.net/1808/29580
dc.description.abstractLeo Sowerby (1895-1968), one of America’s most prolific twentieth-century composers, wrote many organ compositions for the American orchestral organ, the instrument on which he played. Following a biographical sketch of Sowerby, I will describe the orchestral organ as exemplified in instruments by American organ builders Austin and Ernest M. Skinner. Six organ works—“Comes Autumn Time,” “Carillon,” “Requiescat in Pace,” “Chorale and Fugue,” “Fantasy for Flute Stops,” “Luise”—representative of Sowerby’s compositional Periods are analyzed in terms of registration peculiar to the orchestral organ. Melodic structure, a key feature of Sowerby’s style in organ works from his earliest period, is also highlighted.
dc.format.extent65 pages
dc.language.isoen
dc.publisherUniversity of Kansas
dc.rightsCopyright held by the author.
dc.subjectPerforming arts
dc.subjectMusic
dc.subjectAustin
dc.subjectOrgan
dc.subjectRegistration
dc.subjectSkinner
dc.subjectSowerby
dc.titleThe Influence of the American Orchestral Organ on Selected Works of Leo Sowerby
dc.typeDissertation
dc.contributor.cmtememberHigdon, James
dc.contributor.cmtememberSchwartz, Roberta
dc.contributor.cmtememberMurphy, Scott
dc.contributor.cmtememberCateforis, David
dc.thesis.degreeDisciplineMusic
dc.thesis.degreeLevelD.M.A.
dc.identifier.orcid0000-0002-1417-6037
dc.rights.accessrightsopenAccess


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