Organ

1741 Pipe organ in Église Saint-Thomas, Strasbourg, France.
Classification	Keyboard instrument (Aerophone)
Playing range
Related instruments
see Keyboard instrument
Musicians
see List of organists
Builders
see List of pipe organ builders and category:Organ builders
More articles
Pipe organ · Theatre organ · Electronic organ · Hammond organ · Reed organ · Organ repertoire

	Organ music sample Improvisation in E (Münsterorgel Dinkelsbühl)
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The organ (from Greek όργανον organon, "organ, instrument, tool"),^[1] is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition,^[2] dating from the time of Ctesibius of Alexandria who is credited with the invention of the hydraulis. By around the 8th century it had overcome early associations with gladiatorial combat and gradually assumed a prominent place in the liturgy of the Catholic Church; subsequently it has re-emerged as a secular and recital instrument.

Overview[link]

Pipe organs use wind moving through pipes to produce sounds. Since the 16th century, pipe organs have used various materials of pipes, which can vary widely in timbre and volume. The pipes are divided into ranks and controlled by the use of hand stops and/or combination pistons. Although the keyboard is not expressive as on a piano and does not affect dynamics (pressing a key only turns the sound on or off), some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some special registers with free reed pipes are expressive. These instruments vary greatly in size, ranging from a cubic yard to a height reaching five floors,^[3] and are built in churches, synagogues, concert halls, and homes. Small organs are called positive (easily placed in different locations) or portative (small enough to carry while playing). Increasingly hybrid organs are appearing in which pipes are augmented with electronic additions. Great economies of space as well as cost are possible especially when the lowest (and largest) of the pipes can be replaced.

Non-piped organs include the reed organ or harmonium, which like the accordion, harmonica or mouth organ use air to excite free reeds.

Electronic organs or digital organs generate electronically produced sound through one or more loudspeakers.

Mechanical organs include the barrel organ, water organ, and Orchestrion. These are controlled by mechanical means such as pinned barrels or book music. Little Barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by an organ grinder or today by other means such as an electric motor.

South corp in the Duomo di Milano. The history of this large organ (now with about 16.000 pipes) began in 1395, and it was continuously remodeled until 1986). The present decoration is from the 16th century

Pipe organs[link]

The pipe organ is the grandest musical instrument in size and scope, and has existed in its current form since the 14th century (though other designs, such as the hydraulic organ, were already used in Antiquity). Along with the clock, it was considered one of the most complex human-made creations before the Industrial Revolution. Pipe organs range in size from a single short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards (manuals) with five octaves (61 notes) each, and a two-and-a-half octave (32-note) pedal board.

Wolfgang Amadeus Mozart called the organ the "King of instruments".^[4] Some of the biggest instruments have 64-foot pipes (a foot here means "sonic-foot", a measure quite close to the English measurement unit), and it sounds to an 8 Hz frequency fundamental tone. Perhaps the most distinctive feature is the ability to range from the slightest sound to the most powerful, plein-jeu impressive sonic discharge, which can be sustained in time indefinitely by the organist. For instance, the Wanamaker organ, located in Philadelphia, USA, has sonic resources comparable with three simultaneous symphony orchestras. Another interesting feature lies in its intrinsic "polyphony" approach: each set of pipes can be played simultaneously with others, and the sounds mixed and interspersed in the environment, not in the instrument itself. (Contrast this with digital organs, where the electronically produced sound comes from loudspeakers.)

Church organs[link]

The Baroque Leżajsk organ, built by Stanisław Studziński and Jan Głowiński in 1693, has mechanical controls (tracker system) and 75 voices.^[5] It consists in fact of three separate instruments, this is why three organists can play simultaneously.

Inner view of organ
mechanism assembly
undergoing overhaul

Organ parts undergoing
overhaul (Augusta Victoria
church - Jerusalem) 2009

Most organs in Europe, the Americas and Australasia can be found in Christian churches or Jewish synagogues. The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its ability to simultaneously provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above the vocal register, the organ is ideally suited to accompany human voices, whether a congregation, a choir or a cantor or soloist. Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service.

Today this organ may be a pipe organ (see above), a digital or electronic organ that generates the sound with Digital Signal Processing (DSP) chips or a combination of pipes and electronics. It may be called a church organ or classical organ to differentiate it from the theater organ, which is a different style of instrument. However, as classical organ repertoire was developed for the pipe organ and in turn influenced its development, the line between a church and a concert organ is hard to draw.

Organs are also used to give recital concerts, called organ recitals. In the early 20th century, symphonic organs flourished in secular venues in the United States and UK, designed to replace symphony orchestras by playing transcriptions of orchestral pieces. Symphonic and orchestral organs largely fell out of favor as the Orgelbewegung (Organ Reform Movement) took hold in the middle of the 20th century and organ builders began to look to historical models for inspiration in constructing new instruments. Today, modern builders construct organs in a variety of styles and for both secular and sacred applications.

Chamber organ by Pascoal Caetano Oldovini (1762).

Chamber organs[link]

A chamber organ is a small pipe organ, often with only one manual, and sometimes without separate pedal pipes that is placed in a small room, that this diminutive organ can fill with sound. It is often confined to chamber organ repertoire, as often the organs have too little voice capabilities to rival the grand pipe organs in the performance of the classics. The sound and touch are unique to the instrument, sounding nothing like a large organ with few stops drawn out, but rather much more intimate. They are usually tracker instruments, although the modern builders are often building electropneumatic chamber organs.

Theatre organs[link]

Theatre organ in State Cinema, Grays. (Compton Organ)

The theatre organ or cinema organ was designed to accompany silent movies. Like a symphonic organ, it is made to replace an orchestra. However, it includes many more gadgets, such as percussion and special effects, to provide a more complete array of options to the theatre organist. Theatre organs tend not to take nearly as much space as standard organs, relying on extension and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes.

Marimba in the solo chamber at Ann Arbor's Michigan Theatre (3/13 Barton)

This extension is called "unification", meaning that instead of one pipe for each key at all pitches, the higher octaves of pitch (and in some cases, lower octaves) are achieved by merely adding 12 pipes (one octave) to the top and/or bottom of a given division. Assuming there are sixty-one keys on an organ manual (a common number in concert organs and in North America), a classical organ will have, for diapason stops at 8', 4' and 2' pitch, a total of 183 pipes (61 plus 61 plus 61). The same chorus of diapasons on a theatre organ will have only 85 pipes (61 plus 12 plus 12). Some ranks, such as the Tibia Clausa, with up to 97 pipes, allow the organist to draw stops at 16', 8', 4', 2', and mutations from a single rank of pipes.

Unification gives a smaller instrument the capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ, and is very often reliant on the use of tremulant, which has a depth greater than that usually found on a classical organ. Unification also allows pipe ranks to be played from more than one manual and the pedals.

Other pipe organs[link]

The bamboo organ called Bambuso sonoro is an experimental custom-made instrument designed by Hans van Koolwijk. The instrument has 100 flutes made of bamboo.^[6]

A harmonium. Operation of the two large pedals at the bottom of the case supplies wind to the reeds.

A chord organ with array of chord buttons on left side.

Reed organs[link]

The reed organ and harmonium was the other main type of organ before the development of electronic organs. It generated its sounds using reeds similar to those of a piano accordion. Smaller, cheaper and more portable than the corresponding pipe instrument, these were widely used in smaller churches and in private homes, but their volume and tonal range was extremely limited, and they were generally limited to one or two manuals, pedalboards being extremely rare.

Chord organs[link]

The chord organ was invented by Laurens Hammond in 1950.^[7] It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs.^[8]

Electronic organs[link]

Since the 1930s, pipeless electric instruments have been available to produce similar sounds and perform similar roles to pipe organs. Many of these have been bought both by houses of worship and other potential pipe organ customers, and also by many musicians both professional and amateur for whom a pipe organ would not be a possibility. Far smaller and cheaper to buy than a corresponding pipe instrument, and in many cases portable, they have taken organ music into private homes and into dance bands and other new environments, and have almost completely replaced the reed organ.

Hammond organs[link]

Hammond B3 organ, and Leslie speaker cabinet.

The Hammond organ was the first successful electric organ, released in the 1930s. It used mechanical, rotating tonewheels to produce the sound waveforms. Its system of drawbars allowed for setting volumes for specific sounds, and it provided vibrato-like effects. The drawbars allow the player to choose volume levels of 0-8 for each of the members of the harmonic series starting from 16'. By emphasizing certain harmonics from the overtone series, desired sounds (such as 'brass' or 'string') can be imitated. Generally, the older Hammond drawbar organs had only preamplifiers and were connected to an external, amplified speaker. The Leslie speaker became the most popular, which is a rotating type speaker. The three most popular models of Hammond organs were the consoles: the B-3, C-3, and A-100. Inside all three models, the tone generators, drawbars, and keyboards were identical. The B-3 cabinet stood on 4 legs, the C-3 was an enclosed "church" model, and the A100 series had built in amplifiers and speakers.

In addition to these console models, Hammond also produced spinet models, which differed from the consoles in the size of keyboard (44 keys per keyboard versus 61 for the consoles, and 12 or 13 pedals instead of 25) and the absence of foldback and scaling in the keyboards making them cheaper to manufacture. Other features of the console organs such as vibrato or percussion were included in the spinets; all the spinet models featured a built in amplifier and speaker; when used with the external amplified speaker (e.g.: Leslie) they sound similar to the console models. These smaller all-in-one organs were intended primarily for use in homes or very small churches.

Though originally produced to replace organs in the church, the Hammond organ, especially the model B-3, became popular in jazz, particularly soul jazz, and in gospel music. Since these were the roots of rock and roll, the Hammond organ became a part of the rock and roll sound. It was widely used in rock and popular music during the 1960s and 1970s by bands like The Doors, Pink Floyd, Procol Harum, Santana and Deep Purple. Its popularity resurged in pop music around 2000, in part due to the availability of clonewheel organs that were light enough for one person to carry.

A typical combo organ. (Vox Continental)

A modern digital organ utilizing modeling and DSP technology. (Nord Electro 2)

Other electronic organs[link]

Frequency divider organs used oscillators instead of mechanical parts to make sound. These were even cheaper and more portable than the Hammond. They featured an ability to bend pitches.

In the 1940s until the 1970s, small organs were sold that simplified traditional organ stops. These instruments can be considered the predecessor to modern portable keyboards, as they included one-touch chords, rhythm and accompaniment devices, and other electronically assisted gadgets. Lowrey was the leading manufacturer of this type of organs in the smaller (spinet) instruments.

In the '60s and '70s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop and rock bands, and was a signature sound in the pop music of the period, such as The Doors, Led Zeppelin, and Iron Butterfly. The most popular combo organs were manufactured by Farfisa and Vox.

Conn-Selmer and Rodgers, dominant in more larger instrument market, also made electronic organs that used separate oscillators for each note, giving them a richer sound, closer to a pipe organ, due to the slight imperfections in tuning, by not using precise division.

Also available are hybrids, starting from early 20th century,^[9] which incorporating a few ranks of pipes to produce some sounds, and using electronic circuits or digital samples for other sounds and to resolve borrowing collisions. Major manufacturers include Allen, Walker, Compton, Wicks, Marshall & Ogletree, Phoenix, Makin Organs, Wyvern Organs and Rodgers.

A typical Virtual Pipe Organ system. (Hauptwerk)

Digital organs[link]

The development of the integrated circuit enabled another revolution in electronic keyboard instruments. Digital organs sold since the 1970s utilize additive synthesis, then sampling technology (1980s) and physical modelling synthesis (1990s) are also utilized to produce the sound.

Virtual Pipe Organs, played via MIDI, access samples of real pipe organs stored on a computer, as opposed to digital organs that use DSP and processor hardware inside a console to produce sounds or deliver sound samples. They have high polyphony (up to about 40,000 pipes/1PC), which is necessary as there is a sample for every single pipe on the organ, plus samples and modeling effects such as mechanical action noise and pipe wind fluctuations. Addition of touch screen monitors or custom midi controllers allows the user to control the virtual organ console (drawing stops, operating couplers etc.) In its basic form, without a traditional wooden console, a Virtual Organ can be obtained at a much lower cost than other digital classical organs. With Stereo or multiple channel audio systems, virtual organs can approach the acoustic realism of a real pipe organ. For example, for most Virtual Organs with a pedal division containing 16 ft or 32 ft pipes, a subwoofer arrangement is required to reproduce the powerful movement of air at frequencies around 32 Hz or lower. For personal purpose, typically small studio quality near-field monitors with subwoofer are used.^[10]

Calliope on a stern-wheeler

The Japanese instrument builders Kawai (e.g. CP209) and Yamaha (e.g. CGP1000) started a new trend for the 21st century by building electronic keyboard organs into grant piano cabinets combining sampled organ sounds with other instrument voices like their own grand pianos allowing organists to register many new voices to create endless sounds, which is the original strength of the organ instrument. While trumpet, horn, fagot, flutes and other wind instruments have been in organs for a long time, electronic organs make it possible to integrate string instruments like harps, violins and guitars into the organ with thousands of possible registrations. A real soundboard combined with high tech speaker systems and along with state-of-the-art vibro-acoustic technology (using transducers created by Acouve Laboratory, Inc. in Japan) and the sophisticated iAFC (Instrumental Active Field Control, Yamaha : http://usa.yamaha.com/products/musical-instruments/keyboards/digitalpianos/clavinova_grands/cgp-1000/?mode=model#tab=product_lineup) or Progressive Harmonic Imaging (PHI, Kawai; http://www.kawaius.com/main_links/digital/CP_2010/cp209-spec.html) effects create realistic pipe organ sounds as well as realistic grand piano sounds.

Steam organ[link]

The wind can also be created by using pressurized steam instead of air. The steam organ, or calliope, was invented in the United States in 19th century. Calliopes usually have very loud and clean sound. Calliopes are used as outdoors instruments, and many have been built on wheeled platforms.

Organ music[link]

Classical music[link]

The organ has had an important place in classical music throughout its history. Antonio de Cabezón, Jan Pieterszoon Sweelinck, and Girolamo Frescobaldi were three of the most important composers and teachers before 1650. Influenced by these composers, the North German school then rose to prominence with notable composers including Dieterich Buxtehude and especially Johann Sebastian Bach, considered by many to have achieved the height of organ composition. During this time, the French Classical school also flourished.

After Bach, the organ's prominence gradually lost ground to the piano. Felix Mendelssohn, A.P.F. Boëly, and César Franck led a resurgence in the mid-19th century, leading a Romantic movement that would be carried further by Max Reger, Charles-Marie Widor, Louis Vierne, and others. In the 20th century, composers such as Marcel Dupré, Kaikhosru Sorabji and Olivier Messiaen added significant contributions to the organ repertoire.

Some composers incorporated the instrument in symphonic works for its dramatic effect, notably Camille Saint-Saens, Richard Strauss, Edward Elgar, and Francis Poulenc.

Because the organ has both manuals and pedals, organ music has come to be notated on three staves. The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for the pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format.

Soap operas[link]

From their creation on radio in the 1930s to the times of television in the early 1970s, soap operas were perhaps the biggest users of organ music. Day in and day out, the melodramatic serials utilized the instrument in the background of scenes and in their opening and closing theme songs. Some of the best-known soap organists included Charles Paul, John Gart, and Paul Barranco. In the early 1970s, the organ was phased out in favor of more dramatic, full-blown orchestras, which in turn were replaced with more modern pop-style compositions.

Popular music[link]

Hammond organ in use.

Church-style pipe organs are occasionally used in popular music. In some cases, groups have sought out the sound of the pipe organ, such as Tangerine Dream, and Arrogant Worms, which combined the distinctive sounds of electronic synthesizers and pipe organs when it recorded both music albums and videos in several cathedrals in Europe. Rick Wakeman of British progressive rock group Yes also used pipe organ to excellent effect in a number of the group's albums (including Close to the Edge and Going for the One). Wakeman has also used pipe organ in his solo pieces such as "Jane Seymour" from The Six Wives Of Henry VIII and "Judas Iscariot" from Criminal Record. Even more recently, he has recorded an entire album of organ pieces – Rick Wakeman at Lincoln Cathedral. Likewise, Keith Emerson used a pipe organ with The Nice and progressive rock group Emerson, Lake and Palmer on their earlier albums on the songs "The Three Fates," "The Only Way" and "Promenade." George Duke employed the pipe organ in a flamboyant manner in the piece "50/50" on the Frank Zappa album Over-Nite Sensation. Dennis DeYoung of American rock group Styx used the pipe organ at Chicago's St. James Cathedral on the song "I'm O.K." on the group's 1978 album Pieces of Eight. In 2000 Radiohead frontman Thom Yorke played the organ on the Kid A album to great effect, most notably in "Motion Picture Soundtrack". More recently, Arcade Fire have used a church organ on the songs "Intervention" and "My Body Is a Cage" on their second album Neon Bible. Muse have also used a church organ on their album Origin of Symmetry in the form of "Megalomania", played by their frontman Matt Bellamy. It has been performed live only once on a pipe organ, at the Royal Albert Hall. Roger Hodgson (formerly of Supertramp) used a pipe organ for the songs Say Goodbye, Open the Door and Danielle in 2000 for the album Open the Door.

On the other hand, electronic organs and electromechanical organs such as the Hammond organ have an established role in a number of non-"Classical" genres, such as blues, jazz, gospel, and 1960s and 1970s rock music. Electronic and electromechanical organs were originally designed as lower-cost substitutes for pipe organs. Despite this intended role as a sacred music instrument, electronic and electromechanical organs' distinctive tone-often modified with electronic effects such as vibrato, rotating Leslie speakers, and overdrive-became an important part of the sound of popular music. Billy Preston and Iron Butterfly's Doug Ingle have featured organ on popular recordings such as "Let it Be" and "In-A-Gadda-Da-Vida", respectively. Well-known rock artists using the Hammond organ include Bob Dylan, Counting Crows, Pink Floyd, Hootie & the Blowfish, Sheryl Crow, and Deep Purple.

Recent performers of Popular organ music include William Rowland of Broken Arrow, Oklahoma who is noted for his compositions of "Piano Rags," which he plays on a Wurlitzer theatre organ in Miami, Oklahoma; George Wright (1920–1998) whose "Jealousie" and "Puttin on the Ritz" are some of the finest performances of this genre and Virgil Fox (1912–1980), who bridged both the classical and religious areas of music with pop and so-called Heavy Organ concerts that he played on an electronic organ accompanied by a light show similar to those created in the 1960s for rock concerts. Jimmy Smith was a famous jazz organist of the 20th century.

The American Theatre Organ Society ATOS has been instrumental in programs to preserve the instruments originally installed in theatres for accompaniment of silent movies. In addition to local chapter events they hold an annual convention each year, highlighting performers and instruments in a specific locale. These instruments feature the Tibia pipe family as their foundation stops and regular use of tremulants. They were usually equipped with mechanical percussion accessories, pianos, and other imitative sounds useful in creating movie sound accompaniments such as auto horns, doorbells, and bird whistles.

Sporting organs[link]

Nancy Faust playing at the Chicago White Sox.

In the United States and Canada, organ music is commonly associated with several sports, most notably baseball and ice hockey.

The baseball organ has been referred to as "an accessory to the overall auditory experience of the ballpark."^[11] The first team to introduce an organ during breaks of play (before and after games, in between innings, and during longer stoppages) was the Chicago Cubs, who put an organ in Wrigley Field as an experiment in 1941 for two games. Ebbets Field, home of the Brooklyn Dodgers, hired baseball's first full-time organist, Gladys Goodding, the following year. Over the years, many ballparks caught on to the trend, and many organists became well-known and associated with their parks or signature tunes: Eddie Layton playing at Yankee Stadium for over 50 years, Jane Jarvis greeting the New York Mets at Shea Stadium with their club song "Meet the Mets", Ernie Hays serenading a Busch Memorial Stadium crowd with "Here Comes the King", Nancy Bea as the organist for the Dodgers, Chicago favorite Nancy Faust urging Chicago White Sox fans to tell an opposing pitcher or a Pale Hose home run to "Na Na Hey Hey (Kiss Him Goodbye)" or Rick DePiro playing for Cleveland Indians games and known for his youth and controversy with songs like "If I Only Had A Brain" played often for the Umpires. During the 1990s, several teams fired their organists and replaced them entirely with recorded music and sound effects. However, many fans support organs at ballparks, believing it to be a traditional aspect of the game. As a result, several teams (notably the St. Louis Cardinals and Pittsburgh Pirates) have begun to feature organ music more prominently, and in 2009 the Atlanta Braves re-introduced an organist at Turner Field, even going so far as to promote his Twitter feed to take requests from fans.

Jazz[link]

The electronic organ, especially the Hammond B-3, has occupied a significant role in jazz ever since Jimmy Smith made it popular in the 1950s. It can function as a replacement for both piano and bass in the standard jazz combo.

Historical instruments[link]

Panpipes		Hydraulis
Portative	Positive
Regal			(after 16th century)[12]

Predecessors[link]

• Panpipes, pan flute, syrinx, and nai, etc., are considered as ancestor of the pipe organ.
• Aulos, an ancient double reed instrument with two pipes, is the origin of the word Hydr-aulis (water-aerophone).

Early organs[link]

• 3rd century BC - the Hydraulis, ancient Greek water-powered organ played by valves.^[13]
• 1st century (at least) - the Ptera  and the Pteron, ancient Roman organ similar in appearance to the portative organs^[14]
• 2nd century - the Magrepha, ancient Hebrew organ of ten pipes played by a keyboard^[15][16][17]
• 9th century - the automatic flute player (and possibly automatic hydropowered organ), a mechanical organ by the Banū Mūsā brothers

Medieval organs[link]

• Portative organ, a small portable medieval instrument
• Positive organ, a somewhat larger though still portable instrument (occurs on an obelisk of the 4th century)
• Regal, a small portable late-medieval instrument with reed pipes and two bellows.
  16th century - useless resonance pipes were removed, and regal became a beating-reed organ.
  It may be seen as the ancestor of the harmonium and reed organs, and the varieties of 'squeezebox'

Various instruments[link]

A harmonium.

Reed organs[link]

• Harmonium or parlor organ, a reed instrument usually with many stops and two foot-operated bellows
• American reed organ is a foot bellow or electric reed keyboard similar to the Harmonium, but that works on negative pressure—it sucks air through the reeds
• Melodeon, a reed instrument with an air reservoir and a foot operated bellows—popular in the USA in the mid-19th century

Squeezeboxes[link]

• Squeezeboxes such as the accordion, concertina, Bandoneón, etc., free reed instruments in which the bellows is operated by the squeezing action of the instrumentalist;

Piano accordion

Chromatic button accordion (Bayan)

Diatonic button accordion

Concertina

Bandoneón

Mechanical organs[link]

• Barrel organ—made famous by organ grinders in its portable form, the larger form often equipped with keyboards for human performance
• Novelty instruments or various types that operate on the same principles:
  Orchestrion, fairground organ (or band organ in the USA), dutch street organ and Dance organ—these pipe organs use a piano roll player or other mechanical means instead of a keyboard to play a prepared song.

Barrel organ

Orchestrion
from Germany

Band organ
from USA

Fairground organ

Dutch street organ

Dance organ
from Belgium

Sound art[link]

• Hydraulophone
• Pyrophone (fire organ)
• Sea organ
• Water organ
• Wave organ
• Wind organ

Mouth-played instruments[link]

• Pan flute
• Mouth organs such as:
  • Recorder, a kind of fipple flute that uses the same mechanism for sound production as the pipe organ.
  • Harmonica, where the musician effectively blows directly onto the reeds, is also known as a mouth organ;
  • Melodica, also known as 'blow-organ'
• Bagpipes
• Asian free reed instruments, such as the Chinese Sheng, Lusheng, Hulusi, Yu, Bawu, and Hulusheng, plus the Japanese Shō, Thai Khene, and Korean Saenghwang are known to be the inspiration for the western reed organ.^{[citation needed]}

See also[link]

Organ in Driever (Westoverledingen), 1885

• Closed tube
• Electronic organ
• Hydraulis
• Hydraulophone
• List of organ builders
• List of organ composers
• List of organists
• Open tube
• Organ recital
• Organ repertoire
• Organ tablature
• Organist
• Organum
• Pipe organ
• Residence organ
• Street organ

References[link]

External links[link]

Wikimedia Commons has media related to: Organs (music)

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2010)

• Organ Music of the Day - Discover fascinating world of organ through Organ Music of the Day. Read about and watch performances of some of the most exciting organ works. Updated regularly.
• [1] Organ Library of the Boston Chapter, AGO. 45,000 items of organ music.
• Music and organ recital at Notre-Dame de Paris
• iao.org.uk - Regularly updated list of over 1600 hand-crafted links to websites covering all aspects of classical organs and organ music
• npor.org.uk – Homepage of the National Pipe Organ Register of the British Institute of Organ Studies, with extensive information on and many audio samples of original instruments
• orgel.edskes.net – Edskes Organ website with information and photos of various organs
• Encyclopedia of Organ Stops – Information on construction and sound of various organ stops
• Pipe organs
  • ibiblio: The Organ UK Quarterly Magazine about pipe organs
  • ibiblio: The Pipe Organ
  • The American Guild of Organists – A professional association serving the organ and choral music fields
  • The Incorporated Association of Organists - UK umbrella organisation for 90 affiliated organists' associations and 6,000 individual members
  • The Organ Historical Society – The Society promotes a widespread musical and historical interest in American organbuilding through collection, preservation, and publication of historical information, and through recordings and public concerts.
  • Organlive.com – Over 10,000 tracks of free organ music, delivered via streaming audio
  • Pipedreams – organ radio broadcasts, articles, and more
  • Pipe Organs 101
  • The World's Largest Organs
  • nzorgan.com – a vast website that chronicles in detail the installation of a pipe organ in New Zealand
  • A Great Dom-Bedos Roubo Organ Project in Italy
• Theatre organs
  • American Theatre Organ Society
  • TheatreOrgans.com
  • The Walker Digital Unit Orchestra
• Electronic organs
  • Allen Organ Company history
  • Hammond organs history
  • Electronic Organ Constructor's Society
  • Makin Organs (digitally sampled and hybrid organs)
  • Rodgers Instruments (stereo digital sampled organs and hybrid digital/pipe organs)
  • SCPOP : a digitally low-cost emulation of a pipe organ

Resources for Organ Audio Recordings[link]

• Aeolus Germany CD company with recording of historic European Organs often with under recorded music
• JAV Recordings American CD Company with recording of historic American Pipe Organs by Skinner & Aeolian Skinner and also European Organs
• Regent Records British CD Company with recording of historic English Pipes Organ

For the organist of the same name, see Ian Tracey (organist)

Ian Tracey (born June 26, 1964) is a Canadian Leo- and Gemini Award-winning actor. Over the years, Tracey has participated in over seventy films and television series. Tracey has starred in series like Da Vinci's Inquest and Intelligence, both CBC television series produced by long-time colleague Chris Haddock. He is also well known for his role as the title character in 1979's Huckleberry Finn and His Friends.

Life and career[link]

Tracey was born on Vancouver Island, British Columbia, Canada. He grew up in British Columbia's Port Coquitlam. A performer at a young age, Tracey started working at the age of 11, playing in the 1976 film The Keeper starring Christopher Lee.^[1] He is also the father of actor Keenan Tracey.

Tracey's recent feature film credits include Prozac Nation, Owning Mahowny, with Philip Seymour Hoffman, Kevin Costner's western Open Range and Christopher Nolan's 2001 thriller Insomnia. In 1999, Tracey won the Leo Award for Best Performance by a Male in a Feature Length Drama for Rupert's Land.

Tracey has appeared in a number of movies-of-the-week, including starring in the title role of Milgaard, for which he won both the Gemini Award for Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series^[2] and Leo Award for Best Performance by a Male in a Picture^[3] in 1999. Other television film include The Rookies, for which he received a 1991 Gemini nomination for Best Actor in a Supporting Role. He was nominated for a Gemini Award in 2000 for his portrayal of the talented Homicide Detective Mick Leary in the Canadian TV series Da Vinci's Inquest. He also directed two episodes in that television series, as well as two in Intelligence.

Tracey was a series regular on Sweating Bullets (also known as Tropical Heat) and had a recurring lead on The Commish. He was also seen in Taken and has guest starred on Smallville, Dark Angel, The Sentinel, The X-Files, The Outer Limits, Highlander: The Series, The Collector and Mom P.I.

In 2005, Tracey was in the TV miniseries Prairie Giant: The Tommy Douglas Story and Intelligence, a CBC television series about the interactions between organized crime and government intelligence services. In Intelligence, Tracey plays the head of a third-generation crime family that built its fortune on rum-running before turning to heroin and weed. He also appeared as Nova Group leader Daniel Armand in season three of the science fiction series The 4400 and guest-starred as Lincoln Cole in Smallville. In 2010 he began the recurring role of villain Adam Worth on Sanctuary. In spring 2007, he filmed the Chinese-Canadian historical miniseries Iron Road with Sam Neill and Peter O'Toole and narrated the making-of documentary for the DVD release of the series Huckleberry Finn and His Friends.

Filmography[link]

• In Praise of Older Women (1978)
• Dream Speaker (1979)
• Eureka (1984)
• The Journey of Natty Gann (1985)
• Fire with Fire (1986)
• Stakeout (1987)
• Trust in Me (1994)
• Timecop (1994)
• Stargate(?)
• The War Between Us (1995)
• Man with a Gun (1995)
• Carpool (1996)
• Rupert's Land (1998)
• Milgaard (1999) (TV)
• Touched (1999)
• Dangerous Attraction (2000)
• Prozac Nation (2001)
• Insomnia (2002)
• Do Not Disturb (2003)
• Cellmates (2003)
• Owning Mahowny (2003)
• Open Range (2003)
• Emile (2003)
• Ice Men (2004)
• Elektra (2005)

Major television roles[link]

• Huckleberry Finn and His Friends (1979) (Huckleberry Finn)
• Conspiracy of Silence (1991) (Dwayne Johnston)
• The Commish (1991) (Officer Jon Hibbs)
• Sweating Bullets (1991) (Spider Garvin)
• Fly by Night (1991) (Berry the Rat)
• The X-Files: "The Walk" (TV) (1995)
• Da Vinci's Inquest (1998) (Detective Mick Leary)
• Taken (2002) (Bill Walker)
• Da Vinci's City Hall (2005) (Coroner Mick Leary)
• Intelligence (2006) (Jimmy Reardon)
• Sanctuary (2010 - 2011) (Adam Worth)
• Hell on Wheels (2011) (Bolan)
• Supernatural (2012) (Lee)

References[link]

External links[link]

• Ian Tracey at the Internet Movie Database
• Ian Tracey at AllRovi
• Tracey interview video

For the English harpsichordist and organist, see Joseph Payne (musician). For the English footballer, see Joe Payne (footballer). For the American musician, see Joe Payne

See also: Payne

Joseph Payne (2 March 1808, Bury St Edmunds – 30 April 1876, Bayswater) was an English educationalist and the first Professor of Education at the College of Preceptors in London.

Biography[link]

He was born in Bury St Edmunds in Suffolk^[1]. He to came prominence as one of the most vocal adherents of the methods of Joseph Jacotot in England, publishing in 1830 an exposition of Jacotot's methods and lecturing to other teachers about education while teaching at a school in the New Kent Road, London. In 1838 he established Denmark Hill Grammar School with David Fletcher. In 1845 he opened the Mansion grammar school, at Leatherhead in Surrey. The school was very successful in exams and followed a detailed curriculum. Initially the pupils studied spelling and writing, history and geography, French, word and object lessons, arithmetic. As they progressed, English grammar, botany, and physics were added and at the age of 12, Latin German, mathematics, English literature, and physics were introduced. Chemistry would be added in the final two years^[1].

He retired from teaching in 1868 and began to write various textbooks and criticized elementary education in the England. He was also heavily involved in reforms and believed education could transform society. He was a founding member of the College of Preceptors and became its first Professor of science and art of education in 1873. He was one of the founders of the Women's Education Union, and he was also one of the original shareholders of the Girls' Public Day School Company which was created by the Union. Payne was also a member of the council of the Social Science Association, and of the committees of the Kindergarten Association and of the Froebel Society^[1].

He married Eliza Dyer in December 1837, and they had 4 children, John Burnell, Joseph Frank, Mary Eliza and William Payne^[1]. His wife died in October 1875 and he retired from the College of Preceptors in December 1875 due to ill health. He died a few months later in April 1876.^[1].

Works[link]

• Lectures on the History of Education, with A Visit to German Schools. Longmans, Green, & Co., 1893.
• Lectures on the Science and Art of Education. E.L. Kellogg, 1890.

Primary sources[link]

The Archives of the Institute of Education, University of London holds the papers of Joseph Payne and his family and the records of the College of Preceptors [1].

Published Sources[link]

• Aldrich, Richard (1995). School and society in Victorian Britain: Joseph Payne and the new world of education. 
• Chapman, J V (1985). Professional roots: the College of Preceptors in British society. 

• College of Preceptors. (1896). Fifty Years of Progress in Education: A Review of the Work of the College of Preceptors from its Foundation in 1846 to its Jubilee in 1896. London: C. F. Hodgson Publishing.

References[link]

This English biographical article is a stub. You can help Wikipedia by expanding it. v t e

This article about an educator is a stub. You can help Wikipedia by expanding it. v t e

Manuel José Luís Bucuane (born 16 August 1973 in Lourenço Marques (now Maputo)), best known as Tico-Tico, is a Mozambican football striker who plays for Desportivo de Maputo in Mozambique.

Career[link]

Tico-Tico is his country's most capped player and record goal scorer. He is also the PSL’s leading scorer of all-time with 108 goals.

In June 2000, Tico-Tico was signed by the Tampa Bay Mutiny after playing for Jomo Cosmos.^[1]

References[link]

External links[link]

• Tico-Tico – FIFA competition record
• Tico-Tico at National-Football-Teams.com

v t e Mozambique squad – 1996 Africa Cup of Nations GK Luisinho GK Rui Evora GK Valoi DF Faife DF João Chissano DF Parruque DF Pinto Barros DF Tomás DF Zé Augusto MF Cumbe MF Hassan MF Matola MF Muchanga MF Nhapossa MF Tembe MF Vulande FW Boane FW Chiquinho Conde FW Jojó FW Ouana FW Tico-Tico Coach: Caçador

v t e Mozambique squad – 1998 Africa Cup of Nations 1 Helder Cossa 2 Faife 3 Zé Augusto 4 Adino 5 Tomás 6 Paulito 7 Jojó 8 Nuro 9 Nana 10 Chiquinho Conde 11 Avelino 12 Rui Evora 13 Mavo 14 Pinto Barros 15 Mário Artur 16 Macamo 17 Jossias 18 Tico-Tico 19 Dário 20 Vino 21 João Chissano 22 Luisinho Coach: Arnaldo Salvado

v t e Mozambique squad – 2010 Africa Cup of Nations 1 Bino 2 Hagi 3 Genito 4 Simão 5 Paíto 6 Mano 7 Domingues 8 Fumo 9 Tico-Tico 10 Dário 11 Pelembe 12 Kapango 13 Fanuel 14 Danito 15 Whiskey 16 Miro 17 Ze Luis 18 Khan 19 Junior 20 Josimar 21 Chapanga 22 Lamá 23 Mexer Coach: Nooij

This biographical article related to Mozambican association football is a stub. You can help Wikipedia by expanding it. v t e

Ton Koopman (born 2 October 1944 in Zwolle, Netherlands) is a conductor, organist and harpsichordist.

Koopman had a "classical education" and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt) and musicology in Amsterdam. He specialized in Baroque music and received the Prix d'Excellence for both organ and harpsichord.

In 1979 Koopman founded the Amsterdam Baroque Orchestra and the Amsterdam Baroque Choir in 1992 (now combined as the Amsterdam Baroque Orchestra & Choir). Koopman concentrates on Baroque music, especially that of Bach, and is a leading figure in the authentic performance movement. While a number of early-music conductors have ventured into newer music, Koopman has not. He has said, "I draw the line at Mozart’s death" (1791).^[1] One exception is his recording of the Concert Champêtre of Francis Poulenc, written in 1928.

Among Koopman's most ambitious projects was the recording of the complete cycle of all of Bach's cantatas, a project completed in 2005. Soloists for the project were among others Lisa Larsson, Sandrine Piau, Sibylla Rubens, Barbara Schlick, Caroline Stam, Deborah York and Johannette Zomer (soprano), Bogna Bartosz, Michael Chance, Franziska Gottwald, Bernhard Landauer, Elisabeth von Magnus, Annette Markert and Kai Wessel (alto), Paul Agnew, Jörg Dürmüller, James Gilchrist, Christoph Prégardien and Gerd Türk (tenor) and Klaus Mertens (bass). Koopman has received many prizes for his recordings. In 2005 he has commenced Dieterich Buxtehude – Opera Omnia, a project to record the complete works of Dieterich Buxtehude. As of March 2010, eleven volumes have been released.^[2] He was elected president of the "International Dieterich Buxtehude Society" in 2004.

Koopman's extensive discography includes the complete Bach cantatas and organ works, St Matthew Passion (twice) and St John Passion, Mass in B minor, Christmas Oratorio, a recording of his own reconstruction of the lost St Mark Passion, concertos and harpsichord works by Bach, Mozart's Coronation Mass and Vespers, Requiem, a cycle of Mozart symphonies, Vivaldi's The Four Seasons, Handel's Messiah and Organ Concertos, et al.

Besides his work with the Amsterdam Baroque Orchestra & Choir, he is in frequent demand as guest conductor and as harpsichordist and organist. Some of his organ interpretations have drawn criticism for their overuse of ornamentation. His aim is always to achieve authenticity in performance, using exact copies of historical instruments from the time of the composer.

In 2003 he established his own recording company "Antoine Marchand" (a French translation of his name).

In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion.

In 2011, Koopman begins a three-year stint as artist-in-residence with the Cleveland Orchestra.^[3]

He is professor at The Royal Conservatory of The Hague. He is married to Tini Mathot, who is also an accomplished harpsichordist, and the two frequently perform together. Ms. Mathot is also his chief recording producer, as well as a teacher at the Royal Conservatory.^[4]

References[link]

1. ^ http://ottosbaroquemusick-bachradio.blogspot.com/2010/12/bach-js-harpsichord-concertos-amsterdam.html
2. ^ Dieterich Buxtehude - Opera Omnia
3. ^ http://www.mercurynews.com/music/ci_17321899
4. ^ http://www.bach-cantatas.com/Bio/Mathot-Tini.htm

• Interview
• Reviews
• Biography at Naxos.com
• Biography at Leiden University
• Article at Leiden University
• Other article at Leiden University
• Bach-cantatas.com: Ton Koopman
• On-Line meeting

External links[link]

• Ton Koopman official website
• International Dieterich Buxtehude Society
• Weblog
• Ton Koopman's guest page and recorded sessions at U-Sophia, where minds meet on-line

Wikimedia Commons has media related to: Ton Koopman