Semester

Fall

Date of Graduation

2005

Document Type

Dissertation

Degree Type

DMA

College

College of Creative Arts

Department

School of Music

Committee Chair

William Haller

Abstract

The purpose of this research project is to provide a stylistic and quasi-theoretical study of Robert Hebble's compositions for organ as a performer's guide. Hebble presently resides in Lake Worth, Florida. He is still composing, accepting commissions, writing articles, playing recitals, and giving workshops.;The organ music of Robert Hebble is a significant contribution to twentieth-century American organ literature. He has composed in various genres, from simple church service music to solo concert pieces. His organ compositions span his entire career and make use of a wide variety of techniques and styles.;Part I provides information about the composer's life. It discusses his background, education, and professional positions.;Part II discusses Hebble's use of the organ in his writing, particularly his use of the American Classic Organ. This section looks at his approach to registrations, use of pedal, improvisation, pianistic devices, and development of his compositional style. It also explores effects idiomatic to the organ of American designers and builders of the mid- to late twentieth century.;Part III presents an overview of Hebble's organ compositions, grouping his organ works into two categories: chorales and free works. Only published works from 1958 to 1999 will be discussed, not unpublished works or arrangements. The circumstances under which each work or collection was written are discussed. His treatment of hymn-tunes and use of accompanimental material is examined. The free works and ensemble pieces demonstrate his formal design and the important structural, motivic, and unifying devices that are used. This study will explore Hebble's use of melodic material, motivic treatment, development, tonality, harmony, contrapuntal procedures, rhythm, and form. There are many charts and musical examples.;Part IV, the conclusion, is a summation of the conclusions of each chapter. These are gathered and extended. It essentially discusses Hebble's approach to organ music and puts him into the context of American organ music in the late twentieth century.;The Appendices include lists of Hebble's complete compositional output, both published and unpublished works. There is a discography of recorded organ works to date. Finally, there are specifications for two representative American organs (ACO) for his organ works.

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