Abstract
      The compositions included in the present study constitute a representative collection of unpublished works, belonging to the second half of the eighteenth century and the very first years of the nineteenth, typical of the ecclesiastical style for the organ in Spain (except for the Sonata by Ferrer, in a classic style intended for fortepiano). The composers under study, belonged to the Levantine environment, because of their origins, or the exercise of their professions, as for instance the ÒCiuranaÓ (Joaqu’n and Manuel), and Ferrer. Other cases deals with authors being close to the Valentian geographical environment, as siblings Moreno Polo, who served in the cathedral music of Tortosa (Tarragona). Using a methodology that combines the historical hermeneutic, musicology ÒcomparedÓ and analytical musicology (detailed), seeks to establish a model for future studies on our heritage. The analytical detail is complemented by the comparative study with the procedures of contemporary authors from the rest of Europe have been analyzed specimens collated with other relevant contemporary compositions of the most outstanding authors internationally. In the comparison made, again illuminate previously unknown aspects, when considered in parallel with the peculiar Spanish organic school. Also incorporated into this study data on the disposition and characteristics of the instrument were interpreted (and which may be conceived) some of the works presented here, and also the analysis of the documentary, both ecclesiastical and of civil documents belonging to the municipality ÒvillarrealenseÓ, along with the provision and available possibilities (depending in part of the organ stops display) of the organ that was used in Villarreal since 1724. The biographical study have allowed, finally, the possible allocation of the musical composition referenced only by the initials D.M.S., Mariano Sales, organist who served in the church of Villarreal, precisely in the second half of the eighteenth and organist whose writing style would necessarily intended for organ, 1724. With biographical studies and the personal world of the organist and choirmaster, down the components of musical practice that took place in the church of St. James, as well as education and musical training in the eighteenth century, the characteristics of the competitive examinations to cathedral employments for becoming the organist, the financial remuneration of professional musicians, etc., which help better understand a music based on the religious service and the ÒjobÓ (the skill as a musical craftsman) of every organist.