I am re-reading Barbara Owen's wonderful The Registration of Baroque Organ Music and heartily and highly recommend it.

In it, she covers the eras Renaissance, Renaissance to Early Baroque, High Baroque, and Late Baroque to Classical. Each era is organized by European region with each era/region combination getting its own chapter. All the chapters sections are almost consistent:
*"main" organ composers
*representative organs
*registration practices
*guidance how "modern" organs can implement those historical registration practices

In addition, each era has an introduction regarding the wider historical context and musical practices.

The book is thoroughly researched and copiously documented BUT her writing is clear, enjoyable, and occasionally and appropriately humorous.

I recommend you purchase it as it is such a well-written and helpful book, but if you have a free membership account you may read it at https://archive.org/details/registrationofba0000owen.

She's amazing (I could go on and on about that, but not in this Topic =) and, at 90 years old, just published another classic book on American organ music Pioneers in American Organ Music, 1860–1920: The New England Classicists. A review's description of the book:

Beginning at the advent of the [American] Civil War, and covering the period up to the symphonic organ, Pioneers contextualizes the instruments of New England by examining in broadly chronological order the influence of Boston’s most notable players and composers of the era. It is worth noting that of the nine organist-composers whose New England careers are detailed in this book, all but one (Eugene Thayer) had a connection with the New England Conservatory—the first American music school developed on European models, which educated more American organists in the 19th century than any other single institution. The gentlemen singled out here were all responsible for new instruments or rebuilds of existing organs at their churches and collegiate positions and would have known the great Boston builders of the period professionally, likely as personal friends. If one wonders why John Henry Willcox, one of the most famous organists of his generation until his untimely death in 1875, is not profiled, it is because he was not a composer. Known for his improvisations and storm fantasies, he did not write music, nor was he known for playing great works of literature. His flashy performances were crowd favorites but had little musical substance. He represented the state of American organ music before the rise of the gentlemen discussed in this book, who brought Bach and other serious music to American audiences.

@orgelditi -- so sorry for all the English (American)...Da ich wenig Deutsch spreche und schreibe, habe ich dieses Forum von Google für mich übersetzen lassen (weil ich deren Chrome-Browser verwende). Als ich zunächst antwortete, hatte ich gerade die Rezension von Owens neuem Buch gesehen und war zu enthusiastisch. Nächstes Mal weniger Wörter (hoffe ich =)

@gemshorn - irgendwie ging es im ursprünglichen Thread um was anderes - kannst du das aktuelle bitte verschieben wohin auch immer?
Thx und lieben Gruß
Bernd

Man könnte noch als ältere Publikation anführen:

Hans Klotz: Über die Orgelkunst der Gotik, der Renaissance und des Barock Musik - Disposition - Mixturen - Mensuren - Registrierung - Gebrauch der Klaviere

Bei Klinda und Klotz muss man eben auf dem Schirm haben, dass beide recht orgelbewegt denken und z.B. bei Bach die damals üblichen Manualwechsel propagieren. Das kann man so machen, muss man aber nicht. Manchmal ist es da nicht so ganz einfach zwischen Fakten und der subjektiven Meinung des Autors zu unterscheiden.

Für die Franzosen gibt es mehrere Publikationen, im Prinzip deckt das genannte Buch von Busch aber alles ab, zumindest für den praktischen Hausgebrauch. Eine gute Zusammenstellung ist auch das hier:
https://www.france-orgue.fr/disque/pdf/t...gistrations.pdf

Hilfreich fand ich auch immer Laukviks Orgelschule.

Zu speziellen Stilbereich gibt es separate Publikationen, für Norddeutschland z.B. von P. Crivellaro.

Auch das ist lesenswert:
http://www.walcker-stiftung.de/Orgelregistrierung.html