Tres glosas sobre el canto de la Immaculada Concepcion

Francisco Correa de Araujo (or Arauxo, or Acebedo) (1584–1654) was a Spanish organist, composer, and theorist of the late Renaissance.

Correa de Araujo was born in Seville. Like most Spanish organists from this era, details of his life are clouded by obscurity. For some time even the years of his birth and death were disputed.[1] His musical background is unclear; he claimed to have learned theory by studying the works of Francisco de Peraza and Diego del Castillo. In 1599 he received an organ appointment in Seville, but became embroiled in a lawsuit with rival Juan Picafort, which delayed confirmation of this appointment for six years. In 1608, he was ordained as a priest. He maintained the post at Seville until 1636 and took up a post at Jaén Cathedral. In 1640, he was appointed as a prebendary at Segovia Cathedral, and remained there for the last fourteen years of his life. He died at Segovia in abject poverty.

Correa's compositions take advantage of all the devices available to Spanish organists of the time, most notably the medio registro, or divided keyboard, an innovation unique to the Iberian peninsula which appeared towards the end of the 16th century, while his theoretical writings give great insight into his ideas of harmony and counterpoint.