While a great deal has been written on the topic of musical borrowing in general, there is a significant gap in the literature discussing its implications in works for the pipe organ. This document will explore the ways in which three contemporary composers borrow various stylistic elements to merge compositional styles of the past with popular music genres of the twentieth century in their organ works. Naji Hakim’s Gershwinesca (2000), Jon Laukvik’s Suite (1986), and Wolf-Günter Leidel’s Toccata delectatione (1972) are the works which will be discussed in this document. Identification and understanding of stylistic influence is a major component of this document. I will discuss the various influences found in each work, such as styles of jazz, specific performers whose styles are being emulated, other instruments being imitated, and historical schools of organ composition. It is my intent that this document will prove useful to organists who wish to explore compositions such as these by reinforcing the importance of having a thorough understanding of performance practice considerations when attempting interpretation of the sometimes-foreign idioms of popular musical styles.