Ring and Rejoice: the Use of Handbells in Worship
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2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession. -
Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig. -
Method 'Splicing'
THE CENTRAL COUNCIL OF CHURCH BELL RINGERS Methods Committee Method ‘Splicing’ PRACTICAL HINTS by John P. Fidler A Central Council publication CENTRAL COUNCIL OF CHURCH BELL RINGERS ––––––––––––––––– Methods Committee Method ‘Splicing’ PRACTICAL HINTS by John P. Fidler WITH INTRODUCTION ‘The Theory and Practice of Splicing’ by Joseph W. Parker ––––––––––––––––– SECOND EDITION ––––––––––––––––– 1995 ISBN No. 0-900271-35-3 EDITORIAL NOTES This book was first published in 1925 and comprised a series of articles entitled Hints on splicing and ringing Minor Methods by John P. Fidler, which were reprinted from The Ringing World, together with an introduction by Joseph W. Parker. In preparing the text for this edition some changes to the original text have been considered desirable. The earlier work relied on the availability of the Central Council Collection of Legitimate Methods, 1907 and referred by number to methods which appeared in that publication. These references have been replaced by the actual names of the methods and all the method names have been brought up- to-date. Furthermore, whole leads of the thirty-five methods rung at Norbury have been included. In this edition we have followed the modern conventions that the first blow of the treble’s full lead is called the lead end, the last blow of the treble’s full lead is called the lead head and that the name of the method is shown next to the lead head. In the first edition inconsistent and possibly confusing notations were used. Third’s place Delight and Fourth’s place Delight are no longer considered to be separate classes and so this distinction has been removed. -
SAVED by the BELL ! the RESURRECTION of the WHITECHAPEL BELL FOUNDRY a Proposal by Factum Foundation & the United Kingdom Historic Building Preservation Trust
SAVED BY THE BELL ! THE RESURRECTION OF THE WHITECHAPEL BELL FOUNDRY a proposal by Factum Foundation & The United Kingdom Historic Building Preservation Trust Prepared by Skene Catling de la Peña June 2018 Robeson House, 10a Newton Road, London W2 5LS Plaques on the wall above the old blacksmith’s shop, honouring the lives of foundry workers over the centuries. Their bells still ring out through London. A final board now reads, “Whitechapel Bell Foundry, 1570-2017”. Memorial plaques in the Bell Foundry workshop honouring former workers. Cover: Whitechapel Bell Foundry Courtyard, 2016. Photograph by John Claridge. Back Cover: Chains in the Whitechapel Bell Foundry, 2016. Photograph by John Claridge. CONTENTS Overview – Executive Summary 5 Introduction 7 1 A Brief History of the Bell Foundry in Whitechapel 9 2 The Whitechapel Bell Foundry – Summary of the Situation 11 3 The Partners: UKHBPT and Factum Foundation 12 3 . 1 The United Kingdom Historic Building Preservation Trust (UKHBPT) 12 3 . 2 Factum Foundation 13 4 A 21st Century Bell Foundry 15 4 .1 Scanning and Input Methods 19 4 . 2 Output Methods 19 4 . 3 Statements by Participating Foundrymen 21 4 . 3 . 1 Nigel Taylor of WBF – The Future of the Whitechapel Bell Foundry 21 4 . 3 . 2 . Andrew Lacey – Centre for the Study of Historical Casting Techniques 23 4 . 4 Digital Restoration 25 4 . 5 Archive for Campanology 25 4 . 6 Projects for the Whitechapel Bell Foundry 27 5 Architectural Approach 28 5 .1 Architectural Approach to the Resurrection of the Bell Foundry in Whitechapel – Introduction 28 5 . 2 Architects – Practice Profiles: 29 Skene Catling de la Peña 29 Purcell Architects 30 5 . -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
The Largely Unsung History of Malta's Bells
14 Baroque Routes - 2014 / 15 The Largely Unsung History of Malta’s Bells By Noel Grima It was a lecture but then it was also an object fixed beam and are rung by moving the clapper lesson. as is typical in southern Sicily from where the tradition seems to have curiously derived. As the audience settled down to listen to the lecture on the bells of Malta in the hall that The more prevalent type of ringing in western forms part of the Birkirkara Collegiate Church, Europe is the swinging method which means the sonorous Birkirkara bells on top of us the bell is fixed to a beam which rotates on its began to solemnly peal the traditional ‘Mota tal- axle thus the actual bell is swung on its fittings Hamis’ which can be heard at around 7pm on hitting its clapper freely to produce a particular Thursdays in the mostly traditionalist parishes, sound effect. Malta can only boast of four along with the tolling of bells at three pm on swinging bells one of which is ironically the Fridays to commemorate the Last Supper and largest bell in Malta. Another three are to be the death of Christ respectively. found on Gozo. The International Institute for Baroque Studies The oldest bell in Malta was cast in Venice at the University of Malta held a public lecture in 1370 and until a few years ago it was still on ‘Maltese Bells and Bell Ringing in the in service at Mdina Cathedral. The bell was Baroque Age’ delivered by Kenneth Cauchi. -
Download the Instrument List
Cinekinetik Instrument list 4 Libraries - 295 Instrument presets CineKinetik: Shipwreck Piano 33 Instrument presets SW Upright Piano SW Upright Piano Soft SW Upright Piano Mellow SW Upright Piano Hard SW Upright Piano Dark Shipwreck Piano Shipwreck Piano Quantum Room Shipwreck Piano Quantum Minute Shipwreck Piano Quantum Hall Shipwreck Piano Mellow Shipwreck Piano Quantum Church Shipwreck Piano Hard Shipwreck Piano Dark Shipwreck X Phase Whistle Shipwreck X Pad Shipwreck X Phase Dark Shipwreck X Pad Decay Shipwreck X Pad Jet Shipwreck X Pad Watery Shipwreck Swell Pad Dark Shipwreck Swell Pad Warm Shipwreck Swell Pad Shipwreck X Atmosphere Shipwreck X Lo-Fi Hit Shipwreck Quantum Pad Warm Shipwreck Quantum Pad Watery Shipwreck Quantum Pad Phase Shipwreck Quantum Pad Slow Shipwreck Quantum Pad Fast Shipwreck Quantum Pad Dark Shipwreck Russian Choir 2 Shipwreck Russian Choir 1 Shipwreck X Ligeti Wind 1 Cinekinetik Instrument list CineKinetik: Fractured Piano 37 Instrument presets 1914 Phantom Tron 1980 PG Tron Acid Mallets Angry Tony B Bounty Hunters MW Boys Of The Belt MW Deep Ocean Waves Electrified Piano Doom MW Funky Electric Hourglass I Can Sea Clearly Key attack from space Lo-Fi Chase piano Mothers Of The Belt Percussive and Electrified MW Piano Chain 2 MW Piano Chain Brass Piano Chain Tremolo Piano Chain Piano Felt Bass MW Piano Felt Bass Pluck 4th Piano Felt Pedal Piano Howlings B Piano Howlings C Piano Howlings Piano Metal Bar Bass Piano Metal Bar MW Poseidon Waves Space Station Lounge MW Stalker The Arrival The Camera Eye The Departure -
Wired + Wireless Hybrid Doorbell Sonnette Hybride Sans Fil + Câblé EN FR Model PC-5610 Modèle PC-5610
Wired + Wireless Hybrid Doorbell Sonnette Hybride sans fil + Câblé EN FR Model PC-5610 Modèle PC-5610 Instructions – Veuillez conserver ces instructions pour vous y référer ultérieurement. 6. A small electrical component called a ‘diode’ is supplied with the chime. Install the diode MODE SANS FIL Instructions - Please retain these instructions for future reference. Vous avez acheté un carillon de porte universel qui répond aux besoins de toutes les applications across the terminal screws of the Front Doorbell pushbutton as shown in Figure 2 & 3. Vous aurez besoin des éléments suivants : (pour l’option sans fil) You have purchased a Universal Door Chime that serves all residential applications. résidentielles. Il peut être installé à la fois comme sonnette câblée et sans fil en même temps que Without this diode the chime will not work. Connect the wires to the Front Doorbell Pushbutton. • Un petit tournevis cruciforme. It can be installed as both a wired and wireless doorbell at the same time when the power is supplied l'alimentation est fournie par un transformateur avec des fils et la "diode" est installée sur le Install the Front Doorbell Pushbutton in the location using the screws provided. • Boutons-poussoirs pour sonnette by a transformer with wires and the "diode" is installed at the pushbutton. bouton-poussoir. Utilisez les lignes directrices suivantes pour vous aider à décider du mode qui vous • 3 piles C 7. Turn the power on. Use the following guidelines to assist you in deciding the mode that best serves your application: convient le mieux : • 2 vis pour l’installation du bouton-poussoir de la sonnette WIRELESS MODE Si vous construisez une nouvelle maison : 1. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
Bellfounders.Pdf
| ============================================================== | ============================================================== | | | | | | TERMS OF USE | | | | | CARILLONS OF THE WORLD | The PDF files which constitute the online edition of this | | --------- -- --- ----- | publication are subject to the following terms of use: | | | (1) Only the copy of each file which is resident on the | | | GCNA Website is sharable. That copy is subject to revision | | Privately published on behalf of the | at any time without prior notice to anyone. | | World Carillon Federation and its member societies | (2) A visitor to the GCNA Website may download any of the | | | available PDF files to that individual's personal computer | | by | via a Web browser solely for viewing and optionally for | | | printing at most one copy of each page. | | Carl Scott Zimmerman | (3) A file copy so downloaded may not be further repro- | | Chairman of the former | duced or distributed in any manner, except as incidental to | | Special Committee on Tower and Carillon Statistics, | the course of regularly scheduled backups of the disk on | | The Guild of Carillonneurs in North America | which it temporarily resides. In particular, it may not be | | | subject to file sharing over a network. | | ------------------------------------------------------- | (4) A print copy so made may not be further reproduced. | | | | | Online Edition (a set of Portable Document Format files) | | | | CONTENTS | | Copyright November 2007 by Carl Scott Zimmerman | | | | The main purpose of this publication is to identify and | | All rights reserved. No part of this publication may | describe all of the traditional carillons in the world. But | | be reproduced, stored in a retrieval system, or trans- | it also covers electrified carillons, chimes, rings, zvons | | mitted, in any form other than its original, or by any | and other instruments or collections of 8 or more tower bells | | means (electronic, photographic, xerographic, recording | (even if not in a tower), and other significant tower bells. -
KP120A User's Manual
KP120A PANEL DISPLAY INDICATIONS Your instrument features a large multi-function display (MULTI DISPLAY) that shows all important settings for the instrument. The section below briefly explains the various icons and indications in the display. (1) Message Display - This section displays the demo song, voice or style name and number you have selected. (2) Active Input - When you play the instrument, you need to change the voice, style, demo. The arrow point to which is the active section. (3) Finger Select - This arrow tells you which finger mode is selected and if the keyboard is split into two parts or not. (4) Note Display - When you play a key on the keyboard, the note will be displayed. (5) Voice Effect - These icons display the Dual, Sustain, Touch and Effect function is turned ON/OFF. (6) Track Volume - It displays the volume of each track dynamically when the demo song or style is played. (7) Transpose - Display the current transpose status of the keyboard. The number 00 indicates No transpose. (8) Chord Type - Display current chord type you play on the keyboard accompaniment section when the keyboard is in the Single or Fingered mode. (9) Measure - Display the measure of the demo song, style or record/play back have played. (10) Tempo - Display the tempo of the demo song, lesson, style or record/play. (11) Song Memory - Display the record and play track during recording and play back. (12) Record and Play - Display the record and play status. (13) Demo - Display the demo is playing. (14) Style - Display the accompaniment is playing. -
Owner's Manual
® PERCUSSION kt3m Digital Drum Trigger Module Owner’s Manual INFORMATION FOR YOUR SAFTEY! PRECAUTIONS: This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: PLEASE READ CAREFULLY BEFORE PROCEEDING (1) This device may not cause harmful interference, and (2) This device must accept any interference received, Please keep this manual in a safe place for future reference. including interference that may cause undesired opera- tion. Power Supply: Please connect the designated AC adaptor to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for This equipment has been tested and found to comply with the which your instrument is intended. limits for a Class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable Unplug the AC power adaptor when not using the instrument, protection against harmful interference in a residential install- or during electrical storms. ation. This equipment generates, uses and can radiate radio frequency energy and if not used in accordance with the Connections: instructions, may cause harmful interference to radio comm- Before connecting the instrument to other devices, turn off the unications and there is no guarantee that interference will not power to all units. This will help prevent malfunction and/or occur in a particular installation. If this equipment does cause damage to other devices. harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user Location: is encouraged to try to correct the interference by one or more Do not expose the instrument to the following conditions to of the following measures: reorient or relocate the receiving avoid deformation, discoloration, or more serious damage: antenna, increase the separation between the equipment and receiver, connect the equipment into an outlet on a • Direct sunlight circuit different from that of the receiver.