DOCSLIB.ORG

Portfolio of Original Compositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PORTFOLIO OF ORIGINAL COMPOSITIONS

A thesis submitted to the University of Manchester for the degree of
Doctor of Philosophy in the Faculty of Humanities

2020

GUILLAUME DUJAT DES ALLIMES
School of Arts, Languages and Cultures

Table of Contents

List of Figures......................................................................................................................................5 List of Tables.......................................................................................................................................6 Abstract ...............................................................................................................................................7 Declaration ..........................................................................................................................................8 Copyright statement............................................................................................................................8 Portfolio of musical works ...................................................................................................................9 Musical appendix ................................................................................................................................9 Folder content ...................................................................................................................................10
File layout.....................................................................................................................................10
Acknowledgements...........................................................................................................................12 About the author................................................................................................................................13 1. Introduction ...................................................................................................................................14
1.1 Portfolio contents ...................................................................................................................14 1.2 Research inquiry ....................................................................................................................14 1.3 Context...................................................................................................................................15 1.4 Space and Place....................................................................................................................16 1.5 Chapter outline.......................................................................................................................17
2. Gōngàn (2017, 10:56) [8 channel] ................................................................................................18
2.1 Wat Khao Noi.........................................................................................................................19 2.2 Salies de Béarn orchard (Pyr-at France)...............................................................................20 2.3 Tram line (Manchester, UK)...................................................................................................21 2.4 Computerspiele Museum (Berlin, Germany) .........................................................................21
3. Après moi la pluie (2017, 9:33) [1st order ambisonics]..................................................................23
3.1 Section A................................................................................................................................26 3.2 Section B................................................................................................................................26 3.3 Section C................................................................................................................................27 3.4 Hordijk modular system (control) ...........................................................................................27 3.5 Spatial distortion ....................................................................................................................28
4. Noisy Library (2018, 01:00:26) [7.1 channel]................................................................................30
4.1 Loudspeaker arrangement.....................................................................................................32 4.2 Recordings.............................................................................................................................33 4.3 Room acoustics simulation. ...................................................................................................34 4.4 Structure.................................................................................................................................35 4.5 Composition ...........................................................................................................................36
5. Divine Cut (2018, 11:19) [6 channel / binaural] ...........................................................................39
5.1 Performance...........................................................................................................................41 5.3 Illusion of liveness and the audio-visual contract. .................................................................43
6. Tune of Crackle (2019, 20:58) [3rd order ambisonics]...................................................................44
6.2 Locations and recording.........................................................................................................45
6.2.1 Southbank Undercroft [ca. 6:44 – 14:20].......................................................................46 6.2.2 GrayStone Action Sports [ca. 0:00 – 6:44] ....................................................................47

2
6.2.3 Street [ca. 11:16 – 20:44] ..............................................................................................49
6.3 Compositional approaches ....................................................................................................50 6.4 Mediated perspectives...........................................................................................................51
7. Resonating Spaces (2019) [multiformat].......................................................................................53
7.1 Bottle Kiln (1:00:00) [5.1 channel].........................................................................................54 7.2 Clay rehydration.....................................................................................................................55 7.3 Presentation...........................................................................................................................57 7.4 Green State: Rehydrate (11:06) [5.1 channel].......................................................................58 7.5 Sound sources .......................................................................................................................58 7.6 Structure.................................................................................................................................59
8. Conclusion ....................................................................................................................................61
8.1 Methodologies........................................................................................................................61 8.2 Abstraction .............................................................................................................................61 8.3 Reduction...............................................................................................................................61 8.4 Microphone colouration..........................................................................................................62 8.5 Speaker colouration...............................................................................................................62 8.6 Presentation mode.................................................................................................................63 8.7 Space and Place....................................................................................................................63 8.8 Composition-bound................................................................................................................65 8.9 Continuation & future works...................................................................................................65
9 Bibliography (APA 7th edition GB)..................................................................................................66 10 Appendices ..................................................................................................................................71
10.1 Multimodal relevance...........................................................................................................71 10.2 Gōngàn spatialization techniques........................................................................................72
10.2.1 Gōngàn section A ........................................................................................................73 10.2.2 Gōngàn section B ........................................................................................................76 10.2.3 Gōngàn section C ........................................................................................................77 10.2.4 Gōngàn section D ........................................................................................................77
10.3 Noisy Library additional information.....................................................................................78
10.3.1 Noisy Library Virtual representation ............................................................................78 10.3.2 Noisy Library Visitor Engagement ...............................................................................79
10.4 Divine Cut – Performance Material......................................................................................80
10.4.1 Divine Cut Performance Instructions ...........................................................................80 10.4.2 Divine Cut Score..........................................................................................................81 10.4.3 Divine Cut Tech Rider..................................................................................................84
10.5 Divine Cut Instrumentation...................................................................................................86
10.5.1 Fixed ............................................................................................................................86 10.5.2 Live Instrumentation ....................................................................................................87
10.6 Tune of Crackle - Interviews ................................................................................................90 10.7 VX1000 (Tune of Crackle) ...................................................................................................91 10.8 Green State : Rehydrate - Performance [13.1 channel] ......................................................93 10.9 Ceramic Loudspeaker slabs - Lean-To................................................................................94
10.9.1 Approach......................................................................................................................94

3
10.9.2 Speaker build...............................................................................................................95 10.9.3 Resonant Frequencies.................................................................................................96 10.9.4 Physical layout and spatial approach ..........................................................................98 10.9.5 Composition & Structure..............................................................................................99
10.10 Wharf................................................................................................................................101 10.11 Portfolio program notes....................................................................................................102
10.11.1 Gōngàn ....................................................................................................................102 10.11.2 Après Moi La plue....................................................................................................102 10.11.3 Noisy Library............................................................................................................102 10.11.4 Divine Cut ................................................................................................................103 10.11.5 Tune of Crackle........................................................................................................103 10.11.6 Green State: Rehydrate...........................................................................................103
10.12 List of performances..............................................................................................................104

Word Count: 17,821

4

List of Figures

Figure 1: MANTIS 2019 calibration [photo by Alexander Maschke]. ................................................13 Figure 2: Salies de Béarn orchard [photo by Nadine Oliver]. ...........................................................20 Figure 3: Ambisonic recording in the Manchester Victoria baths females pool................................23 Figure 4: FOA to Hordijk signal chain ...............................................................................................29 Figure 5: Light Bulb with bayonnet fitting photographed from above on a white background. Science Museum Group Collection. CC licence. ..............................................................................30

Figure 6: Edison Swan Electric Co Ltd half blacked light bulb. Photographed from above on a white background. Science Museum Group Collection. CC licence. .........................................................30

Figure 7: John Rylands Reading Room floor & and loudspeaker plan.............................................31 Figure 8: John Rylands Library reading room - balcony speakers (Noisy Library)...........................32 Figure 9: Studio monitoring signal chain for Noisy Library. ..............................................................35 Figure 10: Divine Cut - still image from video. ..................................................................................39 Figure 11: Studio Haircut - Polski Fritzer. .........................................................................................40 Figure 12: Divine Cut - 6 channel live configuration. ........................................................................42 Figure 13: Southbank undercroft ambisonic recording [photo by Nadine Oliver]. ............................46 Figure 15: Graystone Action Sports coping recording (Figure 16 position 1)...................................47 Figure 14: Graystone Action Sports launch ramp recording (Figure 16 position 4)..........................47 Figure 16: Graystone Action Sports floor to microphone placement plan. .......................................49 Figure 17: Bottle Kiln inner chamber view [photo by Jenny Harper].................................................54 Figure 18: Bottle Kiln vessel interaction............................................................................................54 Figure 19: Bottle Kiln - dissolvable sonic process. ...........................................................................56 Figure 20: Bottle Kiln dissolvables ....................................................................................................57 Figure 21: Bottle Kiln vessel..............................................................................................................57 Figure 22: GreenState: Rehydrate - Spectrogram and Structure. ....................................................60 Figure 23: place/space work weighting.............................................................................................64 Figure 24: Gradually processed stereo pairs....................................................................................73 Figure 25: Quadrophonic diamond from stereo recordings. .............................................................73 Figure 26: Four-channel mirror. ........................................................................................................74 Figure 27: Double quadrophonic off-axis arrangement. ...................................................................75 Figure 28: Three channel parabola setup.........................................................................................76 Figure 29: Four channel tram recording to speaker arrangement. ...................................................77 Figure 30: John Rylands reading room LIDAR scan render.............................................................78 Figure 31: VX1000 camera microphone spectrogram. .....................................................................92 Figure 32: Rode NTG-5 microphone spectrogram. ..........................................................................92 Figure 33: Green State : Rehydrate soundcheck at MANTIS19 [photo by: Alexander Maschke]. ...93 Figure 34: Initial design of ceramic loudspeakers proposed to the group. .......................................94 Figure 35: Ceramic slab tech routing & order. ..................................................................................96 Figure 36: Original sketch of panel arrangement..............................................................................98 Figure 37: Final arrangement of slabs in space................................................................................99 Figure 38: VCV-rack, slabs chord patch. ........................................................................................100

Recommended publications
  • The Turret Clock Keeper's Handbook Chris Mckay

    The Turret Clock Keeper's Handbook Chris Mckay

    The Turret Clock Keeper’s Handbook (New Revised Edition) A Practical Guide for those who Look after a Turret Clock Written and Illustrated by Chris McKay [ ] Copyright © 0 by Chris McKay All rights reserved Self-Published by the Author Produced by CreateSpace North Charleston SC USA ISBN-:978-97708 ISBN-0:9770 [ ] CONTENTS Introduction ...............................................................................................................................11 Acknowledgements .................................................................................................................. 12 The Author ............................................................................................................................... 12 Turret clocks— A Brief History .............................................................................................. 12 A Typical Turret Clock Installation.......................................................................................... 14 How a Turret Clock Works....................................................................................................... 16 Looking After a Turret Clock .................................................................................................. 9 Basic safety... a brief introduction................................................................................... 9 Manual winding .............................................................................................................. 9 Winding groups .............................................................................................................
  • St Luke's Farnworth History of Church Bells, Bell Casting & Bell Ringing

    St Luke's Farnworth History of Church Bells, Bell Casting & Bell Ringing

    St Luke’s Farnworth History of Church bells, bell casting & bell ringing by Geoffrey Poole This will be presented as several articles, possibly in the magazine and also on our web site. No original research is claimed and the information has been gathered from various sources and some of these are referenced at the end of this article and my due thanks to those responsible. I hope you find it interesting and a distraction in these trying times. We can take this opportunity to thank the bells ringers of St. Luke’s in particular for their dedication over many years to keeping alive this long tradition of bell ringing. Many parishes no longer enjoy this privilege. Apparently the first recorded use of church bells was in Italy in the 5th century and at a similar period in Britain as mentioned by Bede. At a parish level they marked the time of day, in addition to calling people to worship, rang out the Angelus the thrice daily devotion in the Western Church summoning monks and layfolk to set times for daily prayers. At one time they sounded the curfew – a reminder at bedtime to douse the open fire in the interest of safety. When a death occurred they were rung three times slowly and after a pause another three times, this was done twice more for a man and once more for a woman then followed by a series of slow rings recording the age of the deceased. I’m tempted to wonder how they might work out how to cover all the other orientations.
  • Light for the Line, the SOUTH AFRICAN CHURCH RAILWAY MISSION MAGAZINE

    Light for the Line, the SOUTH AFRICAN CHURCH RAILWAY MISSION MAGAZINE

    Light for the Line, THE SOUTH AFRICAN CHURCH RAILWAY MISSION MAGAZINE, No. LX V I, Quarterly. JANUARY, 1915. 2/- p e r a n n u m , 2/6 p o s t f r e e . South Hfrican Cburcb 1Railwa\> ilMssion. STAFF. Head of the Mission: Postal Address: The Yen. F. A. ROGERS, M.A. P.O. Box 1131, Johannesburg. Vice-Head,: Rev. 0. W. L. Skey The Vicarage, Germiston. Rev. G. A. Lejeune Naauvvpoort. Miss Beckwith On furlough. Miss Holmes The Hermitage, Graharastown. Rev. E. G. K. Esdaile ... ... ... Watervai Boven. Mr. A. H. P. Austin ... ... ... On furlough. Nurse Wardale ... ... ... ... Box 53, Volksrust. Miss Attlee ... ... ... ... The Vicarage, Germiston. M iss Watson ... ... ... ... 60, Douglas Street, Bloemfontein. Miss Heddy ... ... ... ... On furlough. Rev. E. G. Holden, M .A.... ... ... P.O. Box 616, Bulawayo. Native Catechists, Headers and Teachers: Johannes Magxaxa, William Mbenya, John Nxumale, William Sontshi. Hon. Editor and Children’s Secretary: Miss Burt, the Hermitage, Grahamstown. 2 LIGHT FOR THE LINE. LETTER FROM THE HEAD, of telegrams from friends all over the country. Box 1131, Johannesburg’, The most cheering news this quarter December 12tli, 1914. is that Mr. Coombs is hoping to be My dear Friends, ordained Deacon to-morrow, and his many friends will be glad to think that As I prophesied last quarter, no new his great wish is being fulfilled, and Head has yet been appointed, and by that he will have the grace of Holy the kindness of the Bishop of Pretoria Orders to help him in his ministry. We I am giving- one-tliird of my time to shall I know remember him in our the Mission until better days come.
  • A History of the Harrison County Tower Clock

    A History of the Harrison County Tower Clock

    East Texas Historical Journal Volume 20 Issue 1 Article 7 3-1982 A History of the Harrison County Tower Clock Cherry L. Violette Follow this and additional works at: https://scholarworks.sfasu.edu/ethj Part of the United States History Commons Tell us how this article helped you. Recommended Citation Violette, Cherry L. (1982) "A History of the Harrison County Tower Clock," East Texas Historical Journal: Vol. 20 : Iss. 1 , Article 7. Available at: https://scholarworks.sfasu.edu/ethj/vol20/iss1/7 This Article is brought to you for free and open access by the History at SFA ScholarWorks. It has been accepted for inclusion in East Texas Historical Journal by an authorized editor of SFA ScholarWorks. For more information, please contact [email protected]. 22 EAST TEXAS HISTORICAL ASSOCIATION A HISTORY OF THE HARRISON COUNTY TOWER CLOCK by Cherry Lou Violette The ornate public buildings erected between the last half of the 19th and first quarter of the 20th centuries were external symbols of the wealth and philosophy of society as a whole. The courthouse built on Peter Whetstone Square in Marshall, Texas is an example of the elaborate Classical Revival style that was so popular in the South. It reflects the confident spirit and rapidly expanding economy of the town at the turn of the century! The dome of the building was designed with four dormers to frame the dials of a tower clock. A cupola on top of the dome holds the bell. The expense involved in buying and housing a public clock indicates that the town was proud of its conveniences and was willing to raise and spend the money for them.
  • Cultural Icons

    Cultural Icons

    http://en.wikipedia.org/wiki/UK_topics#Cultural_icons Cultural icons Bagpipes Bagpipes are a class of musical instrument, aerophones using enclosed reeds. The term is equally correct in the singular or plural, although pipers most commonly talk of "pipes" and "the bagpipe". Skirl is a term used by pipers to describe an unintended shrill sound made by the chanter, and is usually produced when the chanter reed is too easy and thus the chanter is overblown. Sometimes the term is also somewhat mistakenly used to describe the general sound produced by a bagpipe. The history of the bagpipe is very unclear. However, it seems likely they were first invented in pre-Christian times. Nero is generally accepted to have been a player; there are Greek depictions of pipers, and the Roman legions are thought to have marched to bagpipes. The idea of taking a leather bag and combining it with a chanter and inflation device seems to have originated with various ethnic groups in the Roman empire. In the modern era the use of bagpipes has become a common tradition for military funerals and memorials in the anglophone world, and they are often used at the funerals of high-ranking civilian public officials as well. http://en.wikipedia.org/wiki/UK_topics#Cultural_icons Big Ben Big Ben is the colloquial name of the Clock Tower of the Palace of Westminster in London and an informal name for the Great Bell of Westminster, part of the Great Clock of Westminster. The clock tower is located at the northwestern end of the building, the home of the Houses of Parliament, and contains the famous striking clock and bell.
  • The Sound of Minute Repeaters

    The Sound of Minute Repeaters

    The Sound of Minute Repeaters Bob Stuart Meridian Audio (Cambridge) Striking Clocks Through history, striking clocks which mark the hours were invaluable in the regulation of communities. Domestic long-case striking clocks are very familiar and often treasured. The 17th-century repeater was an invention from necessity; how to know the time in the dark without waiting for the chimes? In contrast to broadcasting clocks, one’s relationship with a repeater is quite different and strictly personal; the time is told more precisely and on demand. Although the primary need has gone, there is no doubt that adding this complication to a watch is a significant engineering feat. But because it is a watch and therefore smaller, the sound that results is different in both scale and quality to that of a striking clock. This graph shows the sound wave (left to right) for the Vacheron Constantin striking 7:59 (seven hours; three The minute-repeater sound quarters and 14 additional minutes). The steady buzz The watches we tested had a common feature: to ‘hear’ between each chime is the regulator. the time one slides a lever on the left side of the body. This action winds a separate spring so that the main These mechanical devices show small irregularities power is not disturbed and starts a regulating between strikes, and indeed part of the charm is that the mechanism which sequences through the chimes. sound is different every time. The scope of a minute repeater is therefore within The gongs themselves are normally curved metal rods arm’s reach and because of its size, the quantity of which fit around the inside of the body, as can be seen sound generated, whilst enough at 0.5m, is not for in the picture below.
  • Contents of the Southwell and Nottingham Guild of Church Bellringers Library

    Contents of the Southwell and Nottingham Guild of Church Bellringers Library

    Contents Of The Southwell And Nottingham Guild Of Church Bellringers Library BELLRINGING BOOKS / BELL MUSIC AND OTHER RINGING MEMORABILIA All of this collection is in the ownership of The Southwell and Nottingham Guild of Church Bell Ringers It is located at Saddlers Cottage, Farm Lane, East Markham, NG22 0QH Note: Errors may have been inserted but every effort has been made to be correct. Last Update 18th January 2021 1 CONTENTSU OF THIS LIST ITEMS IN PAPER FORMAT – BOOKS AND LEAFLETS CENTRAL COUNCIL PUBLICATIONS 3 A.R.T. - ASSOCIATION OF RINGING TEACHERS 9 JASPER SNOWDON CHANGE RINGING SERIES 10 SHERBOURNE TEACHING AIDS 11 GENERAL BOOKS ON BELLS 12 LEAFLETS AND/OR ARTICLES FROM BOOKS 19 CHURCH GUIDES, CHURCH BOOKS AND PARISH MAGAZINES 21 RELIGEOUS BOOKS AND NON BELLRINGING 23 NEWSPAPER ARTICLES 24 VARIOUS GUILD AND ASSOCIATION BOOKS 25 DEDICATION OF BELLS SERVICE SHEETS 33 RINGER’S FUNERAL SERVICE SHEETS 33 ITEMS OF NON-BOOK FORMAT GRAMAPHONE RECORDS 8 INCH RECORDS 33 10 INCH 78’s 34 12 INCH 78’s 35 7 INCH 45’s AND 33’s 36 7 INCH BBC SOUND EFFECTS CHURCH BELLS 38 7 INCH BBC SOUND EFFECTS CLOCK BELLS 40 10 INCH 33 1/3rpm RECORDS 42 12 INCH 33 1/3rpm CHURCH BELLS 43 HANDBELLS 44 CARILLON CHURCH BELLS 51 SCHULMERICH ELECTRONIC CARILLON BELLS 54 OTHER VARIOUS TYPES OF BELLS 56 NON RINGING RELIGON 58 COMPACT DISCS BELLS VARIOUS AND COPY OF RECORDS 59 DOCUMENTS – MS WORD AND OTHER FORMATS 69 BOOKS IN PDF FORMAT 70 VHS PAL VIDEO 75 DVD’S 75 CASSETTE TAPES 76 PROJECTOR SLIDES AND LANTERN SLIDES 76 COMPUTER PROGRAMS 77 BELLRINGING MEMORABILIA 78 LIST OF BRITISH TOWER BELLS ON RECORDINGS 81 LIST OF FOREGN BELLS ON RECORDINGS 82 LIST OF HANDBELL TEAMS ON RECORDINGS 84 LIST OF CHURCH BELL CARILLONS ON RECORDINGS 89 LIST OF ELECTRONIC CARILLON BELLS ON RECORDINGS 91 Note: The Whitechepel Foundary closed down in 2018 The Library can be used by all ringers and must be authorised by the Guild Librarian in the first instance.
  • Villa Heimann-Rosenthala2 | Gartenansicht 2 3

    Villa Heimann-Rosenthala2 | Gartenansicht 2 3

    1 Villa Heimann-Rosenthala2 | Gartenansicht 2 3 a3 4 5 a4 6 a5 7 8 a6 9 10 a7 11 12 a8 13 a9 14 15 a10 16 17 a11 18 a12 19 20 a13 21 In View A Photo Essay by Arno Gisinger a1 Jewish Museum Hohenems / Villa Clara Heimann-Rosenthal, front a2 Jewish Museum Hohenems, back a3 Corner of former Jews’ Lane (left) and Christians’ Lane a4 Tenants of the former Jewish poorhouse (Burgauer house) a5 Former Jewish poorhouse, back a6 Salomon Sulzer Auditorium in the former synagogue a7 Square in front of the former synagogue with Brettauer house (left) and Sulzer house (right) a8 Tenant in the Brettauer house a9 Mikvah and former Jewish school before restoration a10 Emsbach a11 Villa Arnold Rosenthal (Schubertiade festival), back a12 Betting office in one of the court factors houses a13 View of the former Jew’s Lane between court factors houses and Sulzer house a14 - 26 Jewish Museum Hohenems, interior a27 Former Jewish poorhouse (left), in the former “Judenwinkel” (Jew’s Corner) a28 Tenants of the former “Judenwinkel” a29 Former inn “Zur Frohen Aussicht” (At the Happy Prospect) a30 Former Jewish school before restoration a31 Construction activity in the former Jewish quarter: Senior citizens home (right), Brunner house (left), and Elkan house (center) a32 Former court factors’ houses a33 View from the Emsbach a34 Tenants of the Kitzinger house a35 View from the Jewish quarter a36 The count’s palace a37 Jewish cemetery, entrance and hall a38 Jewish cemetery a39 Jewish cemetery [Israelitengasse in Hohenems, Fritz and Paul Tänzer (foreground), c.
  • MARCH, 2008 St. Ann's Roman Catholic Church Nyack, New York Cover Feature on Pages 34–35

    MARCH, 2008 St. Ann's Roman Catholic Church Nyack, New York Cover Feature on Pages 34–35

    THE DIAPASON MARCH, 2008 St. Ann’s Roman Catholic Church Nyack, New York Cover feature on pages 34–35 Mar 08 Cover.indd 1 2/11/08 10:19:43 AM WWW.TOWERHILL-RECORDINGS.COM LATEST RELEASE NORTH AMERICAN Christopher Houlihan SOURCE FOR CDS BY Louis Vierne, Second Symphony for Organ ensemble amarcord also includes Vierne: Carillon de Westminster Widor: Allegro from Sixth Symphony in G minor, op. 42, no. 2 Andante sostenuto from Gothic Symphony in c minor, op. 70 And so it goes Rel#: RK ap 10102 Introducing Christopher Houlihan, a young American organist on his way to becoming an important talent who will make a significant contribution to the organ performance scene in this Rel#: TH-72018 The Book of Madrigals country. Rel#: RK ap 10106 ORGAN CDS FROM TOWERHILL French Symphonic Organ Works Stewart Wayne Foster Pierre de la Rue - Incessament at First (Scots) Presbyterian Church Rel#: RK ap 10105 Charleston, South Carolina Rel#: TH-71988 The French Romantics John Rose at Cathedral of St. Joseph Hartford, Connecticut Rel#: TH-900101 Nun Komm der Heiden Heiland Rel#: RK ap 10205 Festive and Fun Stephen Z. Cook at Williamsburg Presbyterian Church Williamsburg, Virginia Rel#: TH-72012 Star Wars John Rose In Adventu Domini at Cathedral of St. Joseph Rel#: RK ap 10101 Hartford, Connecticut Rel#: TH-1008 also available: This Son So Young Hear the Voice Rel#: apc 10201 John Rose, Organ Liesl Odenweller, Soprano Primavera Rebecca Flannery, Harp Bach, Grieg, Elgar, Poulenc et al. Rel#: TH-71986 Rel#: AMP 5114-2 WWW.TOWERHILL-RECORDINGS.COM For those who may not be aware of the some justifi able pride on the church’s source, this fl owery description is ex- website (www.fi shchurch.org), which THE DIAPASON cerpted from a much longer article that however makes no mention of what went A Scranton Gillette Publication Dr.
  • Last Updated January 01, 2015 Copyright 1996-2015 Michael P. Murray & Mike's Clock Clinic Throughout the Years There a Numer

    Last Updated January 01, 2015 Copyright 1996-2015 Michael P. Murray & Mike's Clock Clinic Throughout the Years There a Numer

    Last updated January 01, 2015 Copyright 1996-2015 Michael P. Murray & Mike's Clock Clinic Throughout the years there a numerous striking styles associated with clocks. I'll try to reference as many of these styles as I can. If you can think of any more or find a mistake in this file, then feel free to E-mail me at [email protected]. A.) Angelus striking The Angelus clock contains a modified Seth Thomas movement that strikes only three times a day: 6 am, noon, and 6 pm. The Angelus strike is a series of 18 strikes in the following sequence: 3 strikes followed by a 5.5 sec pause, 3 more strikes followed by a 5.5 sec pause, 3 more strikes followed by a 5.5 sec pause, and then 9 mores strikes. The total strike sequence takes about 53 seconds during which Roman Catholics say the Angelus prayer. The Angelus Clock Co. was incorporated in 1874 and only made these clocks for one year. The wooded cases had a faux marble finish and resembled a cathedral church. B.) Bim-Bam or (Ting-Tang) a variation is called Normandy chimes Bim-Bam is the most ancient form of chime on two bells, sometimes struck by two quarter boys giving one blow on each at quarter past, doing this twice at half past, three times at a quarter to, and four before the hour. The first bell has a higher note. Another reference states it this way. A clock that sounds on two gongs or bells (one of lower tone than the first as a rule) in ding-dong fashion at the quarter and at the hours.
  • Bells of All Nations

    Bells of All Nations

    Bells of All Nations by Ernest Morris File 02 – Part one, Chapters I to VII – Pages 1 to 54 This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing CHAPTER I Origin and Development THE ORIGIN OF BELLS TOOK place in those distant days when man began primitively and tentatively to work and to hammer metals. His early impressions would be that malleable copper beaten into a saucer-like shape had a resonancy when struck, which intrigued his rudimentary feeling for music. In the Bronze Age, when the melting and mixing of copper and tin became prevalent, the increase in resonance and tonal power of the cast bronze instrument over the hammered copper one would become apparent ; and we may consider that in the Bronze Age the bell began its career. The Saucer-shape was probably the earliest form of bell-but the spherical hollow type is also ancient, small in size, with holes here and there, and having a little ball of metal rolling loose therein. These are called crotals-meaning rattle-and of this shape presumably were the golden Bells which were commanded to be made for the adornment of the Ephod of Aaron. 1 In media:val days too, a similar method arose of adorning the vestments of the Christian priesthood. , We have notices of several magnificent robes which were thus dec-orated. Conrad, Abbot of Canterbury, had a cope fringed with one hundred and forty little silver bells ; and fifty-one of silver gilt tinkled round the cope of Lanfranc.
  • Bells in and Around Birmingham: a Survey and History

    Bells in and Around Birmingham: a Survey and History

    BELLS IN AND AROUND BIRMINGHAM: A SURVEY AND HISTORY (PART 1: PREFACE, EXPLANATORY NOTES, INTRODUCTION, LOCATIONS A-E) Chris Pickford Version date: 29/09/2020 Preface Not long after I took up ringing in 1966 I began collecting information on the bells in Worcestershire (where I was at boarding school) and Warwickshire (where my parents lived). I date my first ‘serious’ visits to April 1968 since when I have been working intermittently on comprehensive surveys of bells in the two counties. The prospect of tackling a large urban area like Birmingham was always a rather daunting one and for a long time I skirted round it. However, when I took on the role of Bells Adviser to the Birmingham Diocesan Advisory Committee in 1987 I decided to pick up the challenge and during the course of the next couple of years managed to visit nearly every belfry in the area. The work originally led to the creation of a Diocesan Inventory (rather in the format of the present National Bells Register) and the updating of the Council for the Care of Churches’ preservation list for the Diocese. I stepped down as Bells Adviser in 1998 but in 2003-4 - following a return to the Midlands - I did some further survey work and wrote up the entire work in its present form. Since then I have tried to keep it up to date as best I can. I never intended this to be a book - and long ago gave up talking of books to replace Walters’s books on the Church Bells of Warwickshire (1910) Church Bells of Worcestershire (1925-31) - as this sort of study is too specialised (and too detailed in this form) for traditional publication.