DOCSLIB.ORG

Carillon News No. 76

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carillon News No. 76 Carillon NEWS Newsletter of The Guild of Carillonneurs in North America November 2006 NO. 76 Yale University Guild hosts Sewanee, TN CHICAGO, ILLINOIS 2006 Congress of GCNA Inside welcomes by Tiffany Ng 3 Calendar 2007 GCNA 7 New Carillonneur he 2006 Congress of the Guild Members Tof Carillonneurs in North Congress America took place from June 20 to 10 Installations, 23 at Yale University in New Haven, Renovations, by John Bordley Dedications Connecticut. It began with a pre- congress trip during which partici- he 65th congress of the GCNA 11 Summer Events pants were warmly received at the will be in Sewanee, TN, from carillons of Simsbury United T 16 Overtones Monday through Thursday, June 18- Methodist Church and Trinity Regional Notes 21, 2007 with pre-congress events College. Trinity’s Resident on Sunday, June 17, and post-con- 17 Foreign News Carillonneur Daniel Kehoe gave a gress events in Nashville on Friday, recital highlighting the sonorities of 21 Take Notes: June 22. The centerpiece for the Yale’s sister carillon. Carillon congress, both literally and figura- Activity then moved to the ver- Education tively, will be the 56-bell Leonidas dant collegiate Gothic grounds of Polk Carillon in Shapard Tower of 22 In Memoriam Branford College at Yale, the heart All Saints’ Chapel at Sewanee: The of the congress’ events as it had 1921, first as a ten-bell chime. When 23 Notices, University of the South. The theme been before in 1969. Branford’s expansion to a fifty-four-bell caril- Roster Updates will be: complex of vaulted passageways lon was begun in 1964, enterprising and turrets rises into the splendor of students established the Yale The Music of Appalachia Harkness Tower, from which bells University Guild of Carillonneurs, From Shape Note Singing to the by John Taylor Bell Founders have the only student group charged with Grand Ole Opry with Stops Along sounded over New Haven since see Yale Congress, page 12 the Way at White Spirituals and Folk Music GCNA accepting Barnes Scholarship Geert D’hollander will compose a applications by Dave Johnson triptych on typical Southern Harmony/Sacred Harp tunes: Restoration, Holy Manna, and he Guild of Carillonneurs in North University of Nebraska in 1950 and his Ninety-fifth; copies will be given to TAmerica invites applications for the first Master of Arts degree in music history from each participant. Plans are under- Ronald Barnes Memorial Scholarship. Stanford University in 1961. His only formal way to bring a Shape Note singing For nearly fifty years Ronald Barnes (1927- training in carillon performance was a sum- group to Sewanee to both perform 1997) was a major force in establishing an mer spent with Dominion Carillonneur and lead congress attendees in American approach to carillon performance, Robert Donnell in Ottawa in 1948, the year singing. composing and arranging. His numerous he also joined the Guild. Between 1957 and Attending a performance at the compositions and arrangements for the instru- 1961 he edited and published the Guild’s Grand Ole Opry, a Nashville tradi- ment altered the standard of the modern caril- Bulletin, following which he served three tion and the longest running live lon repertory, not only in North America but terms as Guild president. From 1952 to 1963 radio show in America, will climax a throughout the world. he was University Carillonist at the day of post-congress events that will Barnes began his carillon career in 1946 at University of Kansas, Lawrence. He was also include visits to the three caril- the First Plymouth Congregational Church in Cathedral Carillonneur at the Washington lons in Nashville: Belmont his native Lincoln, Nebraska. He received his Bachelor of Music degree in organ from the see Scholarship, page 6 see Sewanee, page 5 1 Carillon News is published each April and November by the Guild of Carillonneurs in North America, a California non-profit Carillon NEWS corporation. Deadlines: Submissions for publication GCNA Officers: Barnes Scholarship Fund Dennis Curry, President Andrea McCrady * must be received by February 15 for the [email protected] Dave Johnson * Spring issue and September 15 for the Robin Austin Fall issue. Submissions should be type- Wylie Crawford, Vice-President [email protected] Dave Hunsberger written and double-spaced and are accept- Lisa Lonie able by e-mail. Send materials to: David Johnson, Recording Secretary Jim Smith Mark Lee [email protected] Brochure 410 South Michigan Ave. Suite 528 Janet Tebbel, Corresponding Secretary Jim Smith * Chicago, IL 60605 [email protected] Julia Littleton 312-596-4022 David Hunsberger, Treasurer Bulletin [email protected] [email protected] Ellen Dickinson * [email protected] George Gregory (2002) * Board of Directors: Laurel Buckwalter Opinions expressed in Carillon News Wylie Crawford (2007) Jeremy Chesman Margo Halsted are not necessarily those of the editors, Dennis Curry (2008) nor do they necessarily carry the endorse- Dave Johnson Ellen Dickinson (2007) ment of the GCNA. Kim Schafer Jim Fackenthal (2007) Bylaws Back issues of Carillon News, if avail- Helen Hawley (2009) Roy Lee * able, cost $2 per issue. Submit checks in Patrick Macoska (2009) Beverly Buchanan US dollars only, payable to “GCNA.” For Gordon Slater (2009) Wylie Crawford further information contact: Jim Smith (2008) Bill DeTurk Bill De Turk - GCNA Archivist Tony Hill Historic Bok Sanctuary Carlo Van Ulft (2008) 1151 Tower Boulevard Dave Hunsberger Lake Wales, FL 33853 Dan Kehoe 863-676-1154 (w) HOW TO REACH THE GUILD Gloria Werblow ********************************** Carillon Directory Co-Editors Guild Web Page: Ellen Dickinson* Sue Bergren and Mark Lee http://www.gcna.org Carl Zimmerman Carillon News Editorial Staff Membership information and appli- Sue Bergren * Wylie Crawford, Joost Dupon and cations are available from: Mark Lee * Dave Johnson Jim Fackenthal Janet Tebbel Central Mailing Story Contributors S. Ball, S. Bergren, J. Bordley, J. Bossin, L. Cobb, 431 West Walnut Lane Laurel Buckwalter W. Crawford, D. Curry, E. Dickinson, E. Duguid, Philadelphia, PA 19144 Examination J. Dupon, L. Dzuris, L. Ellis, T. Fair, J. Gouwens, 215-848-3915 Lisa Lonie * F. Haagen, J. Hammond, D. Johnson, M. Klaneski, [email protected] Lee Cobb L. Lonie, A. McCrady, T. Ng, K. Schafer, Linda Dzuris C. Semowich, T. Tam, C. Zimmerman GCNA mailing labels are available to GCNA members as a free download from Margo Halsted Photo Credits the members only section of the Guild Mark Lee S. Ball, S. Bergren, J. Bordley, J. Bossin, L. Cobb, Web Page http://www.gcna.org. Ed Nassor T. Collins, D. Curry, L. Dzuris, R. Feldman, Non-members may purchase labels for Jeremy Chesman (alternate) J. Forrest, D. Johnson, M. Klaneski, S. Magassy,. Larry Weinstein (alternate) A. McCrady, T. Ng, Paccard Bellfoundry, K. Schafer, $45. Send label requests and changes of T. Tam, C. Zimmerman. Back page photo: Denise R. address to: Finance Committee Halverson John Widmann * Jim Brown Design and Production Wylie Crawford 701 Sheridan Road Jim Smith Sue Bergren, Jim Fackenthal, Mark Lee Evanston, IL 60202 Franco Composition Fund Printing 847-328-2333 (h) John Gouwens * D & R Press, Chicago, IL [email protected] John Courter Special Thanks to Mark Bergren and Jim Brown Jeff Davis GCNA Committees George Gregory Copyright 2006 by The Guild of Carillonneurs in North America. All rights reserved. Reproduction in whole or Chair * Member Tin-Shi Tam in part without permission is prohibited. All items sub- Dennis Curry (ex officio to all) Legal mitted for publication become the property of the GCNA, except that contributors assume liability for Dave Hunsberger* copyrighted photographs or music examples submitted, Archives Sue Jones and assume responsibility for claims therefrom made Bill DeTurk * Tom Reif against the publisher. For permission to reprint contact Lee Cobb the co-editors at the address listed above. see GCNA Committees, page 23 2 urer will be taken up by me. Frank Deleu from the President and Serge Joris have joined the WCF Executive Committee replacing retiring Alfred Lesecq and Liesbeth Janssens. A World Keyboard Standard 2006 was adopted, and the GCNA won its bid to host the 2011 WCF in Bloomfield Hills – which falls in the GCNA's 75th anniver- sary year. St. Hugo in the Hills, Christ Church Cranbrook and Kirk in the Hills will be the primary venues, with sidetrips to other local carillons (Michigan boasts 652 carillon bells!) This will certainly be an eventful year. Plans are already under- way – so stay tuned. All suggestions for here did the Summer go? This one this upcoming celebration will be appreci- Calendar Whas been particularly eventful start- ated. ing with a successful congress at Yale So as we enter this Fall season, I am Historic Bok Sanctuary University – hats off to the Yale Guild! excited about getting on with our work. International Carillon Festival Our GCNA website listed 58 carillon We should soon be up to date shortly with February 24-March 4, 2007 recital series … comprising 477 recitals! our Bulletins (thanks to Ellen And despite the tragic roof fire at St. Dickinson!), and there are great things Iowa State University Carillon Catherine's Church in Gdansk, the Polish already underway in the reorganized Festival Guild hosted a splendid WCF congress in Music Publications Committee (see relat- Ames, IA, April 14, 2007 their historic city. Over 30 GCNA mem- ed article in this issue). Our Directory of bers attended. I held my promise to Jim Carillons will soon be published, and our Midwest Regional Meeting Smith not to mention his name in Gdansk webpage is in the process of taking some Springfield, IL, June 4-5, 2007 (he was the last person to play at St. evolutionary strides into the 21st century! Catherine's – just an hour before the blaze Committee listings are included in this Springfield International Carillon broke out); but he was rightly recognized issue, and as usual, all volunteers are wel- Festival for his generous donation toward the come.
Load more

Recommended publications
  • Directory Carillons
    Directory of Carillons 2014 The Guild of Carillonneurs in North America Foreword This compilation, published annually by the Guild of Carillonneurs in North America (GCNA), includes cast-bell instruments in Canada, Mexico, and the United States. The listings are alphabetized by state or province and municipality. Part I is a listing of carillons. Part II lists cast- bell instruments which are activated by a motorized mechanism where the performer uses an ivory keyboard similar to that of a piano or organ. Additional information on carillons and other bell instruments in North America may be found on the GCNA website, http://gcna.org, or the website of Carl Zimmerman, http://towerbells.org. The information and photos in this booklet are courtesy of the respective institutions, carillonneurs, and contact people, or available either in the public domain or under the Creative Commons License. To request printed copies or to submit updates and corrections, please contact Tiffany Ng ([email protected]). Directory entry format: City Name of carillon Name of building Name of place/institution Street/mailing address Date(s) of instrument completion/expansion: founder(s) (# of bells) Player’s name and contact information Contact person (if different from player) Website What is a Carillon? A carillon is a musical instrument consisting of at least two octaves of carillon bells arranged in chromatic series and played from a keyboard permitting control of expression through variation of touch. A carillon bell is a cast bronze cup-shaped bell whose partial tones are in such harmonious relationship to each other as to permit many such bells to be sounded together in varied chords with harmonious and concordant effect.
    [Show full text]
  • UDC 786.2/781.68 Aisi the FIFTH PIANO CONCERTO by PROKOFIEV: COMPOSITINAL and PERFORMING INNOVATIONS
    UDC 786.2/781.68 Aisi THE FIFTH PIANO CONCERTO BY PROKOFIEV: COMPOSITINAL AND PERFORMING INNOVATIONS The article is dedicated to considering compositional and performing innovations in the piano works of S. Prokofiev on the example of the fifth piano concerto. The phenomenon of the "new piano" in the context of piano instrumentalism, technique and technology of composition. It identifies the aspects of rethinking the romantic interpretation of the piano in favor of the natural-percussive. Keywords: piano concerto, instrumentalism, percussive nature of the piano, performing style. Prokofiev is one of the most outstanding composers-pianists of the XX century who boldly "exploded" both the canons of the composer’s and pianistic mastery of his time but managed to create his own coherent system of expressive means in both these areas of music. The five piano concertos by Prokofiev (created at the beginning and the middle of his career – 1912-1932) clearly reflect the most recognizable and the key for the composer's creativity artistic features of the author’s personality. Having dissociated himself in the strongest terms from the romantic tradition of the concert genre, Prokofiev created his new style – in terms of piano instrumentalism, technique and technology composition. All the five piano concertos "fit" just in the 20 years of Prokofiev’s life (after 1932 the composer did not write pianos, not counting begun in 1952 and unfinished double concert with the alleged dedication to S. Richter and A. Vedernikov). The first concert (1911-1912) – the most compact, light, known as "football" for expressed clarity of rhythm and percussion of the piano sound.
    [Show full text]
  • A New History of the Carillon
    A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • 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.
    [Show full text]
  • Cipc-2021-Program-Notes.Pdf
    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
    [Show full text]
  • A Unified Helical Structure in 3D Pitch Space for Mapping Flat Musical Isomorphism
    HEXAGONAL CYLINDRICAL LATTICES: A UNIFIED HELICAL STRUCTURE IN 3D PITCH SPACE FOR MAPPING FLAT MUSICAL ISOMORPHISM A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree of Master of Science in Computer Science University of Regina By Hanlin Hu Regina, Saskatchewan December 2015 Copytright c 2016: Hanlin Hu UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Hanlin Hu, candidate for the degree of Master of Science in Computer Science, has presented a thesis titled, Hexagonal Cylindrical Lattices: A Unified Helical Structure in 3D Pitch Space for Mapping Flat Musical Isomorphism, in an oral examination held on December 8, 2015. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Dominic Gregorio, Department of Music Supervisor: Dr. David Gerhard, Department of Computer Science Committee Member: Dr. Yiyu Yao, Department of Computer Science Committee Member: Dr. Xue-Dong Yang, Department of Computer Science Chair of Defense: Dr. Allen Herman, Department of Mathematics & Statistics Abstract An isomorphic keyboard layout is an arrangement of notes of a scale such that any musical construct has the same shape regardless of the root note. The mathematics of some specific isomorphisms have been explored since the 1700s, however, only recently has a general theory of isomorphisms been developed such that any set of musical intervals can be used to generate a valid layout. These layouts have been implemented in the design of electronic musical instruments and software applications.
    [Show full text]
  • Franz Liszt's Early Weimar Period Piano Waltzes
    Franz Liszt’s Early Weimar Period Piano Waltzes A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division Of the College-Conservatory of Music 2017 by Wei-Ting Yin B.A., National Taiwan Normal University, 2004 M.M., National Taiwan Normal University, 2006 Abstract The piano concert waltz genre had already been established by Carl Maria von Weber, who had expanded the traditional waltz by combining several sequential dances, adding an introduction and coda, and using the first waltz as a refrain to create a rondo-like form. Weber therefore elevated the waltz genre to a concert piece and influenced later composers like Chopin and Liszt. Liszt’s waltzes from the early 1850s are either based on the concert waltz type innovated by Weber or draw on previous compositions by Liszt and other composers. Franz Liszt published Soirées de Vienne, Valse-Impromptu, and Trois Caprices-Valses during the years 1850–53. Among these waltzes, Valse-Impromptu and Trois Caprices-Valses are based on previous versions composed from 1836–43. This document discusses Liszt’s compositional style in the waltzes from the early 1850s through an analysis of their formal structure, tonality, harmony, tempo changes, and virtuosic writing. It also includes the history of the piano waltz, the waltz style of Schubert, Weber, and Chopin, and the historical background of piano waltzes by Liszt from the early 1850s. In the end, my document will shed some light on the understanding of the stylistic diversity of Liszt’s piano waltzes from his early Weimar years.
    [Show full text]
  • U.S. Government Publishing Office Style Manual
    Style Manual An official guide to the form and style of Federal Government publishing | 2016 Keeping America Informed | OFFICIAL | DIGITAL | SECURE [email protected] Production and Distribution Notes This publication was typeset electronically using Helvetica and Minion Pro typefaces. It was printed using vegetable oil-based ink on recycled paper containing 30% post consumer waste. The GPO Style Manual will be distributed to libraries in the Federal Depository Library Program. To find a depository library near you, please go to the Federal depository library directory at http://catalog.gpo.gov/fdlpdir/public.jsp. The electronic text of this publication is available for public use free of charge at https://www.govinfo.gov/gpo-style-manual. Library of Congress Cataloging-in-Publication Data Names: United States. Government Publishing Office, author. Title: Style manual : an official guide to the form and style of federal government publications / U.S. Government Publishing Office. Other titles: Official guide to the form and style of federal government publications | Also known as: GPO style manual Description: 2016; official U.S. Government edition. | Washington, DC : U.S. Government Publishing Office, 2016. | Includes index. Identifiers: LCCN 2016055634| ISBN 9780160936029 (cloth) | ISBN 0160936020 (cloth) | ISBN 9780160936012 (paper) | ISBN 0160936012 (paper) Subjects: LCSH: Printing—United States—Style manuals. | Printing, Public—United States—Handbooks, manuals, etc. | Publishers and publishing—United States—Handbooks, manuals, etc. | Authorship—Style manuals. | Editing—Handbooks, manuals, etc. Classification: LCC Z253 .U58 2016 | DDC 808/.02—dc23 | SUDOC GP 1.23/4:ST 9/2016 LC record available at https://lccn.loc.gov/2016055634 Use of ISBN Prefix This is the official U.S.
    [Show full text]
  • Notation for Carillon and Chime Installations: Audit and Visualisation1
    Notation for carillon and chime installations: audit and visualisation1 Michael Boyd This paper discusses the use of notation for recording the configurations of carillon and chime installations, which have been designed by the author for facilitating the production of visual depictions using computer software. Such notation, quasi-musical in format, has been devised with both the carillonneur (or chimer) and bell-historian in mind, hopefully satisfying two constituencies. The carillonneur, visiting a carillon for the first time, may wish to visualise the carillon keyboard as a means of preparing for a recital; the bell historian may wish to capture and record the configurations of both keyboard and instrument, and possible other playing mechanisms at a particular installation. In the latter case, the historian and bell enthusiast may also want a means of tracking, in some detail, the evolution of an installation from its inception to its present-day configuration. This is a particular interest of the author. It can sometimes appear that an appreciable body of carillon history has been lost due to the failure to accurately record modifications, augmentations, or extensive remodelling of carillon installations, particularly regarding the fate of carillon keyboards. The carillon keyboard and instrument design Carillon and chime keyboards embody a wealth of information on carillon culture and instrument design, particularly from the early 20th century onwards, in which the modern carillon was born and its growth and development nurtured. This early period witnessed considerable innovation in carillon building, fuelled in part by the rivalry between the two pre-eminent English bellfounders of the time: Taylors and Gillett & Johnston.
    [Show full text]
  • Sacred Music Volume 122 Number 4
    Santa Barbara, California SACRED MUSIC Volume 122, Number 4, Winter 1995 FROM THE EDITORS 3 Publishers A Parish Music Program CREATIVITY AND THE LITURGY 6 Kurt Poterack SURVEY OF THE HISTORY OF CAMPANOLOGY IN THE WESTERN 7 CHRISTIAN CULTURAL TRADITION Richard J. Siegel GREGORIAN CHANT, AN INSIDER'S VIEW: MUSIC OF HOLY WEEK 21 Mother M. Felicitas, O.S.B. MUSICAL MONSIGNORI OR MILORDS OF MUSIC HONORED BY THE POPE. PART II 27 Duane L.C.M. Galles REVIEWS 36 NEWS 40 EDITORIAL NOTES 41 CONTRIBUTORS 41 INDEX OF VOLUME 122 42 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J. Schuler Vice-President Gerhard Track General Secretary Virginia A. Schubert Treasurer Donna Welton Directors Rev. Ralph S. March, S.O. Cist. Mrs. Donald G. Vellek William P.
    [Show full text]
  • Namertrad.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.
    [Show full text]