Carillon News No. 82

Total Page:16

File Type:pdf, Size:1020Kb

Carillon News No. 82 No. 82 November 2009 CarillonNews www.gcna.org Newsletter of the Guild of Carillonneurs in North America Longwood Gardens the Setting for Features 67th GCNA Congress Longwood Gardens pro- GCNA Congress vided a spectacular setting for at Longwood the Congress activities. The Gardens . 1 business meetings and pre- sentations were conducted in the Visitor Center Audito- New Carillonneur rium, and the artists and ex- Members . 6 amination recitals took place at the nearby Chimes Tower. 2010 Congress in The 61 foot Chimes Tower was built in 1929 to house a Naperville . 8 set of 25 tubular chimes in- stalled by the J.C. Deagan Marketing the Company. In 1956, the Carillon . 9 chimes were replaced by a 32-note electronic system which was used until 1989. Photo Collage . 21 by Lynnette Geary see Longwood Gardens, page 3 he 67th GCNA Congress met at Long- Twood Gardens, Kennett Square, Pa., Plus from June 21–25, 2009. Longwood Gardens was established by Calendar . 3 Pierre du Pont who bought the property from the Peirce family in 1906 so that he Overtones could preserve the trees. Through his man- Regional Notes . 10 agement, formal gardens, fountains, an Open Air Theater, and a Conservatory were Foreign News . 14 added to the estate. The Longwood Foun- dation was established in 1937 and received Notices . 19 government approval in 1946 to operate the gardens for public education and enjoy- In Memoriam . 22 ment. Longwood Gardens now covers 1,050 acres with 20 indoor and 20 outdoor gardens. It hosts an extensive educational program and sponsors horticultural and per- forming arts events year round. 1 Carillon News is published each April and November by the Guild of Carillon- neurs in North America, a California non- Carillon News profit corporation. Jury John Agraz, John Bordley, GCNA Officers: John Courter, Roy Hamlin Deadlines: Submissions for publication Dennis Curry, President [email protected] Johnson, Loyd Lott, Arla must be received by February 15 for the Jo Gideon, alternate, spring issue and September 15 for the Ellen Dickinson, Vice-President Janet Tebbel, alternate fall issue. Submissions should be type- [email protected] written and double-spaced and are appre- David Johnson, Recording Secretary Brochure Julia Littleton, chair ciated by e-mail. Send materials to: [email protected] Steven Ball [email protected] Tim Sleep, Corresponding Secretary Bulletin Ellen Dickinson, chair [email protected] [email protected] Mark Lee Laurel Buckwalter, 410 South Michigan Ave. Suite 528 David Hunsberger, Treasurer Jeremy Chesman, Claire [email protected] Chicago, IL 60605 Halpert, Margo Halsted, Dave Johnson, Kimberly 312-596-4022 Board of Directors: Schafer Dennis Curry (2011) Opinions expressed in Carillon News Ellen Dickinson (2010) Bylaws Gloria Werblow, chair are not necessarily those of the editors, Linda Dzuris (2012) Beverly Buchanan, nor do they necessarily carry the endorse- Bill De Turk, Sue Jones ment of the GCNA. Laura Ellis (2012) Jim Fackenthal (2010) Back issues of Carillon News, if avail- Carlo van Ulft (2011) Carillon Ellen Dickinson, chair Directory Jason Lee, able, cost $2 per issue. Submit checks in John Widmann (2012) Carl Zimmerman US dollars only, payable to “GCNA.” Carl Zimmerman (2010) For further information contact: 1 position TBD (2011) Bill De Turk - GCNA Archivist Historic Bok Sanctuary Carillon News Sue Bergren, Mark Lee, HOW TO REACH THE GUILD 1151 Tower Boulevard chairs, Jim Fackenthal Lake Wales, FL 33853 863-676-1154 (w) Guild Web Page: Central Mailing Laurel Buckwalter ********************************* http://www.gcna.org Co-Editors Examination Lisa Lonie, chair Sue Bergren and Mark Lee Membership information and applica- Jeremy Chesman, Lee tions are available from: Cobb, Jeff Davis, Editorial Staff John Gouwens, Pat Wylie Crawford, Joost Dupon, Tim Sleep Macoska, Tin-Shi Tam, Tammy Ghattas, and Dave Johnson 28W640 Warrenville Rd. Warrenville, IL 60555 Julianne Vanden Wyngaard Story Contributors 630-393-2137 Ad hoc Pat Macoska, chair A. Brandau, B. Buchanan, T. Collins, [email protected] Steven Ball, Todd Fair, W. Crawford, D. Curry, F. DellaPenna, John Gouwens, Carol Lens, E. Fruhauf, L. Geary, J. Gouwens, Kimberly Schafer, G. Gregory, M. Jacklin, D. Johnson, GCNA mailing labels are available to Carol Anne Taylor J. King, L. Lonie, A. McCrady, E. Nassor, L. Rumbouts, A. Stewart, J. Widmann GCNA members as a free download from the members only section of the Guild Web Page Finance John Widmann, chair Photo Credits http://www.gcna.org. Committee Jim Brown S. Bergren, C. Bordley, A. Brandau, Non-members may purchase labels for $45. T. Collins, D. Curry, F. DellaPenna, Send label requests and changes of address to: see Committees, page 21 G. Gregory, H. Hawley, M. Jacklin, J. King, L. Lonie, A. McCrady, E. Nassor, Errata L. Rumbouts, J. Widmann, Back page Wylie Crawford photo: Denise R. Halverson 701 Sheridan Road Evanston, IL 60202 On page 3 of Carillon News, no. 80, Fall 2008, Design and Production 847-328-2333 (h) the statement that Tintinnabulum was created by Sue Bergren, Jim Fackenthal, Mark Lee [email protected] the Flemish Carillon Guild is incorrect. Printing Tintinnabulum, the organization managing the Brussels carillon, was in fact created by the com- D & R Press, Elmwood Park, IL GCNA Committee listings Archives Bill De Turk, chair bined efforts of the City of Brussels, the Flemish Copyright 2009 by The Guild of Carillonneurs in North Carillon Guild (VBV), the Walloon Cam- America. All rights reserved. Reproduction in whole Barnes Andrea McCrady, Dave panological Association (ACW), and the Brus- or in part without permission is prohibited. All items sels cathedral, each of these four organizations submitted for publication become the property of the Scholarship Johnson, chairs GCNA, except that contributors assume liability for Fund Robin Austin, Dave having delegates in the Tintinnabulum board. In copyrighted photographs or music examples submit- 2008, about 25 carillonneurs were invited by Hunsberger, Lisa Lonie, ted, and assume responsibility for claims therefrom Tintinnabulum to play the Brussels carillon. made against the publisher. For permission to reprint Janet Tebbel contact the co-editors at the address listed above. Carillon News regrets the error. 2 At the Longwood Gardens Congress, the Board reviewed the report and recommen- from the President dations of the Ad Hoc Exam committee, ably chaired by Carlo Van Ulft, and the Calendar Board agreed to continue on to the next level of investigation. Their charter was to 49th International Carillon 'examine' the current process and the report Festival, Springfield, Ill. was presented to the Board and to the gen- June 6–June 12, 2010 eral membership in our business meetings. This next effort will take a look at the pos- Midwest Regional Carillon sibility of more than one level of carillon proficiency. Festival, Springfield, Ill. The charge to the new ad hoc exami- June 7 and 8, 2010 nation committee: • Develop a proposal for more than one 2010 GCNA Congress, level of carillon proficiency Naperville, Ill. Evolution • Analyze the e-mail discussions to date • Contact others as needed to gain an un- June 13–17, 2010 s mentioned before, the strength of our derstanding of all perspectives Aorganization is in our diverse mem- • Compare process with other professional bership. I am greatly impressed that the on- organizations (e.g. American Guild of Or- going discussion on our e-mail listservers ganists) has been highly professional and thought- • Recommend accreditation process: stan- haven’t subscribed to our listserver, go to provoking. Many interesting points con- dards, repertoire, adjudication http://www.gcna.org/mail-lists.html for in- tinue to be made, and I have personally • Use Lisa Lonie and Carlo van Ulft as ex- structions.) responded to each sender stating apprecia- pert references It is clear that we need to pursue new op- tion for their comments which would be • Target dates: Board review (Dec. 2009), portunities for certain members. considered as we evolve this organization. general membership (June 2010) While we have seen familiar names in the e- Pat Macoska has agreed to lead this new Evolution. mails, there have been several other mem- effort, and looks forward to evolve this bers (and non-members) which may have guild with a new dimension. Some com- not been so familiar. It is encouraging that mittee members are yet unconfirmed as of new voices are now being heard. Evolution, the writing deadline. Status will be com- and not revolution. municated via periodic e-mail. (If you from Longwood Gardens, page 1 Board of Directors, new attendees, non- tally the ballots for a later report to the North-American guests, the examination membership. Royal Eijsbouts installed a 62-bell carillon chair and judges for 2009. We observed a Officer and committee reports were pre- in the tower in 2001. The carillon sounds moment of remembrance for those we lost sented. There was a proposal whether the quarter hours throughout the day and this year: Paul Hicks, Robert Lodine (from members would be agreeable to having full plays tunes on the hour on weekdays and on 1984), Aimé Lombaert, John Pozdro, David reports available online, or possibly distrib- the hour and half hour on the weekends. Shayt, Piet van den Broek, and Jerome uted prior to the Congress, and that sum- On Sunday evening, guests enjoyed an Werblow. mary reports would be presented at the elegant reception in the Conservatory, en- Cleverly disguised, and with full musi- annual meeting, allowing more time for tertained by harpist Janet Witman from the cal accompaniment, special detective Peter questions and discussion. Brandywine Celtic Harp Orchestra. The “Brother Dr. Steven Ball, Assistant Professor of following Host Recital by Lisa Lonie and Blues” Carillon and Campanology at the Univer- Janet Tebbel was a perfect introduction to Gunn (a.k.a. sity of Michigan, and a specialist in theater the 67th Congress.
Recommended publications
  • Church Bells. Part 1. Rev. Robert Eaton Batty
    CHURCH BELLS BY THE REV. ROBERT EATON BATTY, M.A. The Church Bell — what a variety of associations does it kindle up — how closely is it connected with the most cherished interests of mankind! And not only have we ourselves an interest in it, but it must have been equally interesting to those who were before us, and will pro- bably be so to those who are yet to come. It is the Churchman's constant companion — at its call he first enters the Church, then goes to the Daily Liturgy, to his Con- firmation, and his first Communion. Is he married? — the Church bells have greeted him with a merry peal — has he passed to his rest? — the Church bells have tolled out their final note. From a very early period there must have been some contrivance, whereby the people might know when to assemble themselves together, but some centuries must have passed before bells were invented for a religious purpose. Trumpets preceded bells. The great Day of Atonement amongst the Jews was ushered in with the sound of the trumpet; and Holy Writ has stamped a solemn and lasting character upon this instrument, when it informs us that "The Trumpet shall sound and the dead shall be raised." The Prophet Hosea was com- manded to "blow the cornet in Gibeah and the trumpet in Ramah;" and Joel was ordered to "blow the trumpet in Zion, and sound an alarm." The cornet and trumpet seem to be identical, as in the Septuagint both places are expressed by σαλπισατε σαλπιγγι.
    [Show full text]
  • Virtual Musical Field Trip with Maestro Andrew Crust
    YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make.
    [Show full text]
  • Carillon News No. 80
    No. 80 NovemberCarillon 2008 News www.gcna.org Newsletter of the Guild of Carillonneurs in North America Berkeley Opens Golden Arms to Features 2008 GCNA Congress GCNA Congress by Sue Bergren and Jenny King at Berkeley . 1 he University of California at TBerkeley, well known for its New Carillonneur distinguished faculty and academic Members . 4 programs, hosted the GCNA’s 66th Congress from June 10 through WCF Congress in June 13. As in 1988 and 1998, the 2008 Congress was held jointly Groningen . .. 5 with the Berkeley Carillon Festival, an event held every five years to Search for Improving honor the Class of 1928. Hosted by Carillons: Key Fall University Carillonist Jeff Davis, vs. Clapper Stroke . 7 the congress focused on the North American carillon and its music. The Class of 1928 Carillon Belgium, began as a chime of 12 Taylor bells. Summer 2008 . 8 In 1978, the original chime was enlarged to a 48-bell carillon by a Plus gift of 36 Paccard bells from the Class of 1928. In 1982, Evelyn and Jerry Chambers provided an additional gift to enlarge the instrument to a grand carillon of Calendar . 3 61 bells. The University of California at Berkeley, with Sather Tower and The Class of 1928 Installations, Carillon, provided a magnificent setting and instrument for the GCNA congress and Renovations, Berkeley festival. More than 100 participants gathered for artist and advancement recitals, Dedications . 11 general business meetings and scholarly presentations, opportunities to review and pur- chase music, and lots of food, drink, and camaraderie. Many participants were able to walk Overtones from their hotels to the campus, stopping on the way for a favorite cup of coffee.
    [Show full text]
  • TD-30 Data List
    Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • A Proposed Campanile for Kansas State College
    A PROPOSED CAMPANILE FOR KANSAS STATE COLLEGE by NILES FRANKLIN 1.1ESCH B. S., Kansas State College of Agriculture and Applied Science, 1932 A THESIS submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE KANSAS STATE COLLEGE OF AGRICULTURE AND APPLIED SCIENCE 1932 LV e.(2 1932 Rif7 ii. TABLE OF CONTENTS Page INTRODUCTION 1 THE EARLY HISTORY OF BELLS 3 BELL FOUNDING 4 BELL TUNING 7 THE EARLY HISTORY OF CAMPANILES 16 METHODS OF PLAYING THE CARILLON 19 THE PROPOSED CAMPANILE 25 The Site 25 Designing the Campanile 27 The Proposed Campanile as Submitted By the Author 37 A Model of the Proposed Campanile 44 SUMMARY '47 ACKNOWLEDGMENTS 54 LITERATURE CITED 54 1. INTRODUCTION The purpose of this thesis is to review and formulate the history and information concerning bells and campaniles which will aid in the designing of a campanile suitable for Kansas State College. It is hoped that the showing of a design for such a structure with the accompanying model will further stimulate the interest of both students, faculty members, and others in the ultimate completion of such a project. The design for such a tower began about two years ago when the senior Architectural Design Class, of which I was a member, was given a problem of designing a campanile for the campus. The problem was of great interest to me and became more so when I learned that the problem had been given to the class with the thought in mind that some day a campanile would be built.
    [Show full text]
  • Tocs De Campanes a La Comunitat Valenciana
    Curso de campaneros de la Catedral de Pamplona Curso teórico-práctico de formación para Campanero de la Catedral. Coordinación y textos: Dr. Francesc LLOP i BAYO, Presidente de los Campaneros de la Catedral de València Convoca y organiza el Arzobispado de Pamplona y Tudela / Iruña eta Turetako Artzapezpikutza Con el apoyo técnico y económico de la Fundación Caja Madrid Curso de campaneros de la Catedral de Pamplona Índice Toques de campanas tradicionales - Curso de Introducción..........................................................1 Los principios: los toques de campanas en la ciudad de València..................................................6 Los toques de campanas en Aragón...............................................................................................6 Las campanas: toques en la sociedad tradicional........................................................................................6 Distintas maneras tradicionales de tocar las campanas..............................................................................7 El peso de las campanas..............................................................................................................................7 Tabla de pesos aproximados de campanas (bronce)......................................................................8 Tamaño y nota de la campana.....................................................................................................................9 Los toques de campanas en el mundo..........................................................................................9
    [Show full text]
  • The Bells, Clock and Carillon of Worcester Cathedral
    The bells, clock and carillon of Worcester Cathedral. Statement of Significance General overview The whole ensemble of clock, carillon and bells (these since recast) was very much a great Victorian showpiece - a wonder of the age. It cost £5000 (£566,000 today) and was paid for by the Earl of Dudley. It was a hugely ambitious project - a co-ordinated inter-disciplinary scheme (new bells, clock and carillon all at the same time) and on an impressively large scale. Everything was done to the very highest technical standards of the time - taking advantage of the latest innovations and at the same time breaking new ground in applying skills and knowledge to create an installation on a scale not previously contemplated or realised. Installed as part of the great Victorian restoration of the Cathedral which took place chiefly between 1864 and 1874, the clock and bells scheme (with the carillon as an afterthought) was the brainchild of Canon Richard Cattley. Cattley who undertook the fund-raising also steered the whole project through from inception to completion, drawing on the expertise of the leading authorities of the day and working with experienced and innovative bellfounders and clockmakers best qualified to undertake such a challenging commission. The professionals and advisers involved were A E Perkins, the Cathedral Surveyor responsible for the tower restoration between 1863-9 and Sir Edmund Beckett Denison (later known as Lord Grimthorpe) who was regarded as the great expert on clocks and bells The principal contractors and suppliers
    [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]
  • New Music Festival November 5-9, 2018
    University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music.
    [Show full text]
  • CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Baptize- Bibbins, Samuel by James Strong & John Mcclintock
    THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Baptize- Bibbins, Samuel by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Baptize SEE BAPTISM. Bar (properly jiyyæB], beri’ach) chiefly occurs in the following senses: that whereby a door is bolted and made fast (<160303>Nehemiah 3:3); a narrow cross-board or rafter wherewith to fasten other boards (<022626>Exodus 26:26); a rock in the sea (<320206>Jonah 2:6); the bank or shore of the sea, which, as a bar, shuts up its waves in their own place (<183810>Job 38:10); strong fortifications and powerful impediments are called bars, or bars of iron (<234502>Isaiah 45:2; Amos 1:5). SEE DOOR. Bar SEE CORN. Bar- (ba>r, Heb. and Chald. rBæ, a son), a patronymic sign, as BAR-JESUS, BAR- JONA, etc. SEE BEN-. Barabbas (barabbav, for the Chald. aB;ai rBi, son of Abba, Simonis, Onom. N.T. p. 38; a common name in the Talmud, Lightfoot, Hor. Hebrews p. 489), a robber (lh|sth>v, <431840>John 18:40) who had committed murder in an insurrection (<411507>Mark 15:7; <422319>Luke 23:19) in Jerusalem, and was lying in prison at the time of the trial of Jesus before Pilate, A.D.
    [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]