The Deal Carillon Nine, Weighing 625 Pounds, Plays C
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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. -
Different Faces of One ‘Idea’ Jean-Yves Blaise, Iwona Dudek
Different faces of one ‘idea’ Jean-Yves Blaise, Iwona Dudek To cite this version: Jean-Yves Blaise, Iwona Dudek. Different faces of one ‘idea’. Architectural transformations on the Market Square in Krakow. A systematic visual catalogue, AFM Publishing House / Oficyna Wydawnicza AFM, 2016, 978-83-65208-47-7. halshs-01951624 HAL Id: halshs-01951624 https://halshs.archives-ouvertes.fr/halshs-01951624 Submitted on 20 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Architectural transformations on the Market Square in Krakow A systematic visual catalogue Jean-Yves BLAISE Iwona DUDEK Different faces of one ‘idea’ Section three, presents a selection of analogous examples (European public use and commercial buildings) so as to help the reader weigh to which extent the layout of Krakow’s marketplace, as well as its architectures, can be related to other sites. Market Square in Krakow is paradoxically at the same time a typical example of medieval marketplace and a unique site. But the frontline between what is common and what is unique can be seen as “somewhat fuzzy”. Among these examples readers should observe a number of unexpected similarities, as well as sharp contrasts in terms of form, usage and layout of buildings. -
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. -
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. -
Drawings, Paintings, Haiku
Pam and Ian’s 2016 travels Drawings, paintings, haiku USA, France, Italy, Hungary, Spain, UK, China, Bhutan, India Ghiralda Tower, Seville California (15 June – 29 June) Quiet picnic at Hoddart Country Park 16 June Sunnyvale market 18 June In California: Awesome delicatessens; crap cappuccino Fairy ring of giant redwoods Big Basin, CA 17 June Statuesque redwoods standing in tight circles, round long-departed mum Alcatraz and San Francisco from Sausalito, in light fog 22 June Allied Arts Guild Menlo Park 23 June Pea paté and toast Blend mushy peas and lemon Eat by shady pool Yosemite National Park (24 – 27 June) In Yosemite valley (from a poster) 28 June Everyone tells you Yosemite is awesome Now I know it’s true Our Airbnb at Groveland, CA 24 June In Yosemite … Wanna see a bear? – better odds for a sasquatch. Two views of Hetch Hetchy Lake 26 June Thirty four degrees. Five mile hike with little shade. Pass the water please. Manhattan (29 June – 6 July) One World Trade Centre, from Battery Park 30 June Manhattan, New York. The city that never sleeps. Here I lie awake. (Not the) Brooklyn Bridge 1 July Garibaldi??! – in Washington Square, Manhattan 30 June Scrubboard Serenaders: jazz in Washington Square. Clarinet, bass, metal guitar, washboard 5 July Looking across the Hudson river, from the Skyline trail 6 July Little bridge in Central Park 5 July Upstate New York (1 – 4 July) Looking out: Craig and Kirsten’s pool 3 July Today: Woke. Looked out. In the shower, by the pool, was a unicorn. (true) The floating unicorn 2 July France 7 – 15 July Le Basilique Saint-Sernin, Toulouse Just another house (with turret and tower) 7 July 8 July Tango in the park, Toulouse 8 July A little bit of Carcassonne 9 July Carcassonne keep Carcassonne, from a Maron crème glacée tub 9 July 9 July Barge at Castelnaudary 9 July Conques, in Occitan 2 August Conques Abbey portal 12 July Carrots entering Cordes 14 July Stupendous fireworks: Bastille day in Albi. -
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 -
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. -
CHAPTER 1 Failures Due to Long-Term Behaviour of Heavy
CHAPTER 1 Failures due to long-term behaviour of heavy structures L. Binda, A. Anzani & A. Saisi Department of Structural Engineering, Politecnico di Milano, Milan, Italy. 1.1 Introduction The authors’ interest towards the long-term behaviour of heavy masonry struc- tures started after the collapse of the Civic Tower of Pavia in 1989, when L. Binda was involved in the Committee of experts supporting the Prosecutor in the trial, which involved the Municipality and the Cultural Heritage Superintendent after four people died under the debris of the tower. The response required by the Committee concerned the cause of the failure; therefore an extensive experimental investigation on site, in the laboratory and in the archives was carried out and the answer was given within the time of nine months. Several hypotheses were formulated and studied before fi nalizing the most probable one, from the effect of a bomb to the settlement of the soil caused by a sudden rise of the water-table, to the effect of air pollution, to the traffi c vibration and so on. Several documents were collected concerning the sudden collapse of other tow- ers even before the San Marco tower failure and the results of the investigation were interesting. In fact, the failure of some towers apparently happened a few years after a relatively low intensity shock took place. In other cases, the collapse took place after the development of signs of damage, such as some crack patterns, for a long time. This suggests that some phenomena developing over time had prob- ably to be involved in the causes of the failure, combined in a complex synergetic way with other factors. -
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. -
The Laguardia Bell Tower Carillon
The LaGuardia Bell Tower Carillon By Frank Angel Although the LaGuardia Tower has housed a carillon from the very first days it opened its doors, details about the original carillon are sketchy at best. About the only thing we know is that is was a manual operation with the bells struck by hand. A carillonneur had to go up to the tower and manually strike the bells. There is no record of who manufactured it or any details of the original design or how many bells were used. Only a cork-covered "sounding" room which housed the system and a few rusted tubular bells are all that remain of that first instrument which indicate that it may only have been able to play the simple Westminster, four note melody. How it was played, how often or by whom, remains a mystery. The first automated carillon capable of playing a double octave of notes and full melodies on campus was installed circa 1959 in the LaGuardia Tower by the Schulmerich Carillon Company of Pennsylvania. It consisted of eight tuned sounding rods which struck the familiar Westminster melody sequence on the quarter hours as well as striking the hour. The entire clockworks were driven by electro-mechanical components -- a mass of metal rods, pins, relays and motors. Except for the occasional mechanical failure, it was used on a daily basis for nearly twenty years. In 1986, the 17-year- old Schulmerich instrument broke down beyond repair. The carillon and the LaGuardia Tower with its blue-lighted belfry and amber turret lights had long become a cherished fixture of campus life, while the LaGuardia Tower and gold Dome had become the very symbol of Brooklyn College. -
FORM B BUILDING Assessor’S Number USGS Quad Area(S) Form Number
FORM B BUILDING Assessor’s Number USGS Quad Area(s) Form Number 30-0-58 Lowell DRA.45, 74 MASSACHUSETTS HISTORICAL COMMISSION MASSACHUSETTS ARCHIVES BUILDING 220 MORRISSEY BOULEVARD Town/City: Dracut BOSTON, MASSACHUSETTS 02125 Place: (neighborhood or village): Collinsville Photograph Address: 2087 Lakeview Avenue Historic Name: Collinsville Union Church and Parsonage Uses: Present: church and parsonage Original: church and parsonage Date of Construction: 1897 and 1956 Source: parish histories Style/Form: Colonial Revival Architect/Builder: unknown Exterior Material: Foundation: concrete block Wall/Trim: vinyl Locus Map (north is up) Roof: asphalt Outbuildings/Secondary Structures: small modern shed at the rear. Major Alterations (with dates): Additions to church in 1936 and 1953; vinyl siding recent decades. Condition: Fair Moved: no yes Date: Acreage: 67,518 sq. ft. Setting: A mix of rural agricultural with more recent residential subdivision. Recorded by: Claire W. Dempsey Organization: Dracut Historical Commission Date (month / year): May 2017 12/12 Follow Massachusetts Historical Commission Survey Manual instructions for completing this form. INVENTORY FORM A CONTINUATION SHEET DRACUT 2087 Lakeview Avenue MASSACHUSETTS HISTORICAL COMMISSION Area Letter Form Nos. 220 MORRISSEY BOULEVARD, BOSTON, MASSACHUSETTS 02125 DRA.45, 74 Recommended for listing in the National Register of Historic Places. If checked, you must attach a completed National Register Criteria Statement form. See the earlier version of this form for an eligibility opinion recommending this property as part of a Beaver Brook Mills NR historic district; this area is also known as Collinsville. ARCHITECTURAL DESCRIPTION The Collinsville Union Church was built in 1897 and expanded in 1936 and 1953, and the Parsonage next door was built in 1956. -
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.