MojcaKovai

TheUseoftheChurchBell:FromSignalingDevicetoMusical(Percussion)Instrument

Thefirstuseofbellsformusical1purposeswasrecordedin1,000BCinChina.Theyusedstationarybellsthathungonaframeworkandusedhammers toplay them.They soondeveloped a standardbelltuning, and in the fifth centuryBC bellswerepart of theChinesenational orchestra,which played atConfucian rituals. InmedievalEurope, twomethodsofbell ringingweredistinguished:pulsare, inwhichhammerswerestruckagainst thebells,andnollare, inwhichsoundwasproducedwithaclapperstruckagainst thesoundbow2.The pulsare techniquewas performed on an instrument known ascymbala3 inmedievalLatin: a set of small bellsplayedusing hammers.Thesebellswereusedbymonksduring church servicesandfor teachingmusic, inwhich this instrumentwasanexcellentmediumfordemonstratingtherelationshipsbetweenpitchesandnumbers4.AdepictionofthesebellsintheinitialfromPsalm80showingKingDavidplayingthecymbalawithhammerswaswellknownandfrequently used. From the twelfth century there is also the firstdepictionofawomanplayingthebells:thereisacarvedstonefigureofawomanplayingthebellsatChartresCathedral,France.5The first bells used for signaling the worship service were small.Larger formsofbells,which,as tower instruments,becamepartofEuropeanbelltowers,begandevelopingfromthefourteenthcenturyonwards.Atthattime,bellmakersalsobeganseekingbetteracousticpropertiesfortheinstrument(i.e.,changingthebellsprofileinorderto gain asmany partials as possible) and intervallic tuning of thebellshanging inonebell toweralsodeveloped. In tuning thebells,oneoftheconditionsformakingmusicwasfulfilled;theonlythingthat remained was to rhythmically organize the bell sound. Thiscouldnotbeachievedthroughordinarybellringingbecausethebells 1Thefunctionofbellsisdividedintofourgroups:apotropaic,signaling,ritual,andmusical(cf.Lehr,citedin:Finscher1998:1421).Thesefunctionsareoftencombined.

2SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:190.3IsidoreofSeville(diedin636)andHonoriusofCanterbury(diedin653)listedcymbalaandthe tintinnabulum (hand bells with clappers) among the most frequently used musicalinstrumentsofthattime(Price1983:184).

4SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:188.5FortheimageexampleseedouardJeauneau,LgedordescolesdeChartres,2000,p.69.

MojcaKovai

110

movewithdifferentvelocity: thesmalleronesmove faster,and thelargeronesmoreslowly.Therefore,even today thesignaling functionremainstheprimaryfunctionofbellringing.However,thereareexamples in England (known as change ringingmethod) and someplacesinItalyinwhichthevelocityofthebellswingsinmanualbellringingiscontrolledbystoppingthebellintheupperposition6,thusachieving thedesired rhythmicharmonyof the ringingbells.7Thistype of bell ringing (called balanced bell ringing) was once alsotypicalofthemanualbellringinginSlovenianchurches;however,intodaysautomatedsystemsthebellsarealsobalanced.Itiseveneasiertoachieverhythmicharmonyordiversitybystrikingtheclapperorhammeragainsttherimsofstationarybells inacontrolledmanner.A further advantage of playing stationary bells isthat,byusing levers,one individual canmanage severalbells at atime,whereasmanualbellringingrequiresatleastthesamenumberofpeopleastherearebells. ThehistoricaldevelopmentofbellchimingEuropean historical sources testify that even before mechanizedchurchclockchimingbegantobewidelyusedinthefourteenthandfifteenth centuries, sextons announced the time everyhourby chiming the bells manually and used hammers to strike the bells inorder to enhance the acoustic variety.8 Bell chimers in towns thatwould chime thehourby strikinghammers against thebellswereprominentpersons; theywereusuallymembersof the townguardandwore itsuniforms. In the latemiddleages, thesechimerswerealready said to chimemore than one bell,which enabled them tochime shortmelodies.Theyplayedparts of churchmelodies, folksongs,andshortimprovisedfragmentsofsecularmelodiesthatwere 6SeeexampleError!MainDocumentOnly.:VideofootageoftheItaliantechniqueSistemaBolognese(Chiari,29.4.2007,Italia;performedbyUnionecampanariModenesi).

7Aparticularbellringingtechniquedependsontheconstructionofthebelltowerandthesetofbells.Certain techniquesrequireaspecificnumberofbellsoraspeciallydesignedsystemofbells.Forexample, in rotationalbell ringing, thebell is swungbya rope thatrunsoverawheelattachedtotheheadstock.OneofthewidelyspreadformsofthistypeofbellringingistheBritishchangeringing,whichisbasedonthepermutationcombinations(orchanges)oftheorderoftheringingbells.Thesearenormallytunedtoadiatonicmajorscaleandareswungaround360degreesbypullingtheropeintheringingchamberbelowthebellchamber.VariousmethodsofrotationalbellringingarealsousedinItalyandareknownassuonoaditesta,sistemaVeronese,sistemaAmbrosiano.

8SeeMorris,Ernest(1951):BellsofAllNations.London,RobertHale:16.

TheUseoftheChurchBell

111

otherwiseperformedbystreetmusicians9.Theautomationof towerclocks then adopted a similar system; where the number of bellsallowed it (especially in theNetherlands, Belgium, andGermany),shortmelodicsequencestypicalofaspecifictown10wereandstillareplayed on the full hour (for example, bell chiming atWestminsterPalace,knownaroundtheworldasthechimingofBigBen11).Wherethere are fewer bells, the larger bell usually assumes the role ofchimingthefullhour,andthesmalleronechimesthequarterhours.Chimingatquarterhours in the formofa simpleaudio signal canalso be heard in Slovenian bell towers, whereas melodic hourchimingishardlyeverusedinSlovenia.12Thepulsaremethod(performingwithhammers)hasbeenpreservedin automated form in tower clocks and some local traditions,whereas the nollare method (performing with clappers) has beenpreserved and developed in parallel to ringing techniques inindividualEuropeancountriesinvariousways.Inadditiontotheadvantagesofthenollaretechniqueoverbellringingmentionedabove(i.e.,thepossibilityofcontrolledrhythmicandmelodicperformanceonbells, and the smallernumberof requiredperformers),PercivalPricealsobelievesthatthenollaretechniqueissaferintermsofpreserving the construction of the set of bells and the bell tower.13Certainbellswereplayedbypullingaropetiedtotheclapperevenata timewhenchurchesdidnotyethavebell towers.Thispracticelater spread throughout Europe;14 however, this type of music

9SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:173.10 Themusicalmotif thatwe then hear regularly gradually becomes part of an acousticlandscape (or soundscape) of a specific town and loses the quality of amusicalwork(Harrison2002).

11ThetuneusedbythesetofclockbellsintheclocktoweratWestminsterPalaceinLondontostrikethequarterhourisknownastheWestminsterQuarters.Amongothers,thistuneisalsoofferedbytodaysproducersofclockchimingmechanismsaspartoftheirprograms.The tune is alsowidelypopularizedbyhaving its introductory sequencebroadcast livebeforetheBBCradionews.

12At the chapelonMountSveta in theCentralSavaValley (Sln.ZasavskaSvetagora), thehour is chimedby a tuneof thehymn Zvonovi zvonijo (TheBells areRinging) fromLourdes;sinceSloveniapresidedovertheEUin2008,arecordingoftheEuropeananthemperformedonbellshasbeenplayedattheLjubljanaCityHallatnooneveryday.

13Russiansweresaidtoscoffatthewesternstyleofbellringingbecausetheythoughtitwasnonsensicaltoswingtheheavybellsinorderforthelightclapperstostrikeagainsttheminsteadofmakingthelightclapperstrikeagainstastationarybell,asitwasthecustominRussia.SeeSeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:190.

14 In addition to Christianity, bells are also used for religious purposes in Taoism andBuddhism.Theworshippersplay the largerbells,hung in thevestibulesof temples,by

MojcaKovai

112

making was perfected the most in the Russian Orthodox Churchthroughatechniqueknownaszvonit.15

Figure1:Directbellchiming

My research shows that thenollare technique is stillwidespread inEurope. Inmost cases,onlyonebellchimerplaysthebells in thismanner.Pricebelievesthatthistechniquehasnever developed into groupperformance,suchasthepractice developed by the Russians16; however, this can berejectedbecausegroupperformance is part of both theSlovenian bellchiming practiceaswellassomeotherEuropean bellchiming practices(although to a lesser extent),whereas the Russian bellchiming technique of zvonit isoften performed only by asingle individual. Price alsosupports theevolutionary the

oryofthedevelopmentofbellchimingtechniquesandbelievesthatthebellchimingtechniqueisabridgebetweenplayingthebellswithhammersand(accordingtohim)morehighlydevelopedbellplayingusing akeyboardor the carillon.17However,ManfredBartmann, aGermanbellchimingresearcher,doubtsPricestheorybecausebothtechniques continue tobewidelypracticed today.18 Ingeneral,one

strikingtheclapperagainstthebell;withlargebellstheyevenusetreetrunkstostriketheoutersoundbowofthebell.

15SeeSeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:106.16Ibid.:200.17Similarly,theDutchcampanologistAndrLehrbelievesthatthecarillondevelopedfromthemedievalperformanceoncymbala,inwhichhammerswereused,andbellchimingonlarge church bells. See Lehr, Andr (1998): Glocken und Glockenspiele (Geschicht abMittelalter).DieMusikinGeschichteundGegenwart:AllgemeineEnzyklopdiederMusik,vol.3:1474;seealsoPrice,Percival(1983):ibid.:200.

18SeeBartmann,Manfred(1991):DasBeiernderGlockeninderGrafschaftBentheim,Denekamp(NL)undOstfriesland.BewegungundKlang.Ludwigsburg,PhilippVerlag:287.

TheUseoftheChurchBell

113

canfindallofthedevelopmentalstagesintodaysbelltowers:fromchimingdirectlyonthebells(Figure1),chimingusinglevers(Figure2), pedals, and simpler forms of keyboards (Figure 3), to complexleverconnectionsbetweenthekeyboardandthebells(Figure4).

Figure2:Chimingwithlevers; Figure3:Asimplekeyboard19Individual techniquesdepend on thenumber and size of the bellsandtheirpositioninthebelltower.Directbellchimingisthusmorefrequently used in places where three bells are used on average,whereaswithalargernumberofbellsthesemustbeconnectedwithlevers,whichonlyenablea limitednumberofbellchimers tomanthem.Whenmorethanfivebellsareused,theyareusuallyworkedfrom a keyboard. It is quite clear that the development of alltechniqueshas the same startingpoint,whereas their simultaneousexistence is connected with several factors, among which theeconomic factor can be placed at the forefront. For example, thecarillon is used primarily in the bell towers of town churches,whereasinthecountrysidethetraditionofplayingasmallernumber 19 Padovani (20072008). Published with the permission of the Associazione Italiana diCampanologia.

MojcaKovai

114

of bells continues to be practiced. Even the instruments name,derived from theLatinword quatrinion,denoting a group of four,provesthattheoriginalcarillonincludedfewerbells.InpresentdaySwitzerland,thecarillontraditionnel20(traditionalcarillon)referstoa

setofthreetoeightbells,which are played directlyorusingsimplelevers(i.e., ropes and chains)by striking the clapperagainst the sound bow,whereas the carillon avecclaviersmcaniques (carillonwithakeyboard)denotesa considerably larger set of chromaticallytunedbells.21Figure4:Acarillon22

Today,performancesusing this typeofcarilloncanbeheard in theformofprofessionalconcertperformances,especiallyinBelgium,theNetherlands, and France. In theNetherlands, this kind of a set ofbells is calledaKlokkenspelorBeiaard,and in theGermanspeakingcountriesitisknownasaGlockenspiel.Inthenineteenthcentury,theEnglishtookoverthenamecarillonorcarilyonfromtheFrench.SomedefinetheGlockenspielasasmallersetofdiatonicallytunedbellsandthe carillon as a larger set of chromatically tuned bells, whereasothers equate the term Glockenspiel with the English chime, whichincludesup to twentyfivebells, and carillon,which includesmorethantwentyfivebellsintwochromaticallytunedoctaves.23Evenonthebasisofthefewexamplespresentedhere,onecanestablishthat

20 The Swiss Guild of Carillonneurs and Campanologists distinguishes between thetraditional,automatic,andkeyboardcarillon.Thisclassificationisbasedprimarilyontheperformance techniqueandnot thenumberofbellsbecause it isevident from the listofcarillons that in some cases the keyboard and the traditional carillon have the samenumberofbells(cf.Guildedescarillonneursetcampanologuessuisses[s.a.])

21TheGermanGuildofCarillonneurs(DeutscheGlockenspielvereinigung)definesthecarillonasasetofatleasttwentythreechromaticallytunedbellsconnectedthroughamechanicalplaying device (Was ist ein Carillon, 20022008). However, in the Rhine Valley, someperformersrefertoboththemethodofplayingasmallernumberofbellsandthemethodusingasimplekeyboardasBeiern.

22Ryan(20002008).Publishedwiththepermissionoftheauthor.23Morris,Ernest(1951):BellsofAllNations.London,RobertHale:55.

TheUseoftheChurchBell

115

theuseofterminologyincampanologyisnotuniformatallandthattranslationsintootherlanguagesareofteninconsistent.

BellchiminginEuropetodayBy focusing on the technical aspect and discussing merely themethods in which sound is produced by striking the clapper orhammers against the sound bow of a stationary bell, and byhighlighting the rhythmic component of bell playing from themusical standpoint (what excludes carillion method), it can bedetermined thateven thisaspectalone includesmanybell chimingmethodspracticed inEurope.Here are thenames ofonly someofthem: the Slovenian pritrkavanje, the Spanish repiques,24 the Italianbataglia di corde, suonata a cordette battagliare, scampanio or scampanotata, toccos and repiccos,25 the kimning26 method practiced inSweden,Denmark, and the Faroe Islands, the French copte campanaire, the Swiss carillon traditional ali carillon valaisan, the Belgiantriboldjeortrippetraien,theGermanBeiern,andtheCroatian luncijanje,kampananje,andslavljenje.InthebookGlockenbeierninRheinland27,Alois Dring also places individual sites, such as Holy SundayChurchinSofia,theChurchoftheHolySepulcherinJerusalem,andtheBasilicaoftheNativityinBethlehem,amongthecountrieswhereBeiern is practiced in addition to the Scandinavian countries,Switzerland,Italy,Belgium,andSlovenia.28Morrismentionsasimil 24FormoreinformationseeLlopiBayo,Francesco(1998):BellsinSpain:Restoration,ResearchandNewEnsemblesofBellringers.CampanersdelaCatedraldeValencia,http://campaners.com/php/textos.php?text=1044. Retrieved 7 February 2009; see also Bartmann, Manfred(2004):DasGlockenschlagenaufElHierroals integrierterBestandteilder inseltypischenProzessionsmusik.Studiainstrumentorummusicaepopularis12:109124.

25Although Italiansuseavarietyofbellringing techniques, itwasverydifficult toobtaindetailedandrelevant informationon individualtechniquesandthedatawereoftenveryinconsistent. I found some information inprofessional literature (cf.Barbarossa,Cristina(2006): Campane e campanari nella Liguria di levante. Chiavari, Grafica Piemme; Suoni dicempane.Raccoltadeisistemidisuono traditionali italianiedeuropei (2004).Bologna,GruppoCampanariPadreStanislaoMattei.),whereasother informationwasgivenbyperformersand researchers on the Internet (I logged onto the forum of the Italian CampanologyAssociation at http://www.campanologia.org/) or through email correspondence. Theexplanationsandaudiovisualrecordingsofvariousbellringing techniquessentbysomeItalianresearchersandperformersofindividualtechniquesaswellastheInternetsitesofthe local organized groups of bell ringers furnished with a variety of audiovisualrecordingsofbellringingandbellchimingtechniqueswerealsoextremelyhelpful.

26 See Bringus, NilsArvind (1958): Klockringningsseden i Sverige. Lund and Stockholm,Nordiskamuseet:5760.

27Dring,Alois(1988):GlockenbeierninRheinland.Cologne,RheinlandVerlag.28Ibid.:11.

MojcaKovai

116

armethodbeingusedinMalta,andatSt.NicholasChurchandHolyTrinityChurchinAthens.29With small changes in the technique and the methods of makingmusic, this activity can thus be defined as a wider Europeanphenomenon;however,due to the lackof researchor internationalconnections between researchers, knowledge about this remainswithin national, regional, or even local frameworks.30 Often thesetechniques are merely a part of historical, sociological, andcampanological studies and do not include an ethnomusicologicalperspective,whichiswhytheydonotcontainmuchinformationonthe musical content of these bellchiming methods. The lack ofliterature and in some cases also the linguistic barrier preventmefromstudyingallthepossiblebellchimingmethods inEurope,andmy understanding of them without doing my own field researchwould in any casebe incomplete. I amwell aware thatdue to thespecific nature of the bellchiming performing practice, it isinsufficient to interpret a musical piece merely on the basis of amusicalanalysisofaudioorwrittenmaterial. It isalsonecessary toinclude thevisual insight, fromwhichone candistinguish thekeyparameters that determine the ultimate sound of a bellchimingtune,31andtheperspectiveoftheperformersthemselves.32Examples 29SeeMorris,Ernest(1951):BellsofAllNations.London,RobertHale:139140.30InhisarticleEssaisurlacoptecampanaireenEuropeoccidentale(2008),AchimBurschpresents a shorter comparative study of bellchimingrelated techniques used in someEuropeancountries.HisarticlealsoincludesSloveniaandhisstudyisalsoaresultofourjoint research anddiscussions on theuse of bell chiming inEurope. SeeBurschAchim(2008): Essai sur la copte campanaire en Europe occidentale. Le Bulletin Campanaire(AssociationCampanaireWallone)53(1):2735.

31Inbellchimingstudies,musicalcontentisoftenignoredorincorrectlyinterpreted;eveninthecaseofanotably rhythmicmethodofbell ringing it isoftendefinedasmelodicbellringing (due to not paying enough attention and the lack of musical expertise of theauthors).ManfredBartmannhighlights the sameproblem in the studiesof theGermanform of bell chiming, which many researchers have placed within the frameworks ofmelodicmakingofmusic,andbelieves that thiskindofclassificationmerelyreflects theauditoryinterpretationofthesoundandtheresearcherslackofinterestinunderstandingthemusicalcognitive processes of the bearers of this tradition. SeeBartmann,Manfred(1991):DasBeiern derGlocken in derGrafschaftBentheim,Denekamp (NL) undOstfriesland.BewegungundKlang.Ludwigsburg,PhilippVerlag:35.

32 Insomecases (e.g., inGermany,Croatia,and Italy), Iwasable tounderstand the tunesbasedonmyownfieldexperience,throughwhichIalsogottoknowthecontextualaspectofthemusicalpractice,whereasinothercasesIonlyusedthevisualandaudiorecordingsinorder to interpret the tunes. Iobtained theserecordingseither from theresearchersofspecific bellringing techniques or their performers, in which online communication,campanologyforums,andespeciallytheYouTubewebsitewereofgreathelp.

TheUseoftheChurchBell

117

frommyown field studiesareusedbelow to show the connectionbetween the musical and technical parameters of bellchimingpractices, inwhichdifferencesaredefinedaccording to the relationbetweenthenumberofperformersandthenumberofbells,aswellas themethodofperforming (i.e.,withhammers,directlywith theclappers,orusinglevers).MusicalandtechnicalcharacteristicsofselectedexamplesIn Slovenia, onemost often comes across bellchimingpractices inwhichthenumberofbellsisthesameasthenumberofperformers.The usual number of bells in Slovenian bell towers is three. Thisresults ina specific formationofbellchiming tunes in termsof themusical structure. Individual strikesonbellsaredivided intomainstrikesandresponsestrikes(strikesthatrespondtothemainstrikesandbuildthebasicthematicunitofatunetogetherwiththem),and thickening strikes (strikes filling in the gap between themainandresponsestrikes,andaremostoftenperformedinasyncopatedrhythmonthesmallestbell).Anindividualperformsarhythmicpart(madeofoneorseveralstrikes)thatdoesnotrepresentindependentmusicalmaterial in itself;bellchimersonlycreateacomprehensivechimed tunewith the rhythmically coordinatedperformance of alltheparticipants.Thistypeoftechniqueiscalledinterlockingandcanalso be found in certain other world musical practices (e.g., thekotekantechniqueusedbytheBaligamelans).33

Figure5:AnexampleofmusicalnotationofSlovenianbellchiming(Dva,tirikrona,Tolmin,15August,2007,Prim.)34

33Seeexample2:VideofootageofSloveniantechniquepritrkavanje(Dva,tirikrona,Tolmin,15August,2007,Prim.)

34Thenotesinthenotationsthusdenoteanindividualroleofastrikeandnotthetruepitchanddurationofatone.Themainstrikescomeonthefirstbeats inabarandarenotated

MojcaKovai

118

In Germany (specifically, in the Rhine Valley), there were morefrequent examples inwhichonlyoneor twoperformers chime the(usually three) bells, although there were sufficient bell chimersavailable.Inthisway,therolesofstrikesaredividedintotwoparts:(1)thelargerbellplaysthemainrole,whereasrhythmicpatternsareperformedonthesmallertwobellsinarandomorder(inRheinbrohltheseareperformedon theMelodieglocken35);or (2) themain tune isperformedonthetwolargerbellsandthethirdbellchimerthatplaysthe smallestbellassumes the roleof thickeningandornamentation(Example4).

Figure6:ExampleofmusicalnotationofGermantechniqueBeiern(DerDurcheinander,Brenig,7April,2007,Rheinland,Germany)

withaquarternotewiththestemfacingdown;theresponsestrikesarealsonotatedwithquarternoteswith stems facingdown;and thickening isnotatedwitheighthnoteswithstemsfacingup.

35 See example 3: Video footage of German technique Bammschlagen (Die Grosse Bemm,Rheinbrohl,9April,2007,Rheinland,Germany)

TheUseoftheChurchBell

119

InCroatia (Dalmatia), themajorityof churcheshave twobells andthus thebell chiming is considerablymore rhythmic.There isonlyonebellchimer,whichiswhyhehascompletefreedominselectingtherhythmicpatterns:36

Figure7:ExampleofmusicalnotationofCroatiantechniqueluncijanje(theislandofman,1November2006,Zadarregion,Croatia)InSlovenia,bellchimersuse the tonalspecificsofabell if therearetoofewbellsavailableandproducedifferentpitchesbystrikingthehammeragainstdifferentpartsofthebell.Thisbellchimingtechnique isvery interesting from an ethnomusicologicalperspectivebecause it produces a unique musical construct; however, from theviewpointofcampanology,thistechniqueisextremelydamagingtothebellmetalanditcausesmanybellstocrackorchipattheedges.37Whenthereisalargernumberofbells,thetendencytoplaymelodicallyprevailsover rhythmicperformance. In thiscase,bellchimersusually copy themelodicmodelsof songsand instrumentalpieces(as incarillonmethod). Ifonlyonebellchimerperformsonseveralbells,hemustuseawellthoughtoutsystemoflevers,whichactivatethestrikeofaclapperagainstthesoundbow.InItalythisisknownas a cordette technique; the bells in this case are smaller and thuseasier to man, and the musical structure they produce is moremelodic.38

36 See example 4: Video footage of Croatian technique luncijanje (the island of man, 1November,2006,Zadarregion,Croatia).

37Seeexample5:Videofootageofbellchimingwithhammers.38Despite the smallernumberofbells inSlovenianbell towers,one canobserve thatbellchimersleantowardscreatingamelodictunewhenthetuningofthebellsremindsthemofan introductory sequenceofanother tuneorwhen a largernumberofbells is available(e.g.,morethanthree).Seeexample6:VideofootageofItaliantechniqueacordette(Chiari,29April,2007,Lombardy,Italy).

MojcaKovai

120

Giventheabundanceofvariousmethodsofcreatingbellchimingtunes,andbellchimingtechniques,Iamnotabletostudyallofthemandthusdevelopamorecompleteunderstandingofindividualspecific featuresof thebellchiming techniques. Iampleasantlysurprisedby the resourcefulness ofbellchimers and thegreatvariety ofmusicalexpressionsonaninstrumentthatgenerallyproducessofewnotes,butwouldliketoestablishbettercooperationwithresearchersfrom other countries,whichwould bring together all the findingsand create a commonEuropean culturalhistory of themethods ofusingbells.

TheUseoftheChurchBell

121

ReferencesBarbarossa,Cristina (2006):Campane e campanari nella Liguria di levante.Chiavari,GraficaPiemme.Bartmann,Manfred(1991):DasBeiernderGlocken inderGrafschaftBentheim,Denekamp(NL)undOstfriesland.BewegungundKlang.Ludwigsburg,PhilippVerlag.Bartmann,Manfred (2004):DasGlockenschlagenaufElHierroals integrierterBestandteilderinseltypischenProzessionsmusik.Studiainstrumentorummusicaepopularis12:109124.Bringus,NilsArvind (1958):Klockringningsseden iSverige.LundandStockholm,Nordiskamuseet.Bursch Achim (2008): Essai sur la copte campanaire en Europe occidentale. Le BulletinCampanaire(AssociationCampanaireWallone)53(1):2735.Dring,Alois(1988):GlockenbeierninRheinland.Cologne,RheinlandVerlag.GuildedescarillonneursetcampanologuesSuisses[s.a.],http://www.geocities.com/swisscarillon/Comite.html.Retrieved6February2009.Harrison, Daniel (2002): Tooling Time. Music Theory Online. The Online Journal of theSociety for Music Theory, http://societymusictheory.org/mto/index. html. Retrieved 12February2009.Jeauneau,douard(2000):LgedordescolesdeChartres.Chartres,ditionsHouvet.

Krestan. Michael (2001): Das russische Glockengelute und sein Einfluss auf die KunstmusikRusslandsim19.und20.Jahrhundert.Diskordanzen9:2930.Lehr, Andr (1998): Glocken und Glockenspiele (Geschicht ab Mittelalter). Die Musik inGeschichteundGegenwart:AllgemeineEnzyklopdiederMusik,vol.3.Llop i Bayo, Francesco (1998): Bells in Spain: Restoration, Research and New Ensembles ofBellringers. Campaners de la Catedral de Valencia, http://campaners.com/php/textos.php?text=1044.Retrieved7February2009.Morris,Ernest(1951):BellsofAllNations.London,RobertHale.Padovani,Matteo (20072008): Il sistemaAmbrosiano,http://www.campanologia.org/pag/sistemaambrosiano.htm.Retrieved:8December2008.Price,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress.

MojcaKovai

122

Ryan, Justin (20002008): The Carillon. University of Denver, Center for Teaching &Learning,https://portfolio.du.edu/pc/port2?page=3&uid=12598.Retrieved8December2008.Suoni di cempane.Raccolta dei sistemi di suono traditionali italiani ed europei (2004).Bologna,GruppoCampanariPadreStanislaoMattei.Was ist ein Carillon (Turmglockenspiel)? (20022008): Deutsche Glockenspielvereinigung,http://www.glockenspielvereinigung.de/.Retrieved10March2009.Listofvideofootage:Example1:VideofootageoftheItaliantechniqueSistemaBologneseExample2:VideofootageofSloveniantechniquepritrkavanjeExample3:VideofootageofGermantechniqueBammschlagenExample4:VideofootageofCroatiantechniqueluncijanjeExample5:VideofootageofbellchimingwithhammersExample6:VideofootageofItaliantechniqueacordette