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Journal articles on the topic 'Bell music'

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Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Kieffer, Alexandra. "Bells and the Problem of Realism in Ravel’s Early Piano Music." Journal of Musicology 34, no. 3 (2017): 432–72. http://dx.doi.org/10.1525/jm.2017.34.3.432.

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Early in his career Maurice Ravel composed two pieces that take bells as their subject: “Entre Cloches” from Sites auriculaires, composed in 1897, and “La vallée des cloches,” the final movement of the 1905 work Miroirs. Although these pieces can be contextualized within a nineteenth-century lineage of French piano pieces that depict bell peals, they also set themselves apart by virtue of their heightened attention to the particularities of bell sonorities. Relying heavily on repetitive ostinato patterns, quartal harmonies, and intense dissonances, these pieces play in the nebulous space between transcription and composition. Ravel’s experimentation with bell sonorities in his piano music can be understood in relation to a broader discourse surrounding the sound of bells in nineteenth-century France. A complex sonic object, bell resonance lent itself to different modes of listening: the harmoniousness of bell peals was a common refrain among romantic poets, Catholic clergy, and campanarian historians, but toward the end of the century it became increasingly common for physicists and popular-science publications to complain that bells were inherently discordant. In this context Ravel’s depictions of bells in “Entre cloches” and “La vallée des cloches” suggest a shift in the place of musical listening in nineteenth- and early twentieth-century cultures of aurality. Ravel’s musical listening entailed heightened attentiveness to the empirical qualities of non-musical sound; his pieces negotiate in new ways the boundary between musical composition and the protean sonic world outside of music. This reorientation of musical listening participates in a broader questioning by early twentieth-century modernists of the nature of music and its sonic material.

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2

Lehr, André. "III. From Theory to Practice." Music Perception 4, no. 3 (1987): 267–80. http://dx.doi.org/10.2307/40285370.

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Modern digital computation techniques have made it possible to compute a base profile for a bell so that it will have some particular, predetermined eigenfrequencies. Practice has shown that with a combination of these modern techniques and the traditional skills of an experienced bell founder, a carillon bell can be made that contains an unconventional "major-third" partial and is in other respects at least as well-tuned as traditional carillon bells of high quality. An experimental movable carillon with 47 major-third bells was built and was found to be aurally quite distinguishable from a conventional carillon of comparable size. Criticizm on this new instrument comes mostly from professional carillonneurs, whereas other musicians or nonmusicians react generally in a positive way.

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3

Studwell, William E. "From “Jingle Bells” to “Jingle Bell Rock”." Music Reference Services Quarterly 5, no. 1 (September 20, 1996): 1–20. http://dx.doi.org/10.1300/j116v05n01_01.

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4

Campbell, Patricia Shehan. "Bell Yung on Music of China." Music Educators Journal 81, no. 5 (March 1995): 39–46. http://dx.doi.org/10.2307/3398855.

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5

Halsted, Margo. "Tower bell music through the centuries." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3073. http://dx.doi.org/10.1121/1.419289.

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6

LEE, M. OWEN. "Quarterly Quiz Bell-Shaped Tones." Opera Quarterly 10, no. 4 (1994): 91–94. http://dx.doi.org/10.1093/oq/10.4.91.

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7

Schoofs, A., F. Van Asperen, P. Maas, and A. Lehr. "I. Computation of Bell Profiles Using Structural Optimization." Music Perception 4, no. 3 (1987): 245–54. http://dx.doi.org/10.2307/40285368.

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This article describes the design of the profile for a major-third bell using structural optimization strategies. First a sequential linear programming method was used to find a prototype of the bell. The necessary analyses were done using the finite element method. Next, a fast analysis model was derived by numerical experimental design techniques. This analysis model led to the final geometry of the major-third bell.

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8

ILCHUK, LINA. "CONTENTS OF METHODICAL TRAINING OF FUTURE TEACHERS-MUSICIANS FOR THE USE OF BELL RINGING MEANS IN PROFESSIONAL ACTIVITY." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 2 (April 6, 2021): 60–69. http://dx.doi.org/10.25128/2415-3605.20.2.9.

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The urgency of improving the professional training of future music teachers in connection with the growing public demand for the professional qualities of teachers is substantiated. It is established that the teacher’s search for a new content of education, in particular among ethnopedagogical bell ringing means, the use of non-traditional methods and forms of teaching will promote creative development of an individual, the formation of value attitude to the traditions and customs of his/her nation. The necessity of formation of methodical readiness of future teachers-musicians for the use of bell-ringing means in professional activity is defined. The development of students’ motives for studying bell ringing will be more effective by directing the educational process of art and pedagogical faculties to the development of future music teachers’ bell ringing competencies. The purpose of the article is to highlight the author’s contribution to the content of academic disciplines included in the cycle of professional training of future music teachers, information about bell ringing, as well as to present the methodological content of lectures and practical classes. Among the vectors of innovative adjustments, making changes to the work programs of educational components, the organization of independent extracurricular activities of music students have been defined. The author’s system of semantic additions to the disciplines of the professional cycle of training future teachers of music has been presented. Instructional and methodical materials for lectures, seminars and practical classes, organization of independent work have been developed. The practical value of the paper lies in the presentation of creative, didactic tasks that will contribute to the formation of students’ skills and abilities to use the bell-ringing means in professional activities. Cognitive and research work, excursions, expedition and on field collection of materials about bell-ringing of the region, production of photomontages, slide compositions, video materials, presentations of the developed creative projects have been suggested as extracurricular forms of work. Thus, the introduction of bell-ringing material in the normative and practical component of higher education will make it possible to eliminate contradictions between students’ acquisition of theoretical knowledge and their practical application.

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9

Irving, David R. M. "‘For whom the bell tolls’: Listening and its Implications." Journal of the Royal Musical Association 135, S1 (2010): 19–24. http://dx.doi.org/10.1080/02690400903414798.

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ABSTRACTThis response highlights the cultural specificity of the ‘work-concept’ and questions the tripartite scheme of listening proposed by John Butt. It offers an alternative set of listening categories, and makes reference to the issues of early-modern class structures and the role of music in religious devotions. The argument is supported by critiques of historical vignettes that include the story of Wolfgang Amadeus Mozart's transcription of Gregorio Allegri's Miserere and Jean Joseph Marie Amiot's demonstration of French music to a Chinese audience in the mid-eighteenth century.

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10

Gibbs, Alan. "The Music of Jane Joseph." Tempo, no. 209 (July 1999): 14–18. http://dx.doi.org/10.1017/s0040298200014637.

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In a photograph reproduced in A Scrap-book for the Holst Birthplace Museum, the leading lights of the 1928 Whitsun Festival at Canterbury Cathedral are pictured. Posing in the sunshine after a performance of The Coming of Christ, Masefield's modern mystery play with music by Gustav Holst, are 30-odd participants with the Dean, Dr George Bell, and Holst in the centre. Between Holst and Mrs Bell, and taller than either, sits an efficient-looking lady in her early thirties, clearly of some importance to the festival. This was Jane Marian Joseph, who first came under Holst's spell as a pupil at St Paul's Girls' School and had gone on to act out the principles for which he stood, not least in her meticulous organization of these festivals, and as a composer. After her untimely death, he was to describe her as ‘the best girl pupil I ever had’ in an assessment of her compositions.

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11

Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (July 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).

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12

Doornbusch, Paul. "Early Computer Music Experiments in Australia and England." Organised Sound 22, no. 2 (July 12, 2017): 297–307. http://dx.doi.org/10.1017/s1355771817000206.

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This article documents the early experiments in both Australia and England to make a computer play music. The experiments in England with the Ferranti Mark 1 and the Pilot ACE (practically undocumented at the writing of this article) and those in Australia with CSIRAC (Council for Scientific and Industrial Research Automatic Computer) are the oldest known examples of using a computer to play music. Significantly, they occurred some six years before the experiments at Bell Labs in the USA. Furthermore, the computers played music in real time. These developments were important, and despite not directly leading to later highly significant developments such as those at Bell Labs under the direction of Max Mathews, these forward-thinking developments in England and Australia show a history of computing machines being used musically since the earliest development of those machines.1

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13

JIMBO, Yuki, and Tadahiko FUKUDA. "Study on the structures and psychological effects of bell music." Japanese journal of ergonomics 33, no. 5 (1997): 281–88. http://dx.doi.org/10.5100/jje.33.281.

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14

Yoshikawa, Shigeru, and Takafumi Narita. "The Sagrada Familia Cathedral where Gaudi envisaged his bell music." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2529. http://dx.doi.org/10.1121/1.4783380.

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15

Nzewi, O'dyke. "The Technology and Music of the Nigerian Igbo Ogene Anuka Bell Orchestra." Leonardo Music Journal 10 (December 2000): 25–31. http://dx.doi.org/10.1162/096112100570576.

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The author discusses the Nigerian Igbo Ogene Anuka music style, a complex form using iron bells of the same name. The article addresses the form and content of the music as developed and modified by its master practitioners. The author then investigates the technical processes involved in achieving the distinctive sound quality of the bells-processes in which musical considerations interact significantly.

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16

Hannan, Calder. "Ghostly longing: Tonality as grieving in Bell Witch’s Mirror Reaper." Metal Music Studies 7, no. 2 (June 1, 2021): 277–97. http://dx.doi.org/10.1386/mms_00049_1.

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Mirror Reaper, by the funeral doom metal band Bell Witch, is an immense 83-minute composition in which tonal organization plays an essential role in enhancing and creating meaning. Little analytical attention has been paid to doom metal; armed with a flexible conception of theories of tonal harmony and my full transcription of the album, I show that slow, repetitive music and rich engagement with musical details are not mutually exclusive. I present an analysis in which the tonal drama centres around slowly shifting bass support for a persistent melody F natural. At first, this F appears as a dissonant ninth over an E♭, then as a hollow fifth above a B♭ and finally as a consonant major third above D♭. I understand this progression as a sonic analogue for the grieving process that, according to interviews with the band, is the album’s main focus.

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17

Cook, Scott. "Technology in a New Key: Toward a Reexamination of Musical Theory and Practice in the Zeng Hou Yi 曾侯乙 Bells." T’oung Pao 106, no. 3-4 (September 4, 2020): 219–65. http://dx.doi.org/10.1163/15685322-10634p01.

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Abstract This paper takes a fresh look at music-theoretical information to be gleaned from a comparison of pitch-frequency measurements to inscriptional information from the massive bronze bell-set excavated from the tomb of Marquis Yi of Zeng and attempts to place it in the context of knowledge derived from received texts of Warring States China. After examining several textual witnesses to conceptions of music theory from that era, the paper observes how similar conceptions may have informed the inscribers of the Zeng bells, who employed a system of nomenclature that diverged in subtle yet important ways from formulations of their philosophical counterparts. The final two sections explore possible implications of the bells’ relatively unique terminology from the standpoints of scale structures and musical temperament, respectively, looking for consistent patterns of tone-to-key distributions and clues to the possible deployment of a system of intonation designed to temper the twelve-tone gamut.

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18

Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.

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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.

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19

McMahan, Robert Young. "A Brief History of The Sunken Bell, Carl Ruggles's Unfinished Opera." American Music 11, no. 2 (1993): 131. http://dx.doi.org/10.2307/3052552.

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20

Davis, Norma S., and John A. Minahan. "Word like a Bell: John Keats, Music and the Romantic Poet." Rocky Mountain Review of Language and Literature 46, no. 4 (1992): 243. http://dx.doi.org/10.2307/1347144.

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21

Wilson, Matthew, and John A. Minahan. "Words like a Bell: John Keats, Music, and the Romantic Poet." Notes 50, no. 1 (September 1993): 193. http://dx.doi.org/10.2307/898747.

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22

Mettler, Darlene D., and John A. Minahan. "Word like a Bell: John Keats, Music, and the Romantic Poet." South Atlantic Review 58, no. 1 (January 1993): 148. http://dx.doi.org/10.2307/3201122.

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23

Dostal, Jack. "A carillon bell laboratory in an introductory physics of music class." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4019. http://dx.doi.org/10.1121/1.4830673.

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24

Rishoi, N. "Joan Sutherland: The Complete "Bell Telephone Hour" Performances Volumes One and Two." Opera Quarterly 17, no. 2 (January 1, 2001): 294–96. http://dx.doi.org/10.1093/oq/17.2.294.

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25

Gureyev, Kirill O. "Concerning the Role of Culminations in the Bell Peal Improvisation on the Example of the Music Making of the Kizhi Bell-Ringer Alexei Nesterov." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (2016): 92–98. http://dx.doi.org/10.17674/1997-0854.2016.3.092-098.

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26

BERGERON, KATHERINE. "A Bugle, A Bell, A Stroke of the Tongue: Rethinking Music in Modern French Verse." Representations 86, no. 1 (2004): 53–72. http://dx.doi.org/10.1525/rep.2004.86.1.53.

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ABSTRACT The synesthetic quality of timbre——referring to the ““color”” of an instrument or voice——held special appeal for French symbolist poets in the years before 1900. This essay explores the writings of Rimbaud and Mallarméé, as well as those of their younger disciples, to ponder the meaning of timbre, and what it might have to say about the ““music”” of French poetry. If the concept of timbre encourages us to hear a different kind of music in the poem, it also encourages us to rethink song. The essay concludes with a brief reflection on the poetic music produced by French composers of the same generation, in the form of mute and expressionless méélodies.

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27

Noll, A. Michael. "Early Digital Computer Art at Bell Telephone Laboratories, Incorporated." Leonardo 49, no. 1 (February 2016): 55–65. http://dx.doi.org/10.1162/leon_a_00830.

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This article is a history of the digital computer art and animation developed and created at Bell Telephone Laboratories, Incorporated, 1962–1968. Still and animated images in two dimensions and in stereographic pairs were created and used in investigations of aesthetic preferences, in film titles, in choreography, and in experimental artistic movies. Interactive digital computer music software was extended to the visual domain, including a real-time interactive system. Some of the artworks generated were exhibited publicly in various art venues. This article emphasizes work in digital programming. This pioneering work at Bell Labs was a significant contribution to digital art.

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28

Dorr, Laurence J. ""You'll Hear the Music in the Bell" – Stanwyn Gerald Shetler (1933–2017)." Taxon 67, no. 1 (March 6, 2018): 229–30. http://dx.doi.org/10.12705/671.34.

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29

Shimizu, Yoshihiko. "The Creative Quest into Temple Bell Sonorities: Works of Musique Concrète by Toshiro Mayuzumi." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 36–48. http://dx.doi.org/10.1080/07494467.2018.1453335.

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30

Dixon, Martin Parker. "Dwelling and the Sacralisation of the Air: A note on acousmatic music." Organised Sound 16, no. 2 (June 28, 2011): 115–19. http://dx.doi.org/10.1017/s1355771811000057.

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This paper adapts Martin Heidegger's philosophy of ‘dwelling’ in order to effect a liaison between acousmatic music and ecological concern. I propose this as an alternative to both the propagandist use of music as a means of protest and to using the science of ecology as a domain that might furnish new compositional means. I advance the interpretation that acousmatic music ‘occupies the air’ in ways that transform the meaning of that dimension. It allows the sky to be sky and the earth, earth. I use the precedent of bell ringing as an example of sonic activity that occupies the air in order to further dwelling.

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31

Bartleet, Brydie-Leigh. "How concepts of love can inform empathy and conciliation in intercultural community music contexts." International Journal of Community Music 12, no. 3 (December 1, 2019): 317–30. http://dx.doi.org/10.1386/ijcm_00003_1.

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This article explores how concepts of love, in particular compassionate love, can provide a way of promoting empathy and conciliation in intercultural community music contexts. Drawing on the work of Deborah Bird Rose and bell hooks, it considers how love is first and foremost a verb, a participatory emotion and a social practice that can both inform and underpin efforts at building connections with others through music. The article then seeks to ask two thorny and critical questions that can arise when community musicians conceptualize their intercultural music-making through the lens of love. These questions point towards the oftentimes irreconcilable complexities, cultural politics and legacies of colonization that underpin peace-building and conciliation efforts. To illustrate and unpack these ideas, the article draws on stories and experiences of a ten-year intercultural music collaboration with Warumungu and Warlpiri musicians in Central Australia.

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32

Munday, Roderick. "FISHER v BELL REVISITED: MISJUDGING THE LEGISLATIVE CRAFT." Cambridge Law Journal 72, no. 1 (March 2013): 50–64. http://dx.doi.org/10.1017/s000819731300007x.

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As students of the Law of Contract learn to their bemusement, in Fisher v Bell,1 although caught by a member of the constabulary in the most compromising circumstances, the owner of Bell's Music Shop, situate in the handsome Victorian shopping Arcade in the bustling Broadmead area of Bristol, was unsuccessfully prosecuted for offering for sale a flick knife contrary to s.1(1) of the Restriction of Offensive Weapons Act 1959. The statute penalised “any person who manufactures, sells or hires or offers for sale or hire, or lends or gives to any other person” a flick knife. Mr Bell had done all in his power to make a sale. The switchblade had been displayed in his shop window with a label that read, “Ejector knife—4s”. The police officer, who spotted the display and then took the knife away to show to his superintendent, was told by the shopkeeper that he had had other policemen in the shop inquiring about the knives. When the officer returned to tell Mr Bell that he would be prosecuted, the latter simply retorted “Fair enough.”

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33

Mercer-Taylor, Peter. "Songs from the bell jar: autonomy and resistance in the music of The Bangles." Popular Music 17, no. 2 (May 1998): 187–204. http://dx.doi.org/10.1017/s0261143000000593.

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The two passages that follow appeared within a few weeks of each other in 1963. At a glance they have little to do with one another:Between them The Beatles adopt a do-it-yourself approach from the very beginning. They write their own lyrics, design and eventually build their own instrumental backdrops and work out their own vocal arrangements. Their music is wild, pungent, hard-hitting, uninhibited…and personal. The do-it-yourself angle ensures complete originality at all stages of the production. (Barrow 1963)

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34

WINCHESTER, JAMES. "Bell Hooks, Art on My Mind: Visual Politics." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 389–90. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0389.

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35

Pearson, David. "Bell Patterns, Polyrhythms, Propulsive Subdivisions, and Semitones: The Musical Poetics of Late-1990s Cash Money Records Style." Journal of Popular Music Studies 28, no. 3 (August 8, 2016): 356–80. http://dx.doi.org/10.1111/jpms.12179.

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36

Zuckerman, Maya, Daniel A. Levy, Roni Tibon, Niv Reggev, and Anat Maril. "Does This Ring a Bell? Music-cued Retrieval of Semantic Knowledge and Metamemory Judgments." Journal of Cognitive Neuroscience 24, no. 11 (November 2012): 2155–70. http://dx.doi.org/10.1162/jocn_a_00271.

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Failed knowledge recall attempts are sometimes accompanied by a strong feeling of imminent success, giving rise to a “tip-of-the-tongue” (TOT) experience. Similar to successful retrieval (i.e., the Know state, K), a TOT commences with strong cue familiarity but involves only partial retrieval of related information. We sought to characterize the cognitive processes and temporal dynamics of these retrieval states and to extend the applicability of previous findings about TOT to the auditory modality. Participants heard 3-sec initial segments of popular songs and were asked to recall their names. EEG was recorded while participants indicated their retrieval state via button press. Stimulus-locked analyses revealed a significant early left fronto-central difference between TOT and K, at 300–550 msec postcue onset. Post hoc analysis revealed that, in this time window, TOT also differed from DK (Don't Know) responses, which themselves were similar to the K responses. This finding indicates that neural processes, which may reflect strategy selection, ease of semantic processing, familiarity-related processes, or conflict monitoring, are indicative of the fate of our knowledge judgments long before we actually execute them.

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37

Fiegel, Alexandra, Andrew Childress, Thadeus L. Beekman, and Han-Seok Seo. "Variations in Food Acceptability with Respect to Pitch, Tempo, and Volume Levels of Background Music." Multisensory Research 32, no. 4-5 (2019): 319–46. http://dx.doi.org/10.1163/22134808-20191429.

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Abstract This study aimed to determine whether pitch, tempo, and volume levels of music stimuli affect sensory perception and acceptance of foods. A traditional music piece was arranged into versions at two pitches, two tempos, and two volumes. For each session, chocolate and bell peppers were presented for consumption under three sound conditions: 1) upper or 2) lower level with respect to each of the three music elements, and 3) silence. Over three sessions, participants evaluated flavor intensity, pleasantness of flavor, texture impression, and overall impression of food samples, in addition to the pleasantness and stimulation evoked by the music stimuli. Results showed that lower-pitched and louder music stimuli increased hedonic impressions of foods compared to their respective counterparts and/or the silent condition. While the effects of music element levels on hedonic impressions differed with the type of food consumed, the participants liked the foods more when music stimuli were perceived as more pleasant and stimulating. Flavor was perceived as more intense when participants were more stimulated by the music samples. Although a specific element of music stimuli was manipulated, perceptions of other elements also varied, leading to large variations in the music-evoked pleasantness and stimulation. In conclusion, the findings provide empirical evidence that hedonic impressions of foods may be influenced by emotions evoked by music selections varying in music element levels, but it should be also noted that the influences were food-dependent and not pronounced.

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38

Fugler, Paul. "John Taverner: Five-Part Masses. Ed. Hugh Benham. Early English Church Music 36. London: Stainer and Bell, 1990." Plainsong and Medieval Music 1, no. 1 (April 1992): 106–7. http://dx.doi.org/10.1017/s0961137100000346.

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39

WOLLSTON, SILAS. "WILLIAM CROFT, COMPLETE CHAMBER MUSIC ED. H. DIACK JOHNSTONE Musica Britannica 88London: Stainer and Bell, 2009 pp. xxxvii + 104, isbn978 0 85249 899 6." Eighteenth Century Music 7, no. 2 (July 30, 2010): 295–97. http://dx.doi.org/10.1017/s1478570610000151.

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40

Henry, Jasmine A. "Dawn of the DAW: The Studio as Musical Instrument. By Adam Patrick Bell. New York: Oxford University Press, 2018." Journal of the Society for American Music 15, no. 2 (May 2021): 252–55. http://dx.doi.org/10.1017/s1752196321000079.

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41

Davis, Stephen K. "One Man's Music: The Life and Times of Texas Songwriter Vince Bell (review)." Southwestern Historical Quarterly 113, no. 4 (2010): 555–56. http://dx.doi.org/10.1353/swh.2010.0031.

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42

Kane, Carolyn L. "Digital Art and Experimental Color Systems at Bell Laboratories, 1965–1984: Restoring Interdisciplinary Innovations to Media History." Leonardo 43, no. 1 (February 2010): 53–58. http://dx.doi.org/10.1162/leon.2010.43.1.53.

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AT&T's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts.

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43

Hisama, E. M. "Understanding Charles Seeger, Pioneer in American Musicology. Edited by Bell Yung and Helen Rees. Urbana: University of Illinois Press, 1999." Music Theory Spectrum 24, no. 1 (March 1, 2002): 142–49. http://dx.doi.org/10.1093/mts/24.1.142.

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Odam, George. "Projects: A Course in Musical Composition by Patric Standford. London: Stainer & Bell, 1992. £8.50, 392 pp." British Journal of Music Education 10, no. 3 (November 1993): 274–75. http://dx.doi.org/10.1017/s0265051700001844.

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AGAWU, KOFI. "Structural Analysis or Cultural Analysis? Competing Perspectives on the “Standard Pattern” of West African Rhythm." Journal of the American Musicological Society 59, no. 1 (2006): 1–46. http://dx.doi.org/10.1525/jams.2006.59.1.1.

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Abstract Polyrhythmic dance compositions from West Africa typically feature an ostinato bell pattern known as a time line. Timbrally distinct, asymmetrical in structure, and aurally prominent, time lines have drawn comment from scholars as keys to understanding African rhythm. This article focuses on the best known and most widely distributed of these, the so-called standard pattern, a seven-stroke figure spanning twelve eighth notes and disposed durationally as <2212221>. Observations about structure (including its internal dynamic, metrical potential, and rotational properties) are juxtaposed with a putative African-cultural understanding (inferred from the firm place of dance in the culture, patterns of verbal discourse, and a broad set of social values) in order to further illuminate the nature of African rhythm, foster dialogue between structural and cultural perspectives, and thereby contribute implicitly to the methodology of cross-cultural analysis.

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Cork, Conrad. "Creative Jazz Education by Richard Michael and Scott Stroman. London: Stainer and Bell, 1990. £12.55, 118 pp + cassette." British Journal of Music Education 8, no. 2 (July 1991): 188–89. http://dx.doi.org/10.1017/s0265051700008329.

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Le Covec, Mathilde, Carla Aimé, and Dalila Bovet. "Combinatory sound object play in cockatiels: a forerunner of music?" Behaviour 156, no. 5-8 (2019): 595–617. http://dx.doi.org/10.1163/1568539x-00003551.

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Abstract An interest in producing sounds during play behaviour might be a forerunner for music. Thus, we explored object play behaviour involving sounds in cockatiels (Nymphicus hollandicus). We provided them with several objects producing sounds and recorded sound production, spontaneous warbles and drumming during breeding, pre- and post-breeding. Birds manipulated the objects in a playful way. They manipulated them less during breeding than during pre- and post-breeding, but the proportion of manipulations producing sounds were higher during post-breeding and breeding than during pre-breeding. Males manipulated the objects more frequently and produced more sounds than females. Youngsters manipulated the objects more than adults. One bird repeatedly put a bell on a xylophone; we discuss several possible explanations for the behaviour, including tool use. Only males warbled and drummed, and during breeding only. Our results suggest an enriching effect of the objects on the birds. Many aspects of musicality remain to be studied.

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GIRDHAM, JANE. "STEPHEN STORACE, GLI EQUIVOCI ED. RICHARD PLATTMusica Britannica 86 London: Stainer and Bell, 2007 pp. li + 402, isbn978 0 85249 887 3." Eighteenth Century Music 6, no. 2 (August 3, 2009): 280–83. http://dx.doi.org/10.1017/s1478570609990194.

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Campbell, Duncan. "The Last of China's Literati: The Music, Poetry, and Life of Tsar Teh-Yun. Bell Yung." China Journal 62 (July 2009): 140–42. http://dx.doi.org/10.1086/tcj.62.20648123.

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Colannino, Justin, Francisco Gómez, and Godfried T. Toussaint. "Analysis of Emergent Beat-Class Sets in Steve Reich's "Clapping Music" and the Yoruba Bell Timeline." Perspectives of New Music 47, no. 1 (2009): 111–34. http://dx.doi.org/10.1353/pnm.2009.0014.

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