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Journal articles on the topic 'Bell music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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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

Zhang, Leyu. "Acoustic Design of Elliptical Bells for Chime Sound Simulation." Highlights in Science, Engineering and Technology 72 (December 15, 2023): 1378–94. http://dx.doi.org/10.54097/kefdrw59.

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This project seeks to unravel the opulent acoustical characteristics and sonic effects of ancient Chinese chime bells. Initially, distinctive features of the chime bells are encapsulated, highlighting the bifonic phenomenon and elucidating the role of fundamental and harmonic frequencies in chime bell sound production, while emphasizing the timbral diversity attributable to its multifrequency sound source. An exploration into the impacts of various factors on chime bell sound, such striking position, is conducted through experimentation with a bronze chime bell model, underscoring their significant influence. Employing experimental modal analysis methods, vibrational modes of the chime bell surface at disparate frequencies are revealed, laying a foundation for understanding the sound production principles. Furthermore, image processing technologies are utilized to construct a 3D model of the chime bell, and finite element modal analysis methods are applied to visualize its modes. The feasibility of using a circular ring to simulate chime bell sound is explored, identifying the elliptical ring as a more promising option and undergoing numerous rounds of iterative optimization. The theoretical research is brought to fruition by manufacturing a cast iron elliptical ring model for striking experiments, thereby validating the theoretical insights. In summation, this research provides a comprehensive and systematic exploration into the acoustical mechanisms and design principles of chime bells, offering invaluable insights into ancient Chinese music and cultural heritage. The multi-faceted and rich nature of chime bells as musical instruments is unveiled through the integrated application of various methods, deepening the understanding of their acoustical characteristics.

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4

Bell, Adam Patrick, and Leila Adu-Gilmore. "Appropriately eclectic: Music technology and popular music education." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 235–39. http://dx.doi.org/10.1386/jpme_00124_2.

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Editors of the Special Issue on music technology and popular music education, adam patrick bell and Leila Adu-Gilmore, discuss the impact of the COVID-19 pandemic and the murder of George Floyd on global society to contextualize the period in which the articles in the issue were written. They suggest that popular music education can be a vehicle to examine inclusive musical practices. bell and Adu-Gilmore detail that in their original call for papers they wanted to avoid defining the term ‘music technology’ with the hope that authors would interpret and define music technology in diverse and/or new ways. They remark that the Special Issue is appropriately eclectic and reflective of how music technology is perceived and practised at present in popular music education contexts, and then provide a brief overview of the seven articles that comprise the Special Issue.

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5

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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6

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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7

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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8

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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9

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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10

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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Sapozhnikova, Kseniia, and Roald Taymanov. "Acoustic Riddles of Cultural Heritage." Digital Presentation and Preservation of Cultural and Scientific Heritage 1 (September 30, 2011): 79–90. http://dx.doi.org/10.55630/dipp.2011.1.9.

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It is shown, that in the process of evolution, a relationship between some hidden parameters of acoustic signals and expected emotional response to them has been formed. This relationship is a necessary condition for a living creature to survive. The efficiency of the concept represented is illustrated using examples from the field of classical music, ethnic African music, as well as biolinguistic signals of animals. Reasons of a particular impact of bell rings are analyzed using acoustic signals of some Bulgarian and Russian bell rings and chimes.

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12

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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13

G'Froerer, Callum. "WEAVING AN EXPANDED SONIC PRACTICE: PROPOSING A TEXTILIC SONIC METHOD." Tempo 77, no. 306 (September 1, 2023): 7–21. http://dx.doi.org/10.1017/s0040298223000311.

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AbstractThis article discusses the way textile metaphors can act as catalysts for reflection in my practice as a trumpet performer and composer. Metaphors such as ‘fibre’, ‘spin’, ‘yarn’, ‘ply’, ‘weave’, ‘loom’, ‘drape’ and ‘felt’ are engaged as lenses through which the dynamic, contingent and tailorable interactions are made between sonic and extra-sonic elements in my expanded practice. The metaphors are engaged to shape instrumental techniques, improvisation, form, audiovisual media, physicality and spatial design. In this article, I describe how I developed my own expanded sonic practice by using Tim Ingold's concept of ‘textility’, expressed as a Textile Sonic Method (TSM). I demonstrate the application of this method using a subset of textile metaphors as the basis for the development of new double-bell trumpet techniques and applications in a range of compositions: Gradient (2020–23), for double-bell trumpet, live video and sound processing, co-composed with Olivia Davies and Nick Roux; Untitled (2021), for double-bell trumpet, portative organ and electronics, co-composed with James Rushford; and my own work Charcoal VI (2017), for spatialised, amplified double-bell trumpet. This article outlines the potential for the application of metaphor as a creative catalyst in an expanded sonic practice.

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14

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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15

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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16

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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17

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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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

Liu, Hui, Kun Jiang, Hugo Gamboa, Tingting Xue, and Tanja Schultz. "Bell Shape Embodying Zhongyong: The Pitch Histogram of Traditional Chinese Anhemitonic Pentatonic Folk Songs." Applied Sciences 12, no. 16 (August 20, 2022): 8343. http://dx.doi.org/10.3390/app12168343.

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As an essential subset of Chinese music, traditional Chinese folk songs frequently apply the anhemitonic pentatonic scale. In music education and demonstration, the Chinese anhemitonic pentatonic mode is usually introduced theoretically, supplemented by music appreciation, and a non-Chinese-speaking audience often lacks a perceptual understanding. We discovered that traditional Chinese anhemitonic pentatonic folk songs could be identified intuitively according to their distinctive bell-shaped pitch distribution in different types of pitch histograms, reflecting the Chinese characteristics of Zhongyong (the doctrine of the mean). Applying pitch distribution to the demonstration of the Chinese anhemitonic pentatonic folk songs, exemplified by a considerable number of instances, allows the audience to understand the culture behind the music from a new perspective by creating an auditory and visual association. We have also made preliminary attempts to feature and model the observations and implemented pilot classifiers to provide references for machine learning in music information retrieval (MIR). To the best of our knowledge, this article is the first MIR study to use various pitch histograms on traditional Chinese anhemitonic pentatonic folk songs, demonstrating that, based on cultural understanding, lightweight statistical approaches can progress cultural diversity in music education, computational musicology, and MIR.

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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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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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22

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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23

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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24

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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25

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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26

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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27

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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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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Cerny, Valerie. "Word Like A Bell: John Keats, Music and The Romantic Poet." Nineteenth Century Studies 8, no. 1 (January 1, 1994): 133–34. http://dx.doi.org/10.2307/45196746.

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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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Cerny, Valerie. "Word Like A Bell: John Keats, Music and The Romantic Poet." Nineteenth Century Studies 8, no. 1 (January 1, 1994): 133–34. http://dx.doi.org/10.2307/ninecentstud.8.1994.0133.

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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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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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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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35

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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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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bell, adam patrick, Jason Dasent, and Gift Tshuma. "Disabled and Racialized Musicians: Experiences and Epistemologies." Action, Criticism, and Theory for Music Education 21, no. 2 (September 2022): 17–56. http://dx.doi.org/10.22176/act21.2.17.

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Drawing on DisCrit—disability studies and critical race theory (Annamma, Ferri, and Connor 2013) and Beaudry’s (2020) framework for accounts of disability, we (the authors) examine the lived experiences of Jason and Gift as disabled and racialized musicians. Echoing the DisCrit maxim that ableism and racism are intertwined, we assert that, like disability studies in general, disability research in music education is characterized by unmarked whiteness (Bell 2006, 2011). As a result, disability research in music education has a deep deficit of epistemologies of disabled and racialized people. To address this issue, we adhere to the fourth tenet of DisCrit by centering the perspectives of disabled and racialized people, presenting the experiences of Jason and Gift with music teaching and learning in the form of conversational interviews.

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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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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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Lines, David, and Daniela Bartels. "Opening Up to the Unexpected: Reclaiming Emotion and Power in the Public Space of Music Education." Philosophy of Music Education Review 31, no. 2 (September 2023): 155–69. http://dx.doi.org/10.2979/philmusieducrevi.31.2.05.

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Abstract: Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction.

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Lines, David, and Daniela Bartels. "Opening Up to the Unexpected: Reclaiming Emotion and Power in the Public Space of Music Education." Philosophy of Music Education Review 31, no. 2 (September 2023): 155–69. http://dx.doi.org/10.2979/pme.2023.a909308.

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Abstract: Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction.

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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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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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Jeong, Youngsun. "Instructions for the Creative Activity of 'Making Class Bell' Using Traditional Korean Instrument Tones from the National Gugak Center's Gugak Digital Source." National Gugak Center 48 (October 31, 2023): 249–79. http://dx.doi.org/10.29028/jngc.2023.48.249.

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This study devises a method for instructing the creative activity of 'Making Class Bells' using the tone of Korean traditional instruments from the gugak (Korean traditional music) digital sound source provided by the National Gugak Center. First, as a result of reviewing the aspects of gugak creation content included in the 2015 revised middle school music textbook, there were no creative activities utilizing the tones of gugak instruments. Based on the reviewed contents, an instruction plan of the creative activity using the tone of gugak instruments consists of four steps: the step of exploring gugak instruments, the step of distinguishing the tones of gugak instruments, the step of utilizing the tones of gugak instruments, and the step of submitting what they created. Following these steps, the creative activity of 'Making Class Bell', made up of eight classes, was applied to the first-year middle school students in Seocho-gu, Seoul. The first result is that students were able to experience the tone of gugak instruments and further the harmony of sound. Second, they were able to practice gugak in their life. Third, this activity shows that the gugak creative education using digital media can become active. Fourth, they can enjoy various gugak instruments. Fifth, they can develop their creativity through the composition activity.

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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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Usova, Ganna. "XIV National Music Award “Golden bell” (China). Victory of the Ukrainian vocal school." UKRAINE. EUROPE. WORLD. HISTORY AND NAMES IN CULTURAL AND ARTISTIC REFLECTIONS, no. 6 (June 30, 2023): 324–29. http://dx.doi.org/10.31318/2786-8877.6.2023.291430.

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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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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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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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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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