MojcaKovai

TheUseoftheChurchBell:FromSignalingDeviceto
Musical(Percussion)Instrument

Thefirstuseofbellsformusical1purposeswasrecordedin1,000BC
inChina.Theyusedstationarybellsthathungonaframeworkand
used hammers to play them. They soon developed a standard bell
tuning, and in the fifth century BC bells were part of the Chinese
national orchestra, which played at Confucian rituals. In medieval
Europe, two methods of bell ringing were distinguished: pulsare, in
which hammers were struck against the bells, and nollare, in which
sound wasproducedwithaclapper struckagainst the soundbow2.
The pulsare technique was performed on an instrument known as
cymbala3 in medieval Latin: a set of small bells played using ham
mers. These bells were used by monks during church services and
for teaching music, in which this instrument was an excellent me
diumfordemonstratingtherelationshipsbetweenpitchesandnum
bers4.AdepictionofthesebellsintheinitialfromPsalm80showing
KingDavidplayingthecymbalawithhammerswaswellknownand
frequently used. From the twelfth century there is also the first
depictionofawomanplayingthebells:thereisacarvedstonefigure
ofawomanplayingthebellsatChartresCathedral,France.5
The first bells used for signaling the worship service were small.
Larger forms of bells, which, as tower instruments, became part of
Europeanbelltowers,begandevelopingfromthefourteenthcentury
onwards.Atthattime,bellmakersalsobeganseekingbetteracoustic
propertiesfortheinstrument(i.e.,changingthebellsprofileinorder
to gain as many partials as possible) and intervallic tuning of the
bells hanging in one bell tower also developed. In tuning the bells,
oneoftheconditionsformakingmusicwasfulfilled;theonlything
that remained was to rhythmically organize the bell sound. This
couldnotbeachievedthroughordinarybellringingbecausethebells
Thefunctionofbellsisdividedintofourgroups:apotropaic,signaling,ritual,andmusical
(cf.Lehr,citedin:Finscher1998:1421).Thesefunctionsareoftencombined.
2SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:190.
3IsidoreofSeville(diedin636)andHonoriusofCanterbury(diedin653)listedcymbalaand
the tintinnabulum (hand bells with clappers) among the most frequently used musical
instrumentsofthattime(Price1983:184).
4SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:188.
5FortheimageexampleseedouardJeauneau,LgedordescolesdeChartres,2000,p.69.
1

MojcaKovai

move with different velocity: the smaller ones move faster, and the
larger ones more slowly. Therefore, even today the signaling funct
ionremainstheprimaryfunctionofbellringing.However,thereare
examples in England (known as change ringing method) and some
placesinItalyinwhichthevelocityofthebellswingsinmanualbell
ringingiscontrolledbystoppingthebellintheupperposition6,thus
achieving the desired rhythmic harmony of the ringing bells.7 This
type of bell ringing (called balanced bell ringing) was once also
typicalofthemanualbellringinginSlovenianchurches;however,in
todaysautomatedsystemsthebellsarealsobalanced.
Itiseveneasiertoachieverhythmicharmonyordiversitybystriking
theclapperorhammeragainsttherimsofstationarybellsinacon
trolled manner. A further advantage of playing stationary bells is
that, by using levers, one individual can manage several bells at a
time,whereasmanualbellringingrequiresatleastthesamenumber
ofpeopleastherearebells.

Thehistoricaldevelopmentofbellchiming
European historical sources testify that even before mechanized
churchclockchimingbegantobewidelyusedinthefourteenthand
fifteenth centuries, sextons announced the time every hour by chi
ming the bells manually and used hammers to strike the bells in
order to enhance the acoustic variety.8 Bell chimers in towns that
would chime the hour by striking hammers against the bells were
prominent persons; they were usually members of the town guard
and wore its uniforms. In the late middle ages, these chimers were
already said to chime more than one bell, which enabled them to
chime short melodies. They played parts of church melodies, folk
songs,andshortimprovisedfragmentsofsecularmelodiesthatwere
SeeexampleError!MainDocumentOnly.:VideofootageoftheItaliantechniqueSistema
Bolognese(Chiari,29.4.2007,Italia;performedbyUnionecampanariModenesi).
7Aparticularbellringingtechniquedependsontheconstructionofthebelltowerandthe
set of bells. Certain techniques require a specific number of bells or a specially designed
system of bells. For example, in rotational bell ringing, the bell is swung by a rope that
runsoverawheelattachedtotheheadstock.Oneofthewidelyspreadformsofthistypeof
bellringingistheBritishchangeringing,whichisbasedonthepermutationcombinations
(orchanges)oftheorderoftheringingbells.Thesearenormallytunedtoadiatonicmajor
scaleandareswungaround360degreesbypullingtheropeintheringingchamberbelow
thebellchamber.VariousmethodsofrotationalbellringingarealsousedinItalyandare
knownassuonoaditesta,sistemaVeronese,sistemaAmbrosiano.
8SeeMorris,Ernest(1951):BellsofAllNations.London,RobertHale:16.
6

110

TheUseoftheChurchBell

otherwise performed by street musicians9. The automation of tower

clocks then adopted a similar system; where the number of bells
allowed it (especially in the Netherlands, Belgium, and Germany),
shortmelodicsequencestypicalofaspecifictown10wereandstillare
played on the full hour (for example, bell chiming at Westminster
Palace,knownaroundtheworldasthechimingofBigBen11).Where
there are fewer bells, the larger bell usually assumes the role of
chimingthefullhour,andthesmalleronechimesthequarterhours.
Chiming at quarterhours in the form of a simple audio signal can
also be heard in Slovenian bell towers, whereas melodic hour
chimingishardlyeverusedinSlovenia.12
Thepulsaremethod(performingwithhammers)hasbeenpreserved
in automated form in tower clocks and some local traditions,
whereas the nollare method (performing with clappers) has been
preserved and developed in parallel to ringing techniques in
individualEuropeancountriesinvariousways.Inadditiontothead
vantagesofthenollaretechniqueoverbellringingmentionedabove
(i.e.,thepossibilityofcontrolledrhythmicandmelodicperformance
on bells, and the smaller number of required performers), Percival
Pricealsobelievesthatthenollaretechniqueissaferintermsofpre
serving the construction of the set of bells and the bell tower.13
Certainbellswereplayedbypullingaropetiedtotheclappereven
at a time when churches did not yet have bell towers. This practice
later spread throughout Europe;14 however, this type of music
SeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:173.
The musical motif that we then hear regularly gradually becomes part of an acoustic
landscape (or soundscape) of a specific town and loses the quality of a musical work
(Harrison2002).
11ThetuneusedbythesetofclockbellsintheclocktoweratWestminsterPalaceinLondon
tostrikethequarterhourisknownastheWestminsterQuarters.Amongothers,thistuneis
alsoofferedbytodaysproducersofclockchimingmechanismsaspartoftheirprograms.
The tune is also widely popularized by having its introductory sequence broadcast live
beforetheBBCradionews.
12 At the chapel on Mount Sveta in the Central Sava Valley (Sln. Zasavska Sveta gora), the
hour is chimed by a tune of the hymn Zvonovi zvonijo (The Bells are Ringing) from
Lourdes;sinceSloveniapresidedovertheEUin2008,arecordingoftheEuropeananthem
performedonbellshasbeenplayedattheLjubljanaCityHallatnooneveryday.
13Russiansweresaidtoscoffatthewesternstyleofbellringingbecausetheythoughtitwas
nonsensicaltoswingtheheavybellsinorderforthelightclapperstostrikeagainstthem
insteadofmakingthelightclapperstrikeagainstastationarybell,asitwasthecustomin
Russia.SeeSeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:190.
14 In addition to Christianity, bells are also used for religious purposes in Taoism and
Buddhism. The worshippers play the larger bells, hung in the vestibules of temples, by
9

10

111

MojcaKovai

making was perfected the most in the Russian Orthodox Church

throughatechniqueknownaszvonit.15
Figure1:Directbellchiming

My research shows that the

nollare technique is still wide
spread in Europe. In most ca
ses,onlyonebellchimerplays
the bells in this manner. Price
believesthatthistechniquehas
never developed into group
performance,suchastheprac
tice developed by the Russ
ians16; however, this can be
rejected because group perfor
mance is part of both the
Slovenian bellchiming practi
ceaswellassomeotherEuro
pean bellchiming practices
(although to a lesser extent),
whereas the Russian bell
chiming technique of zvonit is
often performed only by a
single individual. Price also
supports the evolutionary the
oryofthedevelopmentofbellchimingtechniquesandbelievesthat
thebellchimingtechniqueisabridgebetweenplayingthebellswith
hammersand(accordingtohim)morehighlydevelopedbellplaying
using a keyboard or the carillon.17 However, Manfred Bartmann, a
Germanbellchimingresearcher,doubtsPricestheorybecauseboth
techniques continue to be widely practiced today.18 In general, one
strikingtheclapperagainstthebell;withlargebellstheyevenusetreetrunkstostrikethe
outersoundbowofthebell.
15SeeSeePrice,Percival(1983):BellsandMan.Oxford,OxfordUniversityPress:106.
16Ibid.:200.
17Similarly,theDutchcampanologistAndrLehrbelievesthatthecarillondevelopedfrom
themedievalperformanceoncymbala,inwhichhammerswereused,andbellchimingon
large church bells. See Lehr, Andr (1998): Glocken und Glockenspiele (Geschicht ab
Mittelalter).DieMusikinGeschichteundGegenwart:AllgemeineEnzyklopdiederMusik,
vol.3:1474;seealsoPrice,Percival(1983):ibid.:200.
18SeeBartmann,Manfred(1991):DasBeiernderGlockeninderGrafschaftBentheim,Denekamp
(NL)undOstfriesland.BewegungundKlang.Ludwigsburg,PhilippVerlag:287.

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TheUseoftheChurchBell

canfindallofthedevelopmentalstagesintodaysbelltowers:from
chimingdirectlyonthebells(Figure1),chimingusinglevers(Figure
2), pedals, and simpler forms of keyboards (Figure 3), to complex
leverconnectionsbetweenthekeyboardandthebells(Figure4).

Figure2:Chimingwithlevers;

Figure3:Asimplekeyboard
19

Individual techniques depend on the number and size of the bells

andtheirpositioninthebelltower.Directbellchimingisthusmore
frequently used in places where three bells are used on average,
whereaswithalargernumberofbellsthesemustbeconnectedwith
levers, which only enable a limited number of bellchimers to man
them.Whenmorethanfivebellsareused,theyareusuallyworked
from a keyboard. It is quite clear that the development of all
techniques has the same starting point, whereas their simultaneous
existence is connected with several factors, among which the
economic factor can be placed at the forefront. For example, the
carillon is used primarily in the bell towers of town churches,
whereasinthecountrysidethetraditionofplayingasmallernumber

Padovani (20072008). Published with the permission of the Associazione Italiana di

Campanologia.

19

113

MojcaKovai

of bells continues to be practiced. Even the instruments name,

derived from the Latin word quatrinion, denoting a group of four,
provesthattheoriginalcarillonincludedfewerbells.Inpresentday
Switzerland,thecarillontraditionnel20 (traditionalcarillon)referstoa
setofthreetoeightbells,
which are played direc
tlyorusingsimplelevers
(i.e., ropes and chains)
by striking the clapper
against the sound bow,
whereas the carillon avec
claviers mcaniques (caril
lonwithakeyboard)de
notes a considerably lar
ger set of chromatically
tunedbells.21
Figure4:Acarillon22

Today, performances using this type of carillon can be heard in the

formofprofessionalconcertperformances,especiallyinBelgium,the
Netherlands, and France. In the Netherlands, this kind of a set of
bells is called a Klokkenspel or Beiaard, and in the Germanspeaking
countriesitisknownasaGlockenspiel.Inthenineteenthcentury,the
EnglishtookoverthenamecarillonorcarilyonfromtheFrench.Some
definetheGlockenspielasasmallersetofdiatonicallytunedbellsand
the carillon as a larger set of chromatically tuned bells, whereas
others equate the term Glockenspiel with the English chime, which
includes up to twentyfive bells, and carillon, which includes more
thantwentyfivebellsintwochromaticallytunedoctaves.23Evenon
thebasisofthefewexamplespresentedhere,onecanestablishthat
The Swiss Guild of Carillonneurs and Campanologists distinguishes between the
traditional,automatic,andkeyboardcarillon.Thisclassificationisbasedprimarilyonthe
performance technique and not the number of bells because it is evident from the list of
carillons that in some cases the keyboard and the traditional carillon have the same
numberofbells(cf.Guildedescarillonneursetcampanologuessuisses[s.a.])
21TheGermanGuildofCarillonneurs(DeutscheGlockenspielvereinigung)definesthecarillon
asasetofatleasttwentythreechromaticallytunedbellsconnectedthroughamechanical
playing device (Was ist ein Carillon, 20022008). However, in the Rhine Valley, some
performersrefertoboththemethodofplayingasmallernumberofbellsandthemethod
usingasimplekeyboardasBeiern.
22Ryan(20002008).Publishedwiththepermissionoftheauthor.
23Morris,Ernest(1951):BellsofAllNations.London,RobertHale:55.
20

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TheUseoftheChurchBell

theuseofterminologyincampanologyisnotuniformatallandthat
translationsintootherlanguagesareofteninconsistent.
BellchiminginEuropetoday
By focusing on the technical aspect and discussing merely the
methods in which sound is produced by striking the clapper or
hammers against the sound bow of a stationary bell, and by
highlighting the rhythmic component of bell playing from the
musical standpoint (what excludes carillion method), it can be
determined that even this aspect alone includes many bell chiming
methods practiced in Europe. Here are the names of only some of
them: the Slovenian pritrkavanje, the Spanish repiques,24 the Italian
bataglia di corde, suonata a cordette battagliare, scampanio or scampa
notata, toccos and repiccos,25 the kimning26 method practiced in
Sweden, Denmark, and the Faroe Islands, the French copte campa
naire, the Swiss carillon traditional ali carillon valaisan, the Belgian
triboldjeortrippetraien,theGermanBeiern,andtheCroatianluncija
nje,kampananje,andslavljenje.InthebookGlockenbeierninRheinland27,
Alois Dring also places individual sites, such as Holy Sunday
ChurchinSofia,theChurchoftheHolySepulcherinJerusalem,and
theBasilicaoftheNativityinBethlehem,amongthecountrieswhere
Beiern is practiced in addition to the Scandinavian countries,
Switzerland,Italy,Belgium,andSlovenia.28Morrismentionsasimil
FormoreinformationseeLlopiBayo,Francesco(1998):BellsinSpain:Restoration,Research
andNewEnsemblesofBellringers.CampanersdelaCatedraldeValencia,http://campaners.
com/php/textos.php?text=1044. Retrieved 7 February 2009; see also Bartmann, Manfred
(2004): Das Glockenschlagen auf El Hierro als integrierter Bestandteil der inseltypischen
Prozessionsmusik.Studiainstrumentorummusicaepopularis12:109124.
25 Although Italians use a variety of bellringing techniques, it was very difficult to obtain
detailedandrelevantinformationonindividualtechniquesandthedatawereoftenvery
inconsistent. I found some information in professional literature (cf. Barbarossa, Cristina
(2006): Campane e campanari nella Liguria di levante. Chiavari, Grafica Piemme; Suoni di
cempane. Raccolta dei sistemi di suono traditionali italiani ed europei (2004). Bologna, Gruppo
Campanari Padre StanislaoMattei.), whereas other information was given by performers
and researchers on the Internet (I logged onto the forum of the Italian Campanology
Association at http://www.campanologia.org/) or through email correspondence. The
explanations and audiovisual recordings of various bellringing techniques sent by some
ItalianresearchersandperformersofindividualtechniquesaswellastheInternetsitesof
the local organized groups of bell ringers furnished with a variety of audiovisual
recordingsofbellringingandbellchimingtechniqueswerealsoextremelyhelpful.
26 See Bringus, NilsArvind (1958): Klockringningsseden i Sverige. Lund and Stockholm,
Nordiskamuseet:5760.
27Dring,Alois(1988):GlockenbeierninRheinland.Cologne,RheinlandVerlag.
28Ibid.:11.
24

115

MojcaKovai

armethodbeingusedinMalta,andatSt.NicholasChurchandHoly
TrinityChurchinAthens.29
With small changes in the technique and the methods of making
music, this activity can thus be defined as a wider European
phenomenon; however, due to the lack of research or international
connections between researchers, knowledge about this remains
within national, regional, or even local frameworks.30 Often these
techniques are merely a part of historical, sociological, and
campanological studies and do not include an ethnomusicological
perspective,whichiswhytheydonotcontainmuchinformationon
the musical content of these bellchiming methods. The lack of
literature and in some cases also the linguistic barrier prevent me
fromstudyingallthepossiblebellchimingmethodsinEurope,and
my understanding of them without doing my own field research
would in any case be incomplete. I am well aware that due to the
specific nature of the bellchiming performing practice, it is
insufficient to interpret a musical piece merely on the basis of a
musical analysis of audio or written material. It is also necessary to
include the visual insight, from which one can distinguish the key
parameters that determine the ultimate sound of a bellchiming
tune,31andtheperspectiveoftheperformersthemselves.32Examples
SeeMorris,Ernest(1951):BellsofAllNations.London,RobertHale:139140.
InhisarticleEssaisurlacoptecampanaireenEuropeoccidentale(2008),AchimBursch
presents a shorter comparative study of bellchimingrelated techniques used in some
Europeancountries.HisarticlealsoincludesSloveniaandhisstudyisalsoaresultofour
joint research and discussions on the use of bell chiming in Europe. See Bursch Achim
(2008): Essai sur la copte campanaire en Europe occidentale. Le Bulletin Campanaire
(AssociationCampanaireWallone)53(1):2735.
31Inbellchimingstudies,musicalcontentisoftenignoredorincorrectlyinterpreted;evenin
the case of a notably rhythmic method of bell ringing it is often defined as melodic bell
ringing (due to not paying enough attention and the lack of musical expertise of the
authors). Manfred Bartmann highlights the same problem in the studies of the German
form of bell chiming, which many researchers have placed within the frameworks of
melodic making of music, and believes that this kind of classification merely reflects the
auditoryinterpretationofthesoundandtheresearcherslackofinterestinunderstanding
the musicalcognitive processes of the bearers of this tradition. See Bartmann, Manfred
(1991): Das Beiern der Glocken in der Grafschaft Bentheim, Denekamp (NL) und Ostfriesland.
BewegungundKlang.Ludwigsburg,PhilippVerlag:35.
32 In some cases (e.g., in Germany, Croatia, and Italy), I was able to understand the tunes
basedonmyownfieldexperience,throughwhichIalsogottoknowthecontextualaspect
ofthemusicalpractice,whereasinothercasesIonlyusedthevisualandaudiorecordings
in order to interpret the tunes. I obtained these recordings either from the researchers of
specific bellringing techniques or their performers, in which online communication,
campanologyforums,andespeciallytheYouTubewebsitewereofgreathelp.
29
30

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TheUseoftheChurchBell

from my own field studies are used below to show the connection
between the musical and technical parameters of bellchiming
practices, in which differences are defined according to the relation
betweenthenumberofperformersandthenumberofbells,aswell
as the method of performing (i.e., with hammers, directly with the
clappers,orusinglevers).

Musicalandtechnicalcharacteristicsofselectedexamples
In Slovenia, one most often comes across bellchiming practices in
whichthenumberofbellsisthesameasthenumberofperformers.
The usual number of bells in Slovenian bell towers is three. This
results in a specific formation of bellchiming tunes in terms of the
musical structure. Individual strikes on bells are divided into main
strikesandresponsestrikes(strikesthatrespondtothemainstri
kesandbuildthebasicthematicunitofatunetogetherwiththem),
and thickening strikes (strikes filling in the gap between the main
andresponsestrikes,andaremostoftenperformedinasyncopated
rhythmonthesmallestbell).Anindividualperformsarhythmicpart
(madeofoneorseveralstrikes)thatdoesnotrepresentindependent
musical material in itself; bell chimers only create a comprehensive
chimed tune with the rhythmically coordinated performance of all
theparticipants.Thistypeoftechniqueiscalledinterlockingandcan
also be found in certain other world musical practices (e.g., the
kotekantechniqueusedbytheBaligamelans).33

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

Seeexample2:VideofootageofSloveniantechniquepritrkavanje(Dva,tirikrona,Tolmin,
15August,2007,Prim.)
34Thenotesinthenotationsthusdenoteanindividualroleofastrikeandnotthetruepitch
anddurationofatone.Themainstrikescomeonthefirstbeatsinabarandarenotated
33

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MojcaKovai

In Germany (specifically, in the Rhine Valley), there were more

frequent examples in which only one or two performers chime the
(usually three) bells, although there were sufficient bell chimers
available.Inthisway,therolesofstrikesaredividedintotwoparts:
(1)thelargerbellplaysthemainrole,whereasrhythmicpatternsare
performedonthesmallertwobellsinarandomorder(inRheinbrohl
these are performed on the Melodieglocken35); or (2) the main tune is
performedonthetwolargerbellsandthethirdbellchimerthatplays
the smallest bell assumes the role of thickening and ornamentation
(Example4).

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

withaquarternotewiththestemfacingdown;theresponsestrikesarealsonotatedwith
quarter notes with stems facing down; and thickening is notated with eighth notes with
stemsfacingup.
35 See example 3: Video footage of German technique Bammschlagen (Die Grosse Bemm,
Rheinbrohl,9April,2007,Rheinland,Germany)

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TheUseoftheChurchBell

In Croatia (Dalmatia), the majority of churches have two bells and

thus the bell chiming is considerably more rhythmic. There is only
onebellchimer,whichiswhyhehascompletefreedominselecting
therhythmicpatterns:36

Figure7:ExampleofmusicalnotationofCroatiantechniqueluncijanje(the
islandofman,1November2006,Zadarregion,Croatia)

InSlovenia,bellchimersusethetonalspecifics ofabell ifthereare

toofewbellsavailableandproducedifferentpitchesbystrikingthe
hammeragainstdifferentpartsofthebell.Thisbellchimingtechni
que is very interesting from an ethnomusicological perspective be
cause it produces a unique musical construct; however, from the
viewpointofcampanology,thistechniqueisextremelydamagingto
thebellmetalanditcausesmanybellstocrackorchipattheedges.37
Whenthereisalargernumberofbells,thetendencytoplaymelodi
cally prevails over rhythmic performance. In this case, bell chimers
usually copy the melodic models of songs and instrumental pieces
(as in carillon method). If only one bell chimer performs on several
bells,hemustuseawellthoughtoutsystemoflevers,whichactivate
thestrikeofaclapperagainstthesoundbow.InItalythisisknown
as a cordette technique; the bells in this case are smaller and thus
easier to man, and the musical structure they produce is more
melodic.38

See example 4: Video footage of Croatian technique luncijanje (the island of man, 1
November,2006,Zadarregion,Croatia).
37Seeexample5:Videofootageofbellchimingwithhammers.
38 Despite the smaller number of bells in Slovenian bell towers, one can observe that bell
chimersleantowardscreatingamelodictunewhenthetuningofthebellsremindsthemof
an introductory sequence of another tune or when a larger number of bells is available
(e.g.,morethanthree).Seeexample6:VideofootageofItaliantechniqueacordette(Chiari,
29April,2007,Lombardy,Italy).

36

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MojcaKovai

Giventheabundanceofvariousmethodsofcreatingbellchimingtu
nes,andbellchimingtechniques,Iamnotabletostudyallofthem
andthusdevelopamorecompleteunderstandingofindividualspe
cific features of the bellchiming techniques. I am pleasantly surpri
sed by the resourcefulness of bellchimers and the great variety of
musicalexpressionsonaninstrumentthatgenerallyproducessofew
notes,butwouldliketoestablishbettercooperationwithresearchers
from other countries, which would bring together all the findings
and create a common European cultural history of the methods of
usingbells.

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TheUseoftheChurchBell
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Barbarossa, Cristina (2006): Campane e campanari nella Liguria di levante. Chiavari, Grafica
Piemme.

Bartmann,Manfred(1991):DasBeiernderGlockeninderGrafschaftBentheim,Denekamp(NL)
undOstfriesland.BewegungundKlang.Ludwigsburg,PhilippVerlag.

Bartmann, Manfred (2004): Das Glockenschlagen auf El Hierro als integrierter Bestandteil
derinseltypischenProzessionsmusik.Studiainstrumentorummusicaepopularis12:109124.

Bringus, NilsArvind (1958): Klockringningsseden i Sverige. Lund and Stockholm, Nordiska

museet.

Bursch Achim (2008): Essai sur la copte campanaire en Europe occidentale. Le Bulletin
Campanaire(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 the
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Jeauneau,douard(2000):LgedordescolesdeChartres.Chartres,ditionsHouvet.

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Russlandsim19.und20.Jahrhundert.Diskordanzen9:2930.

Lehr, Andr (1998): Glocken und Glockenspiele (Geschicht ab Mittelalter). Die Musik in
GeschichteundGegenwart:AllgemeineEnzyklopdiederMusik,vol.3.

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Suoni di cempane. Raccolta dei sistemi di suono traditionali italiani ed europei (2004). Bologna,
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http://www.glockenspielvereinigung.de/.Retrieved10March2009.

Listofvideofootage:

Example1:VideofootageoftheItaliantechniqueSistemaBolognese
Example2:VideofootageofSloveniantechniquepritrkavanje
Example3:VideofootageofGermantechniqueBammschlagen
Example4:VideofootageofCroatiantechniqueluncijanje
Example5:Videofootageofbellchimingwithhammers
Example6:VideofootageofItaliantechniqueacordette

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