In situ acoustic analysis of two twentieth-century heritage carillons

Abstract

Carillons are a diverse and global form of musical and civic heritage: musical instruments comprised of a series of 23 or more bells, typically hung in a tower-like structure, tuned chromatically and played from a touch-sensitive manual and pedal console using an elaborate mechanical action. Carillon bells have a distinct series of musical overtones which should be accurately tuned to one another and with other bells they sound alongside. Although these overtones have been previously studied ex situ, this study assesses the acoustic characteristics of two early-twentieth century carillons in Toronto, Canada as a combination of structure, bells, and mechanical action. Thus, the instrument and its context are considered holistically, more accurately reflecting the musical sensitivity of a carillonist. Spectral analysis of audio samples of each bell at different musical dynamic levels enabled the analysis of the acoustic qualities of the bells and the mechanical action of the instruments. The tuning of bells in the instruments varied; most importantly, there was a significant difference between the audial intensity of the bell tones produced by the instruments, demonstrating the importance of the mechanical action as part of the ‘carillon system’. This was represented with a resistive power-law model, that represents the sensitivity of intensity to carillonist musical dynamic level. A discussion of the implications for artistic and heritage practice follows. Understanding the in situ physical acoustics of the carillon as a holistic instrument in its context informs performers, arrangers, and composers of how they can best embrace the instrument’s unique qualities to improve artistic pursuits and support the appreciation of carillons as heritage instruments and function as civic voices.

Technological Insights into the Evolution of Bronze Bell Metal Casting on the Korean Peninsula

“…The shape of bells has changed over the centuries [128][129][130]; nevertheless, their construction was designed to have suitable strength and divine sound using properly selected parameters, i.e., wall thickness, bell diameter, and the composition of the alloy, which are decisive concerning the sound tone and timbre [131][132][133]. The optimal mechanical strength is easy to achieve by increasing the bell wall thickness, but the relationship between the shape of the bell and its sound is hard to grasp, especially because the bell sound consists of a series of merged tones and overtones, which give the so-called strike tone [134,135].…”