Dissertations / Theses on the topic 'Church bells'

There is a legend about a church on the island of Orust in the small village of Tegneby. The legend tells a story about a hidden church bell in the mysterious hole in the creek. “During a war long time ago, people were afraid that the King Gustav Vasa would take their church bell to use as material for cannons. So the people in Tegneby hid their beloved church bell in a hole in the creek below the church and there it remained for seven years”  (main legend) The aim of this paper was to find out if this legend still is alive in the area of Tegneby. Another aim was to understand what had caused the folk legend to appear and also if there were other places in the south west of Sweden that had corresponding legends.  There was a big difference in the knowledge of the legend between the informants that I intervjued according to age. The older informants knew about the story and also had heard more versions of the legend. The younger informants were not as enlightened about the legend of the sunken/hidden church bell. Were there similar legends in the south west of Sweden? Yes, there was as many as 397 of them, they were very much alike the main legend about Tegnebys sunken church bell. What could have caused this legend? The answer is this that there is no perfect right answer. What probably caused the legend to appear was confiscation of church bells that took place during the15-1600 hundreds in Sweden and in Denmark. People got afraid that their church bell was going to be taken from them.

The primary objective of the work reported in this thesis was to quantify how the pitch or strike note of a bell is determined by the frequencies of its partials. Pitches of bells are generally virtual pitch or missing fundamental effects, generated in the ear rather than present as a frequency in the radiated sound. The exact pitch is shifted from that expected for the missing fundamental by changes in the frequency of various partials. This can cause bells whose partials are in theory tuned precisely, to sound out of tune by considerable fractions of a semitone. The pitch shifts were quantified at frequencies across the audible spectrum by a set of experiments carried out on 30 subjects. Subsidiary experiments established which partials create a bell’s pitch or pitches at different frequencies, and showed that partial amplitude does not significantly affect bell pitch. A simple model of pitch shift was devised from the test results which gave good agreement with the stretch tuning in a number of peals of bells. Stretch tuning has not previously been satisfactorily explained. The pitch shifts were also compared against Terhardt’s algorithm for virtual pitch, which did not predict the shifts seen in practice. To prepare for these experiments, a comprehensive investigation was done of the partial frequencies of over 2,000 bells with a wide range of dates, weights and founders. An unexpected and straightforward relationship was found between the frequencies of the upper partials which generate virtual pitches, which seems to apply to all bronze and steel bells of Western shape. The relative frequencies of these partials are in turn determined by the thickness of the bell’s wall near the rim. This relationship between the partials has not been previously reported, and explains previous failed attempts by bellfounders to tune these partials independently. The modified version of Chladni’s law proposed by Perrin and Rossing for these partial frequencies was found not to give as good a fit to their frequencies as the relationship discovered in this research. The work presented in this thesis is important for at least two reasons: • It provides new practical guidance for the design and tuning of bells • The shifts in virtual pitches observed as a result of upper partial changes support current research into pitch generation mechanisms in the human ear.

This article examines the soundscape, both commemorative and disruptive, experienced in the city of Lima during the War of Independence, focusing on the sounds produced by church bells and cannons. Even though, in Lima, patriots and royalists never fought a pitched battle, the war resoundingly marked the city’s aural environment. Disruptive noise emitted by church bells and cannons  during the war greatly exceeded in intensity and duration the commemorative sounds sponsored by the independent government, and even had the power to change it dramatically.
Este artículo presenta la sonoridad conmemorativa y disruptiva experimentada en la ciudad de Lima durante la guerra de la independencia, haciendo énfasis en los sonidos desplegados por campanas y cañones. A pesar de que, en Lima, ni patriotas ni realistas se llegaron a enfrentar en una batalla a campo abierto, laguerra marcó de modo contundente el ambiente sonoro en la ciudad. La sonoridaddisruptiva emitida por campanas y cañones en el transcurso de la guerra superó ampliamente en intensidad y duración a la sonoridad conmemorativa auspiciada por el gobierno independiente, e incluso tuvo el poder de modificarla dramáticamente.

The Diploma thesis describes the design, manufacture and testing of a universal automation machine for church bells. The research section summarizes the bell, way of use and properties. The drives and their starting and power switching characteristic are analyzed. The chain drive based on the selected engine and the whole assembly is designed and tested by using PLC. Unique controller based on a modular design was designed. Sensors based on magnetic rotary encoder were also created for this unit. The entire circuit was tested on three evangelical church bells in the town Klobouky u Brna.

In this essay I have studied wedding services in the Church of Sweden, as they are actually performed. I do this from a liturgical-theological perspective, a performance- perspective and from the perspective of ritual studies. According to the performance- perspective the wedding service can be seen as consisting of different scripts, for example, the normative script of the handbook, the script of the wedding-couple and the script of the minister. The main question is: What is constructed when these three scripts meet in a wedding service? I first study each script. I give an account for the script of the handbook and analyse it by placing it in a historical, liturgical and theological context. The script of the wedding couple and the minister I uncover by participant observations of three wedding services and interviews with the couples and ministers acting in these services. Thereafter I analyse the scripts of the couples and the minsters looking at themes that appear to be important in these scripts and in the handbook. Such themes are the wedding service as a service of blessing, the legal aspect of the service, the construction of family through marriage, love, the service as a ritual, the setting of the wedding, the role of the minister, the importance of participation and the role of the music. I conclude that the three scripts are indeed three very different scripts, but when they are juxtaposed a new meaning is constructed. This can occur even if the script are not correlating or even to some extent collides. One important factor for meaning to be constructed is the ritualization, acts that make the service a ritual. This seems to be more important than the fact that the scripts correlate. Another important factor for meaning to be constructed is that the scripts actually meet, that they actually are juxtaposed together. For this to happen the minister has to clarify his/her own script and be responsive to the couple’s script. Then the minister can relate their script to blessing, prayer and scripture. Normatively, I conclude that the wedding service becomes a meaningful wedding service when the couple’s scripts are related to the greater, transcendent Script

Esta é uma tese que salienta a qualidade literária desses dois romances sob a proposta de uma leitura baseada em categorias, desenvolvidas por vários teóricos, como o grotesco, o nojo, a abjeção, o estranho e o sublime. Para atingir este objetivo, levo em conta a crise da beleza e reviso tal conceito segundo a perspectiva de filósofos da Antiga Grécia, a Idade Média, o Iluminismo e século XX. Trata-se de uma proposta de estudo poiético que, a partir do nojento, torna visível a importância do sentido fisionômico na percepção corporal que facilita aos espectadores a experimentação de emoções diante de obras de arte: o “simples” prazer corporal que pode se tornar prazer reflexivo, estético. Com este processo da experiência estética (aisthesis, poiesis, katharsis) através da poiética escatológica, redimensiono o feio nestes romances de Palahniuk e de Noll, na obra de arte, apresentando-o como uma categoria estética que vai além de ser simplesmente o oposto do belo, e se erige como o pináculo de outro cânone.
It is a thesis that highlights the literary quality of the two novels mentioned above. This is to be done through a proposal of reading, based on categories worked by some theoreticians, such as the grotesque, disgust, abjection, the uncanny and the sublime. To achieve this goal, I focus on the crisis of beauty, studying this concept from the perspective of Ancient Greek philosophers, the Middle Ages, the Enlightenment and 20th Century. Furthermore, this deals with a proposal of poetics study that, from the “disgust” perspective, emphasizes the importance of physiognomic sense in the bodily perception, which facilitates spectators to experience emotions about the artwork: the "simple" bodily pleasure becomes “reflective” and “aesthetic” pleasure. Within this process of aesthetic experience (aisthesis, poiesis, katharsis), and through the eschatological poietics, I point out (or address) the ugly of these novels of Palahniuk and Noll, as well as the artwork, presenting it as an aesthetic category that ends to be simply the opposite of beauty and emerges as the pinnacle of another canon.
Es una tesis que resalta la calidad literaria de estas dos novelas, a partir de la propuesta de una lectura basada en categorías, trabajadas por varios teóricos, como lo grotesco, el asco, la abyección, lo siniestro y lo sublime. Para lograr este objetivo, tengo en cuenta la crisis de la belleza y reviso este concepto desde la perspectiva de filósofos de la Antigua Grecia, la Edad Media, la Ilustración y el siglo XX. Se trata de una propuesta de estudio poiético que, a partir de lo asqueroso, destaca la importancia del sentido fisionómico en la percepción corporal que facilita a los espectadores la experimentación de emociones frente a la obra de arte: el “simple” placer corporal que se convierte en placer reflexivo, estético. Con este proceso de experiencia estética (aisthesis, poiesis, katharsis), a través de la poiética escatológica, redimensiono lo feo en estas novelas de Palahniuk y de Noll, en la obra de arte, presentándolo como una categoría estética que deja de ser simplemente lo opuesto a lo bello y se erige como el pináculo de otro canon.

Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Marcus L. Riegel. The recital, performed by the Chapman Middle School Sixth, Seventh, and Eighth Grade Bands, was given in the District Gymnasium at the Spring Arts Concert on April 22, 2008 at 7:00 pm. The repertoire included but was not exclusive to Bells of Freedom by David Gillingham, Rising Star by Samuel R. Hazo, Achilles’ Wrath by Sean O’Loughlin, Kenya Contrasts by William Himes, On the Wings of Swallows by Michael Sweeney, and Old Churches by Michael Colgrass. This document contains theoretical and historical analysis- and outlines the procedures of planning and performing the graduate conducting recital.

L’église Saint-Michel de Bordeaux est construite à la fin du Moyen Âge au centre d’une paroisse urbaine très dynamique. L’activité portuaire et commerciale fait vivre de nombreux artisans et enrichit les puissants marchands du quartier de la Rousselle. Ils sont investis dans le gouvernement de la commune et financent copieusement le chantier de leur église paroissiale. Leurs pratiques pieuses et leur activité à la tête de l’administration de la fabrique et des confréries sont représentatives de la religion civique à la fin du Moyen Âge. L’église accueille depuis la fin du XVe siècle un collège de prêtres-bénéficiers, au service des nombreuses fondations pieuses et des confréries installées dans les chapelles latérales. Elles sont construites durant le second chantier gothique, qui met en œuvre à partir du second quart du XVe siècle une vaste église flamboyante de plan basilical. Celle-ci succède à une première église gothique menée à son terme durant le XIVe siècle selon un parti-pris architectural de type « halle ». Le chantier de la cathédrale, qui introduit à Bordeaux les formes du gothique rayonnant du Nord de la France, est une source d’inspiration à Saint-Michel, dans le domaine de la modénature et de la sculpture monumentale. Le chantier flamboyant voit l’arrivée de maîtres-maçons dont l’œuvre a pu être identifiée. Elle se réfère aux chantiers normands, parisiens ou financés par le roi de France. Les Lebas de Saintes apportent leur culture artistique et leur technique à l’accomplissement du transept, à la conception de la nef et du clocher isolé. La faible influence de l’œuvre de Saint-Michel sur la création artistique locale est compensée par le rayonnement de son clocher-tour, un des plus hauts clochers du royaume. Son chantier exceptionnel est très bien renseigné par 11 années de comptes de la fabrique. Ils illustrent les conditions de travail et l’équipement nécessaire à la construction à grande hauteur. Un des autres chefs-d’œuvre de l’église, le portail nord, est probablement réalisé vers 1520 par Imbert Boachon, maître-maçon, imagier, menuisier, selon la nature des travaux et selon les villes ou il travaille. Aujourd’hui, la silhouette de l’église et du clocher, tous deux isolés au milieu de plusieurs places, ne reflète plus totalement la morphologie de l’œuvre médiévale. Des faiblesses structurelles obligent les hommes du XIXe siècle à reconstruire le chevet. Le clocher est rénové par Paul Abadie et l’église reçoit une esthétique gothique influencée par l’archéologie monumentale et les doctrines de la restauration patrimoniale de l’époque
The church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period

Contextualizado no período cronológico da transição da Monarquia para a República, no Portugal de finais do século XIX e do início do século XX, o presente trabalho pretendeu indagar, por meio da decomposição do magistério de um bispo, o processo de redefinição dos modelos episcopais na contemporaneidade. Dito de outro modo, destrinçando o percurso eclesiástico de Mendes Bello até ao topo da hierarquia católica do reino, procurámos compreender as implicações decorrentes do processo de reconfiguração do catolicismo romano em Portugal, nomeadamente no que respeita à redefinição do seu enquadramento sócio-institucional, detalhando os seus dinamismos e exigências na composição dos magistérios prelatícios finisseculares, ainda herdeiros de uma eclesiologia regalista de funcionalização dos hierarcas católicos. Em simultâneo, por meio da observação da sua retórica pastoral e parlamentar, tivemos como objectivo destrinçar o protagonismo de Mendes Bello na Igreja da época, analisando a sua actuação quer no panorama da crise nacional e da transição de regime, quer na reconfiguração do movimento católico português no contexto da romanização – do laicado ao clero – tanto no Algarve como em Lisboa. Isto, a fim de decifrar os requisitos decorrentes do ralliement politique no exercício do seu ministério episcopal.
Contextualized in the chronological period of the transition from the Monarchy to the Republic of the late nineteenth century and early twentieth century, the present work seeks to investigate, through the decomposition of the magisterium of an bishop, the process of redefinition of the episcopal models in contemporary times. In other words, through the unraveling of the Mendes Bello’s ecclesiastical path to the top of the Catholic hierarchy of the kingdom, we will try to understand the implications of the process of reconfiguration of Roman Catholicism in Portugal, in particular as regards the redefinition of its socio-institutional framework, detailing Its dynamisms and demands in the composition of finisecular prelattic magistrates, still heirs of a regalist ecclesiology of functionalization of the Catholic hierarchs. At the same time, through the observation of his pastoral and parliamentary rhetoric, we had as objective to unravel the prominence of Mendes Bello in the Church of the time, analyzing his action in the panorama of the national crisis, in the transition of the regime, and yet in the reconfiguration of the catholic movement portuguese in the context of Romanization - of the laity to the clergy - both in the Algarve and Lisbon. This, in order to decipher the requirements arising from ralliement politique in the exercise of his episcopal ministry.