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===Music=== {{Category see also|Composers for carillon}} The carillon repertoire skews heavily toward newer works in stark contrast to that of its relative the [[organ repertoire]]. Some 15 collections of carillon music written in the 17th and 18th centuries are known to exist.{{sfn|Rombouts|2014|p=129}} Like with the [[pipe organ]], early carillon performances consisted mostly of improvisations.{{sfn|Gouwens|2017|p=127}} In the late [[Renaissance music|Renaissance]] and early [[Baroque music|Baroque eras]], keyboard music was not written for one instrument or another, but rather was written to be played on {{em|any}} keyboard instrument. For this reason, much of the carillon's repertoire in its early history was likely the same as that of the [[harpsichord]], organ, and piano. One of the few surviving examples is the [[De Gruytters carillon book]], dated 1746. The music is arranged for, rather than composed for, performance on the carillon and could easily be played on other keyboard instruments.{{sfn|Van Ulft|2020|p=32}} Baroque keyboard music is well suited for carillon transcription,{{sfn|Rombouts|2014|p=318|ps=: "In the classical repertoire, Baroque music is an inexhaustible source of appealing carillon music."}} particularly the works of [[Bach]], [[Arcangelo Corelli|Corelli]], [[François Couperin|Couperin]], [[Handel]], [[Mozart]], and [[Antonio Vivaldi|Vivaldi]].{{sfn|"Carillon." ''Encyclopaedia Britannica''}} [[File:BIG 117025309040611.jpg|thumb|left|alt=Carillon sheet music resting above a keyboard.|Carillon music is written on a [[grand staff]]. The treble clef signifies playing with hands and the bass clef playing with feet.{{sfn|Brink|2017}}]] The earliest known original compositions specifically for the carillon, and not simply any keyboard, are the 11 [[prelude (music)|prelude]]s of Matthias Vanden Gheyn. The structure of his works suggests he had been playing non-specific keyboard music on the carillon for many years and that he wanted to play music that is [[Instrumental idiom|idiomatic to the instrument]].{{sfn|Van Ulft|2020|p=33}} Technically challenging, his preludes have been the standard repertoire among carillonneurs since the early 1900s.{{sfn|Rombouts|2014|pp=114–15}} Jef Denyn made many public statements about what music should be performed on the carillon, and he persuaded several composers of the time to write for it. Among those composers were his students, like {{interlanguage link|Staf Nees|nl}}, [[Léon Henry]], and {{interlanguage link|Jef Rottiers|nl}}, and composers for other instruments, such as [[Jef van Hoof]].{{sfn|Gouwens|2017|p=134}} The carillon school began publishing carillon music in 1925.{{sfn|Price|1983|p=230}} Through his school, Denyn was the early proponent of the "Mechelen style"{{sfn|Rombouts|2014|p=225}} of carillon music, which consists of virtuosic flourishes, tremolos, and other Baroque and Romantic elements.{{sfn|Van Ulft|2020|pp=33–34}} Ronald Barnes was the leading figure behind the North American style of carillon music, which developed in the 1950s and 1960s. He encouraged his University of Kansas peers to compose for the carillon, and he produced many of his own compositions.{{sfn|Rombouts|2014|p=289}} Barnes' campaign was most successful with [[Roy Hamlin Johnson]], a piano professor who introduced a whole category of music exclusively native to the carillon featuring the [[octatonic scale]].{{sfn|Keldermans|Keldermans|1996|p=164}} Many of Johnson's works are acknowledged as [[masterpiece]]s.{{sfn|Gouwens|2017|p=140}} Barnes produced 56 original compositions and hundreds of arrangements to expand the available repertoire. Other major 20th-century contributors were Albert Gerken, Gary C. White, Johan Franco, [[John Pozdro]], and Jean W. Miller.{{sfnm|1a1=Barnes|1y=1987|1p=31|2a1=Keldermans|2a2=Keldermans|2y=1996|2pp=163–65}} The new American style developed into the antithesis of the Mechelen style: instead of exciting, tremolo-filled performances that demonstrate the showmanship of the carillonneur, it features slow passages, sparse harmonies and impressionist themes to draw the listener's attention to the natural sound of the bells.{{sfn|Rombouts|2014|pp=290–91}} [[File:Giedrius Kuprevicius by Augustas Didzgalvis.jpg|thumb|Carillonist near console of [[Kaunas Carillon]], Lithuania]] Carillon music was first published in North America in 1934. [[G. Schirmer, Inc.]] published the compositions of [[Curtis Institute of Music]] students [[Samuel Barber]], [[Gian Carlo Menotti]], and [[Nino Rota]] as part of the institute's short-lived publishing series.{{sfn|De Turk|1999|p=53}} The Guild of Carillonneurs in North America opened the first dedicated [[publishing house]] for carillon music in North America in 1961.{{sfn|Gouwens|2017|p=143}} In 1968, the [[Anton Brees Carillon Library]] was established at [[Bok Tower Gardens]] in [[Lake Wales, Florida]], US; it contains large collections of carillon music and related materials.<ref>{{cite web |title=Library & Archives |website=[[Anton Brees Carillon Library]] |publisher=[[Bok Tower Gardens]] |url=https://boktowergardens.org/library/ |access-date=2021-05-30 |archive-date=2021-06-02 |archive-url=https://web.archive.org/web/20210602213237/https://boktowergardens.org/library/ |url-status=live }}</ref> In the late 2010s, [[University of Michigan]] professor [[Tiffany Ng]] analyzed the diversity of the carillon repertoire. In a [[Bibliographic index|bibliography]] focusing on [[African-American music]] and composers, Ng claims that "while African-American music permeates the carillon repertoire," mostly in the form of [[spirituals]], "almost none of the carillon arrangements and compositions are authored by African Americans."{{sfn|Ng|2021|p=2}} In a second bibliography with Emmet Lewis focusing on women, [[transgender]], and [[non-binary]] composers, they assert that while many works have been written by these groups, they are often not published through traditional means, and "[[gender inequality]] remains systemic and common practice in carillon concerts."{{sfn|Ng|Lewis|2020|p=1}}
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