Editing Carillon (section)

==History==
<!--Note: Chime (bell instrument) links to this specific heading above. Please reflect changes to this heading in that article as well - User:Thrakkx, 26 May 2021-->

===Origins===
[[File:Cantigas de Santa Maria, Musician's Codex, page Bl-2 169R cropped.jpg|thumb|200px|right|1280 A.D., Spain. Bells in the Cantigas de Santa Maria. Stylistic image showing bells hung from church arches.]]
The carillon originated from two earlier functions of bells: ringing bells to send messages and ringing bells to indicate the time of day.

Starting about the 9th century A.D., sets of bells called [[cymbala]] were hung from a horizontal rod in sets that were arranged by pitch.<ref name=MarcuseBell_chime>{{cite book |first=Sibyl |last=Marcuse |title=A Survey of Musical Instruments |publisher=Harper & Row |place=New York |date=1975 |entry= Bell chime|page=50}}</ref> These were hammer struck at first, and was depicted in medieval miniatures in sets of between 4 and 15 bells.<ref name=MarcuseBell_chime/> One miniature from the Cantigas de Santa Maria provides a picture of changing technology to wring the bells, a bell table with a mechanism to set wring bells from the inside, instead of using a hammer.<ref name=MarcuseBell_chime/>

<gallery>
File:Refectory Bell, German, 13th century, Metropolitan Museum of Art, Cloister's Collection 2014.jpg|13th-century refectory bell, used to announce time in a monastery.<ref>{{cite web |website=Metropolitan Museum of Art |title=Refectory Bell |url=https://www.metmuseum.org/collection/the-collection-online/search/640179 |quote= TINNIO PRANSVRIS CENATVRIS BIBITVRIS (“I ring for breakfast, dinner, and drinks”)}}</ref>
File:Roma, Bibl. Apostolica Vaticana, Pal. lat. 39, f. 44v sharpened cropped.jpg|Circa 1050, Germany. Handheld bell set in the Heidelberg Psalter.
File:Kind David tuning harp while musicians play bells, detail from Glasgow University Library MS Hunter 229 (U.3.2), folio 21V.jpg|Circa 1170 A.D., England. Wracks of hammer struck bells, Hunterian Psalter
File:Cantigas - Bell player.jpg|Circa 1280 A.D., Spain. Bell table in the Cantigas de Santa Maria.
File:Clavichord, bells and psaltery by Perinetto da Benevento.jpg|Circa 1438, Italy. Bell set in the Cappella Caracciolo del Sole della chiesa di San Giovanni a Carbonara di Napoli

</gallery>
Bellringers attached ropes to the clappers of [[swinging bell]]s and rung them while stationary in a technique called chiming. Chiming bells gave the ringer more control compared to swinging bells, and so was used to send messages to those within earshot. For example, sounding bells was often used to warn of a fire or impending attack. At celebratory events, a bellringer could gather ropes together to chime multiple bells in rhythmic patterns.{{sfn|Rombouts|2014|pp=40–42}} By the end of the 15th century, chimers are recorded to have used their technique to play music on bells. A 1478 [[chronicle]] recounts a man in [[Dunkirk]] having made a "great innovation in honor of God" by playing melodies on bells. Another recounts in 1482 a [[jester]] from [[Aalst, Belgium|Aalst]] playing bells in [[Antwerp]] with ropes and batons, the latter term suggesting the existence of a keyboard.{{sfn|Rombouts|2014|p=59}}

[[File:Earliest Carillonneur Picture.png|thumb|left|alt=Drawing of a man playing a carillon.|Oldest known depiction of a person playing a carillon, from ''De Campanis Commentarius'' (1612) by [[Angelo Rocca]]{{sfn|Rombouts|2014|p=76}}]]

In the 13th century, Europeans began to build "mechanized chimes."<ref name=MarcuseBell_chime/> In the 14th century, the newly developed [[escapement]] technology for [[mechanical clock]]s spread throughout European [[clock tower]]s and gradually replaced the [[water clock]].{{sfn|Rombouts|2014|pp=49, 52–53}} Since the earliest clocks lacked [[Clock face|faces]], they announced the time by striking a bell a number of times corresponding to the current hour. Eventually, these [[striking clock]]s were modified to make a warning signal just before the hour count to draw the attention of listeners to the incoming announcement. This signal is called the forestrike ({{langx|nl|voorslag|links=no}}).{{sfnm|Rombouts|2014|1p=54|Gouwens|2013|2p=15}} Originally the forestrike consisted of striking one or two bells, and the systems slowly grew in complexity. By the middle of the 15th century, forestrikes, with three to seven bells, could [[Clock chime|play simple melodies]].{{sfn|Rombouts|2014|pp=54–55}}

As late as 1510, these two functions were combined into one primitive carillon in the [[Oudenaarde Town Hall]]. One set of nine bells were connected to both a keyboard and to the clock's forestrike.{{sfnm|Rombouts|2014|1pp=60–61|Gouwens|2013|2p=16}} The [[Low Countries]]—present day Belgium, the Netherlands, and the [[French Netherlands]]—were most interested in the potential of using bells to make music. In this region, [[bellfounding]] had reached an advanced stage relative to other regions in Europe.{{sfn|"Carillon." ''Encyclopaedia Britannica''}} A control was developed in the 14th century in Low Countries, technology which allowed large chimes in towers to controlled by the musician's footstep on a pedalboard (attached to "clockwork"), ringing the bells with a hammer on the outside of the bell.<ref name=MarcuseBell_chime/>

===Development===
The new instrument developed in the favorable conditions in the Low Countries during the 17th century. Bellfounders found increased financial and technological support as the region traded by sea through ports.{{sfn|Swager|1993|p=14}} Moreover, the political situation under [[Margaret of Austria, Duchess of Savoy|Margaret of Austria]] and [[Holy Roman emperor Charles&nbsp;V]] brought relative wealth and power to cities.{{sfn|Rombouts|2014|p=74}} Carillons quickly became a fashionable symbol of civic prestige. Cities and towns competed against one another to possess the largest, highest-quality instruments.{{sfn|Rombouts|2014|pp=71, 73}} The demand was met by a successful industry of bellfounding families, notably the Waghevens and [[Vanden&nbsp;Gheyn]]s.{{sfn|Gouwens|2013|p=16}} Together, they produced over 50 carillons during the 16th and early 17th centuries.{{sfn|Swager|1993|p=12}} By 1600, the primitive carillon had become an established feature of the region.{{sfn|Swager|1993|p=12}}

[[File:Beiaard Lebuïnuskerk.JPG|thumb|alt=Tower with a carillon's bells visible through the windows.|A [[Pieter and François Hemony|Hemony]] carillon hangs in the tower of [[Lebuïnuskerk, Deventer|St.&nbsp;Lebuinus Church]] in [[Deventer]], Netherlands; it was cast in [[Zutphen]] in 1647<ref>{{cite web |title=NLDVNTSL |website=TowerBells.org |url=http://www.towerbells.org/data/NLDVNTSL.HTM |access-date=2021-05-19 |archive-date=2021-05-19 |archive-url=https://web.archive.org/web/20210519142436/http://www.towerbells.org/data/NLDVNTSL.HTM |url-status=live }}</ref>]]

A critical development for the modern carillon occurred in the 17th century, which involved a partnership between [[Pieter and François Hemony]] and [[Jacob van&nbsp;Eyck]]. The Hemony brothers were prominent bellfounders known for their precise tuning technique. Van&nbsp;Eyck was a renowned [[Blind musician|blind carillonneur]] of [[Utrecht]], who was commissioned by several Dutch cities to maintain and make improvements to their clock chimes and carillons. He was particularly interested in the sounds of bells. In 1633, he developed the ability to isolate and describe a bell's five main overtones and discovered a bell's partial tones can be tuned harmoniously with each other by adjusting the bell's thickness.{{sfnm|Price|1983|1p=219|Gouwens|2013|2pp=19–21}} The Hemony brothers were commissioned in 1644 to cast 19 bells for [[Zutphen]]'s {{ill|Wijnhuistoren|nl}} with Van&nbsp;Eyck as their consultant. By tuning the bells with the advice from Van&nbsp;Eyck, they created the first carillon by the modern definition.{{sfn|Swager|1993|pp=16–20}} According to carillonneur John Gouwens, the quality of the bells was so impressive that Van&nbsp;Eyck recommended casting a full two octaves, or 23 bells. This range has been considered the standard minimum range for carillons ever since.{{sfn|Gouwens|2013|p=20}} During the next 36 years, the Hemony brothers produced 51 carillons.{{sfnm|Price|1983|1p=219|Rombouts|2014|2pp=94–95}} Carillon culture experienced a peak around this time and until the late-18th century.{{sfn|"Carillon." ''Encyclopaedia Britannica''}}

===Decline===
The [[French Revolution]] had far-reaching consequences on the Low Countries and the carillon. France conquered and annexed the [[Austrian Netherlands]] in 1795 and the [[United Provinces (Low Countries)|United Provinces]] in 1810. After publishing instructions for extracting copper from bell bronze, France sought to dismantle local carillons to reduce its copper shortage.{{sfn|Swager|1993|pp=39–40}} Carillon owners resisted by, for example, petitioning the new governments to declare their instruments as "culturally significant"{{sfn|Rombouts|2014|p=143}} or by disconnecting the bells and burying them in secret.{{sfn|Rombouts|2014|p=145}} During this period, there were as many as 110 carillons. About 50 of them were destroyed as a result of war, fire, and dismantling. The majority were melted down to produce cannons for the [[French Revolutionary Wars]].{{sfn|Swager|1993|pp=39–41}}

Between 1750 and the end of the 19th century, interest in the carillon declined greatly. An increasing number of households had access to [[grandfather clocks]] and [[pocket watch]]es, which eroded the carillon's monopoly on announcing the time.{{sfn|Rombouts|2014|p=149}} As a musical instrument, the carillon lagged behind during the [[Romantic music|Romantic era]], which featured music of a wandering, story-like nature. Many carillons were tuned using meantone temperament, which meant they were not suited for the [[chromaticism]] of the newer musical styles.{{sfnm|Swager|1993|1pp=41–42|Rombouts|2014|2p=150}} The production of new musical works for the instrument essentially came to a standstill.{{sfn|Van Ulft|2020|p=33}} The standard skill level of carillonneurs had also dropped significantly, so much so that in 1895, the music publisher [[Schott frères]] issued [[Matthias Vanden&nbsp;Gheyn]]'s 11 carillon preludes for piano with a foreword claiming "no carillonneur of our time knows how to play them on the carillon".{{sfn|Price|1983|p=224}} Also, with a reduced demand for new carillons, the tuning techniques developed by the Hemony brothers, but not Van&nbsp;Eyck's underlying theory, were forgotten. Subsequent carillons were generally inferior to earlier installations.{{sfn|"Carillon." ''Encyclopaedia Britannica''}}

===Revival===
In the early 1890s, an English [[change ringer]] and [[canon (priest)|canon]] Arthur Simpson published a set of articles on bell tuning, where he argued bell founders had been complacent with their poor tuning methods and proposed solutions to the existing problems. [[John William Taylor]], who had been trying to replicate the tuning techniques of the Hemony brothers and the Vanden&nbsp;Gheyns at [[John Taylor & Co|his foundry]], began working with Simpson. In 1904, they founded the first tuned bells in over a century.{{sfn|Rombouts|2014|pp=173–76}} The rediscovery initiated a revival of carillon building.{{sfn|"Carillon." ''Encyclopaedia Britannica''}}

In [[Mechelen]], Belgium, [[Jef Denyn]] was a major figure in the carillon's revival as a musical instrument. In 1887, after his father had become completely blind, Denyn took over as the city carillonneur and was responsible for playing the carillon in the tower of [[St.&nbsp;Rumbold's Cathedral]].{{sfn|Rombouts|2014|pp=177–78}} From the beginning of his career, Denyn advocated for better playability of the instrument. He further developed the tumbler rack system of transmission cables that his father had installed on the cathedral carillon. This allowed the player to have better control over [[Dynamics (music)|dynamic]] variations, fast musical passages and [[tremolo]]s. Tremolos offered a solution to a Romantic-era limitation of the carillon: its inability to expressively sustain the sound of individual notes.{{sfn|Rombouts|2014|pp=178–80}}

[[File:Mechelen St-Romboutskathedraal 04.JPG|thumb|alt=An ornate stone brick bell tower|The tower of [[St. Rumbold's Cathedral]] in [[Mechelen]], Belgium, where [[Jef Denyn]] generated worldwide interest in the carillon]]

With his improving skills as a carillonneur and the upgraded cathedral carillon, Denyn's performances began attracting crowds of listeners. He established regular Monday night concerts at the suggestion of the city council.{{sfn|Swager|1993|pp=50–51}} On 1&nbsp;August 1892, Denyn hosted the first carillon concert in history.{{sfn|Rombouts|2014|p=181}} From this point forward, the instrument garnered a reputation as a concert instrument, rather than as an instrument tasked with providing background music.{{sfn|Swager|1993|p=51}}

===Impact of the World Wars===
Because of his concerts, Denyn met [[William Gorham Rice]], an American state and federal government official from [[Albany, New York]], US. Having traveled to [[The Hague]] and been exposed to the carillon, Rice was regularly touring the region to interview carillonneurs for his research. After Denyn's 18&nbsp;August 1913 evening concert, he and Rice exchanged ideas about the societal and educational value of carillon performances for large audiences.{{sfn|Rombouts|2014|p=188}} Rice's book ''Carillons of Belgium and Holland'', the first in the English language written specifically about carillons,{{sfn|Keldermans|Keldermans|1996|p=39}} was published in December 1914 and reprinted three times. The book painted an idealized picture of the region that resonated with the American public, particularly in light of the [[rape of Belgium]].{{sfnm|Rombouts|2014|1pp=197–98|Thorne|2018}} Its success motivated Rice to publish two more books in 1915 and 1925.{{sfn|Rombouts|2014|p=198}} Rice became an authority on carillons in the United States; besides his books, he gave 35 lectures in several cities, published articles in magazines, spoke on radio programs, and presented exhibition material on the subject between 1912 and 1922.{{sfn|Rombouts|2014|p=208}} In 1922, Rice garnered financial support from [[Herbert Hoover]] and [[John D. Rockefeller&nbsp;Jr.]] to establish a carillon school in Mechelen with Denyn as its first director. It was later named the [[Royal Carillon School "Jef Denyn"]].{{sfnm|Price|1983|1pp=227–28|Rombouts|2014|2p=208|Gouwens|2013|3p=43}}

[[File:Bundesarchiv Bild 183-H26751, Hamburg, Glockenlager im Freihafen.jpg|thumb|Broken bells in a {{ill|Bell cemetery|de|Glockenfriedhof|lt=bell cemetery|quote=y}} in [[Hamburg]], Germany, 1947]]

Stephen Thorne of the [[Canadian military history]] magazine ''Legion'' writes that the [[Allied Powers of World War&nbsp;I]] and [[Allied Powers of World War II|of World War&nbsp;II]] saw the destruction of carillons during the respective wars as a "brutal annihilation of a unique democratic music instrument".{{sfn|Thorne|2018}} The destruction was highly publicized among the allies of Belgium and the Netherlands. In the latter war, British investigators claimed Germany seized two thirds of all bells in Belgium and every bell in the Netherlands. Between 1938 and 1945, 175,000 bells were stolen and stored in {{ill|Bell cemetery|de|Glockenfriedhof|lt=bell cemeteries|quote=y}} ({{langx|de|Glockenfriedhöfe|links=no}}). Some 150,000 were sent to foundries and melted down for their copper.{{sfn|Thorne|2018}} Following the war, with the bells out of their towers, E.&nbsp;W. Van&nbsp;Heuven and other [[physicist]]s could research the tonal qualities of bells in laboratory conditions and with modern electrical sound-analyzing equipment.{{sfn|Price|1983|pp=232–35}} [[Percival Price]], Dominion Carillonneur at the [[Peace Tower]],{{sfn|Slater|2003|p=45}} was tasked with [[repatriating]] as many surviving bells as possible. He also used the opportunity to publish similar research.{{sfn|Thorne|2018}} Now, every bellfounder could learn how to cast the highest-quality bells, and the increase in new carillons was greater than ever.{{sfn|Price|1983|p=235}}

===Movement in North America===
Between 1922 and 1940, bellfounders installed 43 carillons in the United States and Canada. The flood of carillons onto the continent is attributed to Rice's widely popular books and persistent education in the United States. His romanticized depiction of the cultural instrument prompted wealthy donors to purchase carillons for their own civil and religious communities.{{sfn|Barnes|1987|p=21}} Price was appointed to play the carillon at the [[Metropolitan United Church]] in [[Toronto, Ontario]], Canada (before working as Dominion Carillonneur); [[Mary Mesquita Dahlmer]] was appointed to play at [[Our Lady of Good Voyage Church (Gloucester, Massachusetts)|Our Lady of Good Voyage Church]] in [[Gloucester, Massachusetts]], US. Both were the first professional carillonneurs in their respective countries.{{sfn|Slater|2003|pp=15, 45}} In 1936, [[The Guild of Carillonneurs in North America]] was founded at [[Parliament Hill]] in [[Ottawa, Ontario]], Canada. Following the deaths of Denyn in 1941 and Rice in 1945, North American carillonneurs, through their new organization, sought to develop their own authority on education and performance.{{sfn|Rombouts|2014|p=289}} In the 1950s and 1960s, a distinct North American style of carillon music emerged at the [[University of Kansas]]. Led by [[Ronald Barnes (carillonist)|Ronald Barnes]], the university's carillonneur, he encouraged his peers to compose for the carillon and produced many of his own compositions.{{sfn|Rombouts|2014|p=289}}

===International recognition===
In the 1970s, the idea for a global carillon organization took shape, and the {{ill|World Carillon Federation|nl|Beiaard Wereld Federatie}} was later formed as the central organization of carillon players and enthusiasts. It is a federation of the preexisting national or regional carillon associations that had been founded throughout the 20th century.{{sfn|Rombouts|2014|p=312}}

In 1999, [[UNESCO]] designated [[Belfries of Belgium and France|32 bell towers in Belgium]] as a [[World Heritage Site]], in recognition of their architectural diversity and significance. The list was expanded in 2005 to include 23 in France, as well as the tower of [[Gembloux]], Belgium.<ref>{{cite web |title=Belfries of Belgium and France |website=World Heritage Centre |publisher=[[UNESCO]] |url=https://whc.unesco.org/en/list/943/ |access-date=2021-04-13 |url-status=live |archive-date=2021-03-23 |archive-url=https://web.archive.org/web/20210323203523/https://whc.unesco.org/en/list/943/}}</ref> In 2014, UNESCO recognized the carillon culture of Belgium as an [[intangible cultural heritage]],<ref>{{cite web |title=Safeguarding the carillon culture: preservation, transmission, exchange and awareness-raising |website=Intangible Cultural Heritage |publisher=[[UNESCO]] |url=https://ich.unesco.org/en/BSP/safeguarding-the-carillon-culture-preservation-transmission-exchange-and-awareness-raising-01017 |access-date=2021-07-28 |url-status=live |archive-date=2021-07-24 |archive-url=https://web.archive.org/web/20210724080536/https://ich.unesco.org/en/BSP/safeguarding-the-carillon-culture-preservation-transmission-exchange-and-awareness-raising-01017}}</ref> stating that it "recognizes the creativity of carillonneurs and others who ensure that this cultural form remains relevant to today's local societies."<ref>{{cite news |author=<!--Not stated--> |title=Belgische beiaardcultuur erkend als erfgoed |trans-title=Belgian Carillon Culture Recognized as Heritage |date=2014-11-25 |work=[[VRT (broadcaster)|VRT NWS]] |language=nl |url=https://www.vrt.be/vrtnws/nl/2014/11/25/belgische_beiaardcultuurerkendalserfgoed-1-2159300/ |access-date=2021-04-13 |url-status=live |archive-date=2021-04-13 |archive-url=https://web.archive.org/web/20210413223831/https://www.vrt.be/vrtnws/nl/2014/11/25/belgische_beiaardcultuurerkendalserfgoed-1-2159300/ |quote=Unesco erkent de creativiteit van beiaardiers en anderen die ervoor zorgen dat deze cultuurvorm relevant blijft voor de lokale samenlevingen van vandaag. |trans-quote=UNESCO recognizes the creativity of carillonneurs and others who ensure that this form of culture remains relevant to today's local societies.}}</ref>

In 2008, the carillon was featured in the film ''[[Welcome to the Sticks]]'', a box office success as the [[List of highest-grossing films in France#French productions|highest-grossing]] French film ever released in France {{as of|2021|lc=y|post=.}}<ref>{{cite web |title=Welcome to the Sticks |website=[[Box Office Mojo]] |publisher=[[IMDb]] |url=https://www.boxofficemojo.com/release/rl3703866881/rankings/?ref_=bo_rl_tab#tabs |access-date=2021-04-19 |archive-date=2021-04-19 |archive-url=https://web.archive.org/web/20210419223832/https://www.boxofficemojo.com/release/rl3703866881/rankings/?ref_=bo_rl_tab#tabs |url-status=live }}</ref>

In 2019, playing the carillon of [[St Colman's Cathedral, Cobh|St. Coleman's Cathedral]] in [[Cobh]], Ireland, was recognized by the [[Irish government]] as key element of the country's living cultural heritage.<ref>{{cite press release |author=<!--Not stated--> |title=Minister Madigan Announces State Recognition of Key Elements of Ireland's Living Cultural Heritage |url=https://merrionstreet.ie/en/news-room/releases/minister_madigan_announces_state_recognition_of_key_elements_of_ireland’s_living_cultural_heritage.html |location=[[Dublin]] |publisher=Minister for Culture, Heritage and the Gaeltacht |agency=MerrionStreet.ie |date=2019-07-18 |access-date=2022-05-04 |url-status=live |archive-date=2021-02-27 |archive-url=https://web.archive.org/web/20210227041916/https://merrionstreet.ie/en/news-room/releases/minister_madigan_announces_state_recognition_of_key_elements_of_ireland’s_living_cultural_heritage.html}}</ref>