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MTO 6.4: Harrison, Tolling Time

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KEYWORDS: clock chimes, bells, time, carillon, Westminster Quarters, Rochester Quarters, Magdalen Chimes, Parisfal Chimes, Guildford Chimes ABSTRACT: Five clock chimes (Parsifal, Guildford, Magdalen, Westminster, and Rochester) are analyzed to show how they communicate specific values about time. These chimes are shown to have two design elements, “distinctiveness” and “emergence,” that provide for particular kinds of temporal commentary. [1] It is a commonplace that music can be made out of any variety of sounds, including those not originally intended for music-making. I am concerned here, however, with a different case: situations in which sounds with explicit pitch are neither meant nor heard primarily as music. Car horns, doorbells, buzzers, and other purely functional yet (proto-)musical sounds are—in this present culture, at least—not much more than acoustic signifiers, and arouse no one’s aesthetic appreciation save perhaps that of a composer inspired to use them. But I am conc

Tolling Time Daniel Harrison KEYWORDS: clock chimes, bells, time, carillon, Westminster Quarters, Rochester Quarters, Magdalen Chimes, Parisfal Chimes, Guildford Chimes ABSTRACT: Five clock chimes (Parsifal, Guildford, Magdalen, Westminster, and Rochester) are analyzed to show how they communicate specific values about time. These chimes are shown to have two design elements, "distinctiveness" and "emergence," that provide for particular kinds of temporal commentary. PDF text | PDF examples Volume 6, Number 4, October 2000 Copyright © 2000 Society for Music Theory [1] It is a commonplace

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