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This research analyses the town of Cervera (Catalonia, Spain) and its manual ringing of bells, while examining its possibilities to improve the tourism experience. Qualitative research was conducted for this study, using the participant observation method and semi-structured interviews with the bell ringers as well as with the staff of the Cervera Tourist Office, while historical archives were also accessed. Findings revealed that Cervera is one of the few places in Catalonia that keeps alive the tradition of manual ringing of bells, which adds value to the intangible cultural heritage related to the acoustics of the local space. The sound of the bells is remarkable and the special characteristics of the manual ringing can be easily identified, which enhances the tourism experience. The contribution of this work is to provide more opportunities for the tourism activity, creating a perspective of the intangible cultural heritage integrated into the soundscape scene, through the bells. [ABSTRACT FROM AUTHOR]

Previous research has focused primarily on replicating bells that were expected to resemble the original closely in terms of material, size, shape, and tone. There has, however, been no effort to use original bells as templates from which to re-create or re-design new bells that deviate significantly in size, yet maintain the shape of the originals in order to address issues in the history of art and in the archeology of ancient China. Experimentation with ancient bells in this field remains largely untapped. This article proposes to re-create bells in enlarged and reduced sizes through casting, based on 3D-printed resin models that have been correspondingly scaled up and down, from a 3D model scanned from a 500 BCE bell that was excavated from Xinzheng in Henan province, China. The study seeks to answer a series of questions, including whether replication of bells was practiced in ancient times, how casters could predict the tones a bell would produce before casting, and how a set of bells used as a musical ensemble could have been developed over history. [ABSTRACT FROM AUTHOR]

Tomato is a model system for studying fleshy fruit development. After fertilization, cell division and expansion in the pericarp are crucial for fruit development and determine the final fruit size. TKN3 was found to be expressed in the tomato ovary wall/pericarp of zero to two days post-anthesis fruits as a KNOX I class member, but its function in fruit development was elusive. Here, we found that mutations of TKN3 by CRISPR/Cas9 caused fruit developmental defects, and fruit weight was dramatically reduced in the tkn3cr mutant. Histological observation of fruit pericarps revealed that mutation of TKN3 repressed cell expansion after fertilization, leading to flattened cells in the mesocarp and thereby thinner pericarps in red fruits. Moreover, tkn3cr mutants also displayed pleiotropic phenotypes including enlarged leaves and floral organs, indicating conserved functions in meristem maintenance and leaf development. Yeast two-hybrid and BiFC assays further showed that TKN3 could interact with Solyc10g086640 (a homolog of Arabidopsis PNY), which has a similar expression pattern as TKN3. Genome-wide identification of genes regulated by TKN3 indicated that the auxin and gibberellin (GA) pathways might mediate the function of TKN3. Our works revealed that TKN3 controls cell expansion in pericarps, and provides new insights into the roles of KNOX proteins in fruit development. [ABSTRACT FROM AUTHOR]

The document titled "APPENDIX 2 INVENTORY TAKEN AT BROOKE HOUSE, HOLBORN, 28 JULY 1643" provides a detailed inventory of the goods and chattels at Brooke House in Holborn, London. The inventory lists various items found in different rooms of the house, including furniture, textiles, kitchenware, and other household items. The total value of the inventory is recorded as 1204-16-02, with additional items added later, reflecting the possessions of the residents of the house during that time period. [Extracted from the article]

The document "ACCOUNTS OF MAJOR JOHN HALFORD, 1641–1642" from the Camden Fifth Series journal provides a detailed record of Major John Halford's financial transactions and receipts from midsummer 1641 to midsummer 1642. It includes expenses related to household necessities, gardening, stable upkeep, and gifts made by the noble household in the 17th century. The meticulous accounts offer insights into the financial dealings, social interactions, and customs of the time period, reflecting the diverse needs and practices of that era. [Extracted from the article]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Erasmus’s epigrams “On six restored bells” (ca. 1501) draw attention to their material origins in bells remade for the Premonstratensian Abbey of Averbode following a calamitous fire. In doing so, they allow an exploration of the tensions between holy matter speaking with present, embodied, sanctified voices, and a world where resonant matter is marginalized and past material voices speak to the soul through words on the page. By tracing bell cultures in the period, and emphasizing the dense resonances of bronze as a material, this article shows how Erasmus’s approach to sound and matter both resonates with and transforms classical traditions and the local cultures of religious reform in the Low Countries. [ABSTRACT FROM AUTHOR]

This article explores the criteria used to ascertain whether or not, and how, ancient Chinese bronze bells might form sets of musical instruments, thus clarifying their original intended use by ancient musicians. The focus is on ten bells unearthed from Changsha city in Hunan province in China, which date to the twelfth century BCE. A range of diverse relationships between these bells provide valuable insights that can be explored. Debate is ongoing among music historians regarding the nature of the bells. Some argue that the ten bells do not constitute a set of musical instruments because their designs and acoustic properties lack sufficient similarity and correlation. Conversely, another group of historians suggests that nine of the ten bells could indeed be seen as a set, but with the tenth bell being an outlier due to its distinct design. The third group of historians contends that the ten bells should be considered a musical set because of their organized sequence of consecutive semi-tones, while the design differences of the bells are less significant and can be overlooked if we focus on their musical functions. In this study, we scrutinize the assumptions made by these music historians, including their definitions of design similarity and the sequence of progressive pitches. Further previously overlooked criteria, such as the geographical proximity of these ten bells and others found in neighboring areas, and the incremental changes in the bell sizes, are also considered. Through the use of these criteria we aim to explore a wide range of relationships between ancient Chinese bells and to reassess what other new evidence the bells may offer to the study of ancient Chinese musical concepts. The concept of the chromatic scale discovered by ancient Chinese musicians was embodied on the casting of bronze bells. [ABSTRACT FROM AUTHOR]

The article focuses on Rayburn's emotional journey as he revisits a significant restaurant in Kyoto to celebrate his thirty-year marriage anniversary, reflecting on memories and relationships. Topics include the nostalgic atmosphere of the restaurant Yuki, Rayburn's personal reflections on marriage and communication with his wife, and the symbolism of music and bells in Japanese culture as they relate to his life experiences.

Copyright of Complutum is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the connections between Ovid's "Daphne and Apollo" and Basile's "The Myrtle" in terms of their texts and performance. Basile's story draws inspiration from Ovid's tale, using inversions and reversals to create a playful and witty variation. The article highlights the influence of Ovid's work on Basile's composition and emphasizes the importance of classical knowledge in understanding these stories. The text discusses Giambattista Basile's tale "The Myrtle" and its connections to classical literature. Basile's story includes elements of performance, exaggeration, and humor, and incorporates references to Ovid's "Daphne and Apollo." Recent research has shed light on the relationship between Latin literature and modern European fairy tales, including Basile's work. The article discusses the research of three scholars, Ruth B. Bottigheimer, Stijn Praet, and Armando Maggi, on the influence of ancient literature on Basile's fairy tales, with a focus on Ovid's contribution. The article concludes by highlighting ongoing research in this field. The given text contains various references and translations from Basile's "Tale of the Tales," discussing specific scenes and imagery in the fairy tale, as well as other literary works that may have influenced Basile's storytelling. It also references scholars and their interpretations of Basile's work. [Extracted from the article]

Copyright of Historia Ecclesiastica is the property of Vydavatelstvo Presovskej Univerzity and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia Ecclesiastica is the property of Vydavatelstvo Presovskej Univerzity and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text provides a comprehensive study of music and musicians at the medieval collegiate church of St Omer. The author, Andrew Kirkman, examines various aspects of the church's musical activities, including the training of young singers, the production and repair of liturgical and musical books, and the interaction between human voices, bells, and organs. Although no musical sources from St Omer have survived, Kirkman's analysis of the church's archives sheds light on the social, political, and ecclesiastical structures of the institution. The text emphasizes the cultural significance of music in the church and its role in religious ceremonies. While there are some minor errors and omissions, the overall study is valuable and engaging for researchers interested in medieval music. [Extracted from the article]

The article discusses the 35th Conference of the Society for Utopian Studies, focusing on the theme of "Pedagogies of Desire." Scholars explored the role of utopian thinking in education, particularly in a time when humanities programs are being defunded and students are increasingly commodified. Presentations and discussions highlighted the importance of utopia as a method for envisioning a better way of being or living, with a focus on diverse perspectives, including queer and feminist approaches. The conference emphasized the need to retrain desire and redirect it towards creating utopian structures of feeling in the present, embodying hope and resistance in a destabilized world. [Extracted from the article]

Alice Walker and Chimamanda Ngozi Adichie are renowned female writers from different backgrounds, countries and as such, different ideologies. They share a lot in common as their novels revolve around women, their struggles, challenges and experiences in life. Alice Walker concentrates on African-American women while Adichie focuses on the experiences of Africans, especially women who left the shores of Africa to the western world, their struggles, challenges encountered for being black and being a woman which Bell Hooks regards as "double tragedy". This study is a comparative analysis of the self discovery in their novels: Now is the time to open your Heart by Alice Walker and Americanah by Chimamanda Adichie. It examines how the female protagonists: Kate and Ifemelu re-discover themselves and carve out a niche for themselves despite the challenges they face in their various journey in life. This study attempts to disabuse the minds of those who believe that women should be regarded as objects to be played with; rather they are subjects as could be ascertained from the lives of the characters, especially, the protagonists. Effort will be made to examine their pitiable experience which ranges from racism, segregation, humiliation and exploitation. Womanist and Post-colonial theories have been employed in this study to ostensibly facilitate a link between the experiences of Africans in Diaspora and the American system of government. [ABSTRACT FROM AUTHOR]

In the article "Undisciplining Totality," Jason Yust argues for the removal of tonality as a central concept in music education and scholarship. Yust contends that tonality is closely tied to white supremacist structures and that its focus has resulted in a neglect of other important musical parameters. The article also highlights the lack of diversity in music theory curricula and the need for a more inclusive approach that encompasses different musical styles and repertoires. Yust's arguments are supported by a literature review and additional research by other scholars. The article encourages readers to question long-standing organizing principles in the field of music theory. [Extracted from the article]

This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis' article examines how Yale psychologist Arnold Gesell was able to extract scientific data from a film. Felix Rietmann's article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers' engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O'Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. [ABSTRACT FROM AUTHOR]

This article considers the implications for film analysis of the presence or absence of a manual crank. More specifically, it looks at the 16 mm Time and Motion Study Projector as used in behavioral research in the 1960s and 1970s. The controversial concept of 'interactional synchrony', or the dance-like coordination of people in conversation, emerged from the use of this hand-turned projector. William S. Condon developed the concept along with the technique of microanalysis. Starting with the projector manufactured by Bell & Howell, he made numerous improvements to facilitate observation—'sweeping' over segments of very short duration to discover the rhythmic synchrony of all filmed participants. It led him to a theory of 'process' in communication, and in the reception of speech in particular. People always 'danced' to the tune of their own voice, and their listeners 'danced' to the tune of the speaker—at intervals of one-sixth or one-eighth of a second. This also led Condon to an epistemology of discovery derived partly from philosophy but mostly from his machinery. The universe, he said, is a 'continuum of order' whose structures are preserved through translations of order: of thought into speech, speech into vibrations, vibrations into neurons, and back into behavior. The only exceptions are people with disabilities, like the autistics Condon studied from the 1970s onward. But the very distinction of normal and pathological was epiphenomenal to his scanning technique; it was rooted in material and formal qualities of film and of the projector whose crank he turned often. [ABSTRACT FROM AUTHOR]

The Burmese arched harp, known as Saung Gauk, is the national icon of the Southeast Asian country of Myanmar (once called Burma). It is both ancient and contemporary, and its music frequently carries stories that are threaded with long-standing philosophical principles of the Burmese. The music of the Saung Gauk consists of five primary pitches (and two ornamental extras) that provide intriguing melodies, and a bronze bell and wood clapper provide the accompanying rhythm in traditional practice, even while Burmese-style piano and tuned drums may fill out an ensemble in which Saung Gauk is featured. A learning pathway will detail ways to approach this extraordinary music and the special place of this harp in Burmese identity. [ABSTRACT FROM AUTHOR]

The paper presents the influence of acoustic waves caused by bells on a stained-glass window and its components. The issue is particularly important in the context of church towers with bells and stained-glass windows. The free vibrations of a sample stained-glass window were analyzed numerically, with changes related to the thickness of the glass used and the parameters of the lead cames that form the internal metallic structure of a window panel. The obtained results can be generalized to any other sources of acoustic waves and they can constitute the basis for determining the properties of the designer of stained-glass window or introducing additional barriers to avoid the phenomenon of resonance. [ABSTRACT FROM AUTHOR]

The article, titled "Certain Skies," explores the theme of railway stations as both marvelous and tragic places. The author reflects on the experience of leaving behind familiar surroundings and entering into the unknown when embarking on a journey. The text incorporates poetic and fragmented language, drawing inspiration from various sources, including Proust. The article is a collaborative effort between two writers and was influenced by a chance encounter with the same passage from Proust while both were on trains. The composition of the article is non-linear and experimental, with a movable center and a focus on sound, typography, and editing. The authors express gratitude to the editors of CounterText and a conference on "Sense / The Document" for providing a platform for their work. [Extracted from the article]

The Powers is an artistic and scholarly performance collective between Emily Pelstring, Katherine Kline, and Jessica Mensch. Together they produce music, television series, video work, incantations, and performance pieces that disrupt white-patriarchal myths of the witch. As part of the Witch Institute, hosted at Queen's University in August 2021, The Powers shared their anti-colonial and feminist oracle deck with participants remotely via Zoom. Throughout the performance, participants were invited to choose a card from The Powers' "Consult the Fates" Oracle deck, to have their fates foretold. Inspired by famous critical race scholar bell hooks, each card cleverly asked participants to rethink, dismantle, and destroy the "white-supremacist-capitalist-imperialist-hetero-patriarchy." Audience members familiar with The Powers oeuvre will undoubtedly have recognized several of the hand-drawn characters such as the Squid, Hairball, Blob, and Skelly, who have appeared in previous performances as part of The Powers' multiverse. [ABSTRACT FROM AUTHOR]

"Reading Hemingway's For Whom the Bell Tolls. Glossary and Commentary" by Alex Vernon is a valuable resource for readers interested in understanding and appreciating Ernest Hemingway's novel. The book provides a glossary and commentary that offer detailed explanations of historical and cultural references, as well as insights into Hemingway's writing style and the political context of the Spanish Civil War. Vernon also explores Hemingway's personal experiences in Spain and the influences that shaped his portrayal of the conflict. Overall, this book serves as a comprehensive companion to For Whom the Bell Tolls, enhancing readers' understanding and enjoyment of the novel. [Extracted from the article]