The Art of the Bell
The French word "campanaire"
corresponding to the English word "campanological" ceased to exist in French
dictionaries twenty years ago. This is proof that the word had fallen into disuse much
like the subject. Even in the "Littré", the French unabridged dictionary, at
the beginning of the last century, the definition was a bit meager : "campanaire"
(campanological) was defined simply as being related to the bell.
Only in older works does one find such etymological
references as : "from the Latin campana, bell".
The use of bib bells in the Christian church goes
back to
the 6th century. St. Paulin, the bishop of Nola, in the Italian province of Campania, is
falsely attributed with having used Bronze instruments to call the faithful to church.
This explains why, among the first names used to connote the instrument were the terms "nola"
or "campana".
Campanological art is therefore the art of the bell
:
the way they are made, the traditions and the customs associated with them, their history.
The specificity of the term campanological and its derivatives campanology and
campanography, have led to the reduction of this universal art to church and temple bells
as well as carillons.
Nowadays, campanologists see something much
broader. The bell is not considered solely as the object made sacred by religion and
music. It is, also, with all its components,
a tool used by man for daily needs with an array of shapes depending on the material used
to create it, where it was made and what it is to be used for.
A bell, as classified amongst sound-producing
objects,
is an idiophone, that is to say, a musical instrument which, because of the material used
to create it, produces a vibration.
All idiophones, however, are not campanological
objects.
In order to be classified as such, they must demonstrate a strong propensity towards
establishing ties with man.
Thus, in his perpetual quest to find and affirm a proper place in this world and to assure
his material and spiritual survival, man has continued to utilize these instruments. In a
setting perceived as hostile, and in hereafter filled with mystical fears and fantasies of
hope, man's creation accompanies him on his journey.
These objects are centripetal and centrifugal. Their aim is
to bring together or to drive away, be they crotals, animal bells, rattles, semantrons,
rain drums or beach drums, be they instruments bearing the effigy of a pope or replacing
the voice of a shaman, be they of terra cotta as in Babylon
or gold as among the Incas, be they rung by animal or man.
They call to prayer, to order, to justice, to coming together. They drive away
deadly enemies and evil spirits. They garantee protection to a group, are witness to its
existence and show proof of its identity.
Since each idiophone is capable of "speaking" of the man who made it,
of he who used it and of those who heard it and listened to it, campanology is strangely
familiar to
all of us and common to all cultures, in all civilizations
and on all continents.
It is a sign, the Latin "Signum" of universal acceptance. |
