Glockenspiel

Other names	bells, orchestra bells
Classification	keyboard percussion
Hornbostel–Sachs classification	idiophone
Playing range
written like F3-C6, sounds like F5-C8
Related instruments
xylophone, marimba, vibraphone, tubular bell

Two bell lyres in use

A Mardi Gras musician playing a glockenspiel.

A glockenspiel (German pronunciation: [ˈɡlɔkənˌʃpiːl], glocken:bells and spiel:play) is a percussion instrument composed of a set of tuned keys arranged in the fashion of the keyboard of a piano. In this way, it is similar to the xylophone; however, the xylophone's bars are made of wood, while the glockenspiel's are metal plates or tubes, thus making it a metallophone. The glockenspiel, moreover, is usually smaller and higher in pitch.^[1]

In German, a carillon is also called a Glockenspiel, while in French, the glockenspiel is often called a carillon.

When used in a marching or military band, the bars are sometimes mounted in a portable case and held vertically, sometimes in a lyre-shaped frame. However, sometimes the bars are held horizontally using a harness similar to a marching snare harness. In orchestral use, the bars are mounted horizontally. A pair of hard, unwrapped mallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber (though using too soft of rubber can make a dull sound). If laid out horizontally, a keyboard may be attached to the instrument to allow chords to be more easily played. Another method to playing chords is to play with four mallets.

The glockenspiel is limited to the upper register, and usually covers about two and a half to three octaves, but can also reach up to 3.5 octaves. The glockenspiel is a transposing instrument; its parts are written two octaves below the sounding notes. When struck, the bars give a very pure, bell-like sound.

Glockenspiels are still quite popular and appear in almost all genres of music ranging from hip-hop to jazz. Percussionist Neil Peart of the rock band Rush uses the glockenspiel in several of the band's arrangements, most notably in the commercial hit songs "The Spirit of Radio" and "Closer to the Heart", and also in album tracks "Xanadu" and "Circumstances". The glockenspiel was also featured in Jimi Hendrix's classic ballad "Little Wing", Avenged Sevenfold's song "Nightmare" during the intro, as well as in indie folk music by artists such as Paul Duncan of Warm Ghost.^[2] George Martin, The Beatles' producer, plays glockenspiel on the band's song Being for the Benefit of Mr. Kite! to help create the atmosphere of the Pablo Fanque circus performance that inspired the song. ^[3]

Two well-known classical pieces that uses the glockenspiel are Handel's Saul and Mozart's Die Zauberflöte, both of which used instruments which had bells.^[4] (The part is sometimes performed on a celesta, however, which sounds quite different from the intended effect.) A modern example of the glockenspiel is Steve Reich's 1970–71 composition Drumming, in which the glockenspiel becomes a major instrument in the 3rd and 4th movements.^[5]

Other instruments that work on the same struck-bar principle as the glockenspiel include the marimba and the vibraphone. There are also many glockenspiel-like instruments in Indonesian gamelan ensembles.

In England, the United States, and Canada, there is a form of glockenspiel called a bell lyre, or bell lyra. The bell lyre is a form of glockenspiel commonly used in marching bands. It is played upright and has an extendable spike which is held on a strap. The player marches with the strap over his shoulder and plays the instrument upright with a beater. Another variation of the bell lyre exists which is held by a strap round the shoulders and back. This variation is played horizontally with two beaters as it does not need to be held upright. Since the middle of the 19th century this form of the instrument has also been used in military bands in Germany, where it is called a Stahlspiel or Militär-Glockenspiel.

See also[link]

• Keyboard glockenspiel
• Balafon
• Timpani
• Lamellophone
• Lithophone
• Mbila (musical instrument)
• Musical Stones of Skiddaw
• Thongophone

Gallery[link]

• 

  Most orchestral glockenspiels are mounted in a case

• 

  Glockenspiel and crotales

References[link]

1. ^ Grove Dictionary of Music and Musicians
2. ^ Peter Funk (19 January 2006). "Paul Duncan: Be Careful What You Call Home". PopMatters. http://www.popmatters.com/pm/review/duncanpaul-becareful. Retrieved 2011-05-08. 
3. ^ Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1. 
4. ^ Luttrell, Guy L. (1979). The Instruments of Music, p.165. Taylor & Francis.
5. ^ "The Vibraphone and Glockenspiel". All About Mallet Percussion. http://www.mallet-percussion.com/vibes.html. Retrieved 28 May 2011. 

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Glockenspiel.

Look up Glockenspiel in Wiktionary, the free dictionary.

• Glockenspiel at the Vienna Symphonic Library
• Royalschoolsources Percussion Pages—Online sources for the prescribed music of the Royal Schools of Music practical exams

Deirdre McCloskey

Deirdre N. McCloskey (born September 11, 1942, Ann Arbor, Michigan)^[1] is an American economics professor. Her job title at the University of Illinois at Chicago (UIC) is Distinguished Professor of Economics, History, English, and Communication. She is also adjunct professor of Philosophy and Classics at UIC, and was for five years the Tinbergen Distinguished Professor of Economics, Philosophy, History, English, and Arts and Culture, at Erasmus University, Rotterdam. Since October 2007 she has received two honorary doctorates.

Career[link]

McCloskey earned her undergraduate and graduate degrees in Economics at Harvard University. (Her study of British iron and steel won in 1973 the distinguished David A. Wells Prize for best dissertation.)^[2]

In 1968 — while still a graduate student — McCloskey was hired by Milton Friedman and Robert Fogel to join the faculty of Economics at the University of Chicago, where she stayed for 12 years with tenure, producing and teaching price theory and economic history before turning in 1979 to the study of rhetoric, feminism, and the history and philosophy of economics and other human sciences. At the University of Iowa, McCloskey, the John Murray Professor of Economics and of History (1980–1999), published The Rhetoric of Economics (1985) and co-founded with John S. Nelson, Allan Megill, and others a field of study, "the rhetoric of the human sciences," and an institution and graduate program, the Project on Rhetoric of Inquiry. McCloskey has authored or edited more than 20 books and over 300 articles challenging standard assumptions in the field.

Her major contributions since the 1960s are in the economic history of Britain, the quantification of historical inquiry, the rhetoric of economics, the rhetoric of the human sciences, economic methodology, virtue ethics, feminist economics, heterodox economics, the role of mathematics in economic analysis, and the use (and misuse) of significance testing in economics. She has argued that economists often celebrate "statistically significant" results while ignoring the economic significance of results, an argument that McCloskey readily admits to being both old and well-known among sophisticates of science.^[3]

She discussed some of these issues in the inaugural James M. Buchanan Lecture at George Mason University on April 7, 2006. She said there, capitalism "is an ethically drenched human activity" which requires attention to all of the classical seven virtues, while economists usually focus exclusively on prudence. Her book The Bourgeois Virtues: Ethics for an Age of Commerce^[4] is the first of a projected six-volume magnum opus. The second book, Bourgeois Dignity: Why Economics Can't Explain the Modern World was published in 2010 and a draft of the third volume, Bourgeois Towns: How Capitalism Became Ethical, 1600-1848, is available online in her website.^[5]

Quotation[link]

The progress of economic science has been seriously damaged. You can’t believe anything that comes out of [it]. Not a word. It is all nonsense, which future generations of economists are going to have to do all over again. Most of what appears in the best journals of economics is unscientific rubbish. I find this unspeakably sad. All my friends, my dear, dear friends in economics, have been wasting their time....They are vigorous, difficult, demanding activities, like hard chess problems. But they are worthless as science.

The physicist Richard Feynman called such activities Cargo Cult Science....By “cargo cult” he meant that they looked like science, had all that hard math and statistics, plenty of long words; but actual science, actual inquiry into the world, was not going on. I am afraid that my science of economics has come to the same point.

— (Deirdre McCloskey, The Secret Sins of Economics (2002), 41, 55f)^[6]

Personal life[link]

McCloskey was the first child of the late Robert McCloskey, a professor of government at Harvard University, and the former Helen Stueland, a poet.

She transitioned from male to female in 1995, at the age of 53, a fact recorded in the New York Times Notable Book of the Year, Crossing: A Memoir (1999, University of Chicago Press). McCloskey was married and fathered two children.^[7] She changed her name from Donald to "Dee" to Deirdre.^[7]

McCloskey advocates on behalf of the rights of persons and organizations in the LGBT community. She was also a key person in the Blanchard, Bailey, and Lawrence theory controversy and in the debate over J. Michael Bailey's book The Man Who Would Be Queen.^[8]

Publications[link]

• Bourgeois Dignity: Why Economics Can't Explain the Modern World (November 2010) University of Chicago Press
• The Cult of Statistical Significance: How the Standard Error Costs Us Jobs, Justice, and Lives (January 2008) University of Michigan Press (with Stephen T. Ziliak)
• The Bourgeois Virtues : Ethics for an Age of Commerce (June 2006) University of Chicago Press
• The Economic Conversation (2008) (with Arjo Klamer and Stephen Ziliak)
• The Secret Sins of Economics (August 2002)
• Crossing: A Memoir (September 1999) is McCloskey's account of her growing recognition (while a boy and man) of her female identity, and her transition — both surgical and social — into a woman (including her reluctant divorce from her wife). Following sex-reassignment surgery, the book describes her new life continuing her career as a female academic economist.
• Measurement and Meaning in Economics: The Essential Deirdre McCloskey (1999) (edited by Stephen Ziliak)
• The Vices of Economists, the Virtues of the Bourgeoisie (1996)
• Knowledge and Persuasion in Economics (1994)
• Second Thoughts: Myths and Morals of U.S. Economic History (1993)
• A Bibliography of Historical Economics to 1980 (1990)
• If You're So Smart: The Narrative of Economic Expertise (1990)
• The Consequences of Economic Rhetoric (1988)
• The Writing of Economics (1987) reprinted as Economical Writing (2000)
• Econometric History (1987)
• The Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs (1987)
• The Rhetoric of Economics (1985 & 1998)
• The Applied Theory of Price (1982 & 1985)
• Enterprise and Trade in Victorian Britain: Essays in Historical Economics (1981)
• Economic Maturity and Entrepreneurial Decline: British Iron & Steel, 1870-1913 (1973)
• Essays on a Mature Economy: Britain after 1840 (1971)

Articles[link]

• Modern Epistemology Against Analytic Philosophy: A Reply to Maki Journal of Economic Literature Vol. 33, No. 3 (Sep., 1995), pp. 1319–1323
• The Rhetoric of Law and Economics Michigan Law Review Vol. 86, No. 4 (Feb., 1988), pp. 752–767
• The Loss Function Has Been Mislaid: The Rhetoric of Significance Tests, American Economic Review, Vol. 75, No. 2, Papers and Proceedings of the Ninety-Seventh Annual Meeting of the American Economic Association (May, 1985), pp. 201–205
• The Rhetoric of Economics, Journal of Economic Literature Vol. 21, No. 2 (Jun., 1983), pp. 481–517
• McCloskey D, Ziliak S T. (1996 March). The Standard Error of Regressions. Journal of Economic Literature Vol. 34:97-114.
• McCloskey D N, Ziliak S T. (2004). Size Matters: The Standard Error of Regressions in the American Economic Review. Econ Journal Watch. 1(2) 331-338.

See also[link]

• McCloskey critique
• Airleap

References[link]

External links[link]

• Deirdre McCloskey personal home page
• Deirdre McCloskey website at the University of Illinois at Chicago Department of English
• "Leading Economist Stuns Field by Deciding to Become a Woman", The Chronicle of Higher Education, February 16, 1996
• In Defense of Extreme Rationalism: Thoughts on D. McCloskey's The Rhetoric of Economics by Hans-Hermann Hoppe.
• International Association for Feminist Economics (IAFFE)
• Journal of Feminist Economics
• IDEAS repository of papers
• Association for Integrity and Responsible Leadership in Economics and Associated Professions
• An excerpt titled "Before Deirdre there was Jane" from the book Crossing: A Memoir by Dierdre McCloskey
• An excerpt from The Bourgeois Virtues: Ethics for an Age of Commerce by Deirdre N. McCloskey

Bruno Schleinstein (June 2, 1932 – August 11, 2010)^{[citation needed]} was a German film actor, artist, and musician.

Life[link]

Schleinstein was often beaten as a child, and spent much of his youth in mental institutions.^[1] He was a largely self-taught musician, who over the years developed considerable skill on the piano, accordion, glockenspiel and handbells. He would play in back gardens performing 18th and 19th century style ballads at the weekends, while sustaining himself financially working as a forklift driver at a car plant. Schleinstein said he transmits (German: durchgeben) his songs, rather than singing them.^[1]

Schleinstein was spotted by director Werner Herzog in the documentary Bruno der Schwarze – Es blies ein Jäger wohl in sein Horn (1970). Herzog promptly cast Schleinstein (under the name Bruno S.) as his lead actor in The Enigma of Kaspar Hauser (1974), though he had no acting experience. Schleinstein also starred in Stroszek (1977), which Herzog wrote especially for him in four days. Stroszek has a number of biographical details from Schleinstein's life, including the use of his own flat as the home of Bruno Stroszek. He also played his own instruments.

Herzog has claimed that Schleinstein was deeply suspicious of the director, and nervous of performing in front of the cameras — so had to be "listened to" for several hours on set in order to build his self-esteem. Schleinstein enjoyed fame in Berlin following the release of these films, but said later that "Everybody threw him away."^[1] Instead, he took up painting and music. Some of his artwork was shown at the 2004 Outsider Art Fair in New York City. He appeared in film again in Jan Ralske's Vergangen, vergessen, vorüber (Long-lost and Lay Me Down) in 1993. Ralske also made a short documentary video about Schleinstein and his art, called Seeing Things. He was the subject of a 2003 documentary "Bruno S. – Estrangement is death", directed by Miron Zownir. Schleinstein also released a CD of his music and songs, he was member of the NO!Art movement.

Schleinstein died August 11, 2010 ^[2] after suffering heart problems. Shortly after his death, Werner Herzog remarked “in all my films, and with all the great actors with whom I have worked, he was the best. There is no one who comes close to him. I mean in his humanity, and the depth of his performance, there is no one like him.” ^[3]

References[link]

External links[link]

• Bruno Schleinstein at the Internet Movie Database
• Gallery of paintings of Bruno Schleinstein
• Gallery of polaroids by Bruno Schleinstein
• Schleinstein, Bruno. Mamatschi. Berlin: The New York Times. http://video.nytimes.com/video/2008/12/24/multimedia/1194836417677/a-berlin-relic-still-singing.html. Retrieved 2008-12-26. 

• Fenner, Ingrid (December 24, 2008). "A Translation of ‘Mamatschi’". The New York Times. http://www.nytimes.com/2008/12/24/arts/24mamtashsong.html. Retrieved 2008-12-26. 

• Book: Bruno S. – Die Fremde ist der Tod / As estrangement is Death – Excerpts and Drawings, German/English, MaasMedia Verlag Berlin
• Obituary in The Guardian
• Obituary in The Independent