UCLA

With new technology, handbells can have a clear tone on which almost any melody can be played clearly. Despite a growing body of composers and repertoire for the handbell ensemble, the relative number of top-level contemporary compositions and truly professional ensembles is small. A recent necessary standardization of notation resulted in ubiquitous arrangements, misrepresenting the handbell ensemble’s vast sonic possibilities and often diminishing its connection to its worldwide historical roots. However, the handbell is an instrument of “timbre;” it can produce many more sounds than are being used. This dissertation aims to convince musical communities that this composite instrument is capable of more than enough sonic expression to carry or support any contemporary composition. To do this, the study explores relevant history and early repertoire, presents new sounds in newer repertoire, and catalogues and analyzes the handbell’s sounds (and the sounds of the related instrument, the handchime) into a Handbell and Handchime Timbre Dictionary. The study concludes by proposing eight strategies for the new handbell ensemble, including that composers should learn to use the handbell ensemble timbrally and combine it with other instrumentations. By doing so, the genre of the handbell ensemble can grow and mature into its promising potential.