Since 1936, we have been a leading promoter and educator of the carillon art in both North America and the world. At our organization’s founding, our charter members met to define its original "aims and objects." They wrote:
This is the story of how we've met these aims and objects.
Dr. Remsen B. Ogilby (1881–1943); the president and carillonneur of Trinity College in Hartford, Connecticut; invited people interested in the carillon to attend a meeting at the college and discuss matters of common interest. About 35 people attended, and resolutions were drawn up for another meeting. This gathering became known as the First Congress of Carillonneurs in North America.
Percival Price (1901–1985) hosted the Second Congress of Carillonneurs in North America at the Houses of Parliament in Ottawa, Ontario. At this meeting, our guild was established on September 3, with an executive committee and a constitution.
We published the first volume of our journal, The Bulletin. It's the first periodical in North America dedicated to research on the carillon art and one of the few in the world today.
Because at the time there was no existing music school for carillon outside Belgium, we established our own student examination process, the Carillonneur Exam, which encourages a higher standard of performance among our members. Today, passing the exam is a requirement for full membership.
As early as 1940, we had been "issuing" carillon music for our members. To better encourage the growth of the available music repertoire, we established the first North American publishing house that specializes in music for the carillon.
To exercise best practices in governance, we incorporated the GCNA under the provisions of the Minnesota Nonprofit Corporation Act. The next year, we replaced our executive committee with a board of directors and adopted bylaws. For administrative reasons, the state of incorporation was changed to California in 1992.
We published the first issue of our semiannual newsletter. Originally titled Randschriften, which is German for "marginal writing," it was renamed to Carillon News 20 issues later in 1979.
We created the North American keyboard standards and published them in The Bulletin volume 21. They were revised in 1981 and are available under “Appendix D” in our Carillon Tower Design and Construction booklet.
At the World Carillon Congress in Amersfoort, Netherlands, the World Carillon Federation was founded. We joined immediately as a member organization and have since sent routine delegations.
We commissioned Introduction and Sicilienne by Ronald Barnes, the first of over 25 commissions and counting.
We hosted our first composition contest, named in honor of Johan Franco (1908–1988), a prolific composer for the carillon, among other instruments, and a well-respected member of our guild.
To preserve our historic documents for future scholars, we began depositing them at the Anton Brees Carillon Library, located in Bok Tower Gardens, Lake Wales, Florida. A formal relationship with the library was formed in 2012.
To better connect our members together, we went live on the internet! A major redesign of the site took place in 2007–08. In 2022, the US Library of Congress chose to include our site in its web archive of professional organizations for performing arts.
To honor Ronald Barnes’ (1927–1997) extraordinary contributions to the North American carillon art, we established a research grant in his name. It enables North American residents to pursue studies in carillon performance, composition, music history, or instrument design. We first awarded grants in 2007.
We published Carillon Tower Design and Construction, an essential resource for architects, engineers, contractors, and others contemplating the planning, design, construction, or renovation of a carillon tower.
To meet the persistent need to recognize an intermediate skill level in carillon performance, we created the Associate Carillonneur Exam.
We hosted our first arrangements and transcriptions competition, named in honor of Sally Slade Warner (1932–2009), a renowned American carillonneur and music arranger who generously donated the endowment that funds the prizes.
With the onset of the pandemic and the cancellation of our congress, we began offering a webinar series, which are held regularly throughout the year and cover all topics of interest to the carillon community.
We expanded our grant programs, adding
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