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Tintinnabulum in the Basilica of the Holy Blood. A tintinnabulum (roughly "little bell" in Medieval Latin) is a bell mounted on a pole, placed in a Roman Catholic basilica to signify the church's link with the Pope. [1]
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Sex or symbol: erotic images of Greece and Rome by Catherine Johns, The British Museum Press (1982) ISBN 0-7141-8042-4; Eros in Pompeii: the erotic art collection of the Museum of Naples by Michael Grant, Antonia Mulas, Museo nazionale di Napoli (1997)
Tintinnabuli (singular.tintinnabulum; from the Latin tintinnabulum, "a bell") is a compositional style created by the Estonian composer Arvo Pärt, introduced in his Für Alina (1976), and used again in Spiegel im Spiegel (1978).
Poe uses – and popularised – the word "tintinnabulation", often wrongly thought to be his own coinage, [3] based on the Latin word for "bell", tintinnabulum. [4] The series of "bells" echo the imagined sounds of the various bells, from the silver bells following the klip-klop of the horses, to the "dong, ding-dong" of the swinging golden ...
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Tintinnabulation is the most important aspect of Pärt's Magnificat. According to Pärt's biographer and friend Paul Hillier, the Magnificat "displays the tintinnabuli technique at its most supple and refined."
tintinnabulation noun 1 : the ringing or sounding of bells Also, I had always thought that Poe's use of tintinnabulation was the ringing/sounding of bells (as the above definition says), so I am not sure where this article's definition as "the lingering sound of a ringing bell that occurs after the bell has been struck" is derived.