Results 161 to 170 of about 50,564 (196)
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2023
Abstract This chapter addresses the concept of timbre in reference to “Anthropogenic Debris,” the first movement of Liza Lim’s Extinction Events and Dawn Chorus (2018). It develops an enactive approach to timbre, demonstrating the reality of timbre as lived sonic experience.
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Abstract This chapter addresses the concept of timbre in reference to “Anthropogenic Debris,” the first movement of Liza Lim’s Extinction Events and Dawn Chorus (2018). It develops an enactive approach to timbre, demonstrating the reality of timbre as lived sonic experience.
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2018
Timbre, the distinctive quality of a particular sound, has become an increasingly critical analytical focus in recent music theory. Yet the sublinguistic nature of timbral cognition and the parameter’s inherent multidimensionality pose significant challenges to description and representation.
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Timbre, the distinctive quality of a particular sound, has become an increasingly critical analytical focus in recent music theory. Yet the sublinguistic nature of timbral cognition and the parameter’s inherent multidimensionality pose significant challenges to description and representation.
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The Journal of the Acoustical Society of America, 2008
An electroencephalographic study dealing with timbre perception has been performed. Timbre is next to tone and chroma is the basic element of sound and is perceived as a multidimensional space in which perceptual coordinates correlate with acoustic parameters.
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An electroencephalographic study dealing with timbre perception has been performed. Timbre is next to tone and chroma is the basic element of sound and is perceived as a multidimensional space in which perceptual coordinates correlate with acoustic parameters.
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Timbre as Harmony—Harmony as Timbre
2019Abstract While timbre is typically understood as a property of a single musical note or event, many contemporary musical practices depend on the combination of multiple events—each with their own pitch, dynamic, and sound color—into unified composites with their own emergent timbres.
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2018
Abstract The notion of the “ethereal” has a long and surprisingly continuous history in Western art music. From the Aeolian harp to early electronic music, listeners have identified certain instruments as producing otherworldly and supernatural sounds.
Emily I. Dolan, Thomas Patteson
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Abstract The notion of the “ethereal” has a long and surprisingly continuous history in Western art music. From the Aeolian harp to early electronic music, listeners have identified certain instruments as producing otherworldly and supernatural sounds.
Emily I. Dolan, Thomas Patteson
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Terretêktorh: space and timbre, timbre and space
2012In this article, we will analyze the way in which Xenakis uses space, fills it with sound and colors it according to the processes of composition used in his work Terretêktorh. Does there exit a particular way of spatializing the timbre in Xenakis and in particular, in this work? Do there exist rhythms of timbre?
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2018
Abstract This chapter explores the concept of implicit perceptual learning through the lens of timbre sensitivity in San Francisco electronic dance music (EDM) listeners in the 1990s. Cross-fertilizing theories of timbre perception with Web ethnography, the chapter argues that members of this subculture created a shared lexicon with ...
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Abstract This chapter explores the concept of implicit perceptual learning through the lens of timbre sensitivity in San Francisco electronic dance music (EDM) listeners in the 1990s. Cross-fertilizing theories of timbre perception with Web ethnography, the chapter argues that members of this subculture created a shared lexicon with ...
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