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Defining timbre — Refining timbre
Contemporary Music Review, 1994Timbre is defined as the attribution of spectromorphological identity. Electroacoustic music experience, particularly acousmatic music, questions the viability of a notion of timbre. Of primary significance is the traditional linking of timbre to the source and cause of a sound: the concept of source-cause texture is introduced to define this link. The
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2021
Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone “color”, “wet” acoustics, or in Schoenberg’s words, “the illusory stuff of our dreams.” This multi-disciplinary approach to timbre assesses ...
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Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone “color”, “wet” acoustics, or in Schoenberg’s words, “the illusory stuff of our dreams.” This multi-disciplinary approach to timbre assesses ...
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Timbre and composition ‐ timbre and language
Contemporary Music Review, 1987The function of timbre in 20th Century instrumental music is discussed in terms of the relation between timbre and musical language. Up to the 19th Century, the function of timbre was primarily related to its identity in addition to being charged with certain effective and symbolic characteristics. The identities of Western instruments are standardized,
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Timbre saliency vs. timbre dissimilarity – What is the relationship?
The Journal of the Acoustical Society of America, 2013We have proposed the notion of timbre saliency as the attention-capturing quality of timbre. The definition of saliency requires an object to stand out with respect to its surroundings, implying dissimilarity between the object and its neighbors. What then might be the relationship between timbre saliency and timbre dissimilarity?
Song Hui Chon, Stephen McAdams
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Interspeech 2005, 2005
We describe a perceptual space for timbre, dene an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss two timbre representations and measure perceptual judgments. We determine that a timbre space based on Mel-frequency cepstral coefcients (MFCC) is a good model for perceptual ...
Hiroko Terasawa +2 more
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We describe a perceptual space for timbre, dene an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss two timbre representations and measure perceptual judgments. We determine that a timbre space based on Mel-frequency cepstral coefcients (MFCC) is a good model for perceptual ...
Hiroko Terasawa +2 more
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2018
Abstract Organ stops, violin mutes, piano pedals: these are devices for altering an instrument’s sound, and one way to understand how these devices transform sound is that they change the timbre. Already in use and objects of discussion in the seventeenth century, organ stops and violin mutes, however, pre-date the idea of timbre ...
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Abstract Organ stops, violin mutes, piano pedals: these are devices for altering an instrument’s sound, and one way to understand how these devices transform sound is that they change the timbre. Already in use and objects of discussion in the seventeenth century, organ stops and violin mutes, however, pre-date the idea of timbre ...
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The Journal of the Acoustical Society of America, 1988
The perception of timbre differences in a vowel sung by eight male and seven female singers has been investigated by means of two types of listening experiments: (1) using the paradigm of the comparison of similarity, and (2) using judgments on 21 semantic bipolar scales. Using INDSCAL analysis for the similarity-comparison data and MDPREF analysis for
G, Bloothooft, R, Plomp
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The perception of timbre differences in a vowel sung by eight male and seven female singers has been investigated by means of two types of listening experiments: (1) using the paradigm of the comparison of similarity, and (2) using judgments on 21 semantic bipolar scales. Using INDSCAL analysis for the similarity-comparison data and MDPREF analysis for
G, Bloothooft, R, Plomp
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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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Breathing with timbre of the tones
Proceedings of the 13th Participatory Design Conference: Short Papers, Industry Cases, Workshop Descriptions, Doctoral Consortium papers, and Keynote abstracts - Volume 2, 2014Timbre of the tones is an interactive sound installation inspired by the Namibian landscape. This handcrafted sound installation will mainly be built with metal, as well containing sand of different colors, found in the host country Namibia. Through the use of a bow and striking sticks, sounds and tones will arise when participants strike the ...
Martin Spühler, Beate Zorn
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