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In music, timbre (/ ˈ t æ m b ər, ˈ t ɪ m-, ˈ t æ̃-/), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments.
According to Howard Gardner, [1] there is little dispute about the principal constituent elements of music, though experts differ on their precise definitions. Harold Owen bases his list on the qualities of sound: pitch, timbre, intensity, and duration [2] while John Castellini excludes duration. [3]
Timbre composition is used in vocal techniques such as throat-singing where the main focus of the music is timbre as opposed to pitch. Music that has been composed solely using the art of Timbre composition is called Timbre-centered music. Timbral listening is a technique used in both the composition and reception of Timbre-centered music which ...
During the same period, Hermann von Helmholtz theorized that timbre is part of what enables a listener to perceive melody. [2] In 1911, Arnold Schoenberg analyzed musical sound as consisting of pitch (höhe), timbre (farbe), and volume (stärke). He noted that pitch was the only element that had undergone close examination, but he viewed it as ...
Music theory is the study of theoretical frameworks for understanding the practices and possibilities of music. ... Timbre, sometimes called "color", or "tone color ...
Traditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). [1] The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation.
The composition of timbre-centered music in the nomadic communities of Tuva involves mimicry of sounds heard in the environment. Timbral listening is a fundamental component of listening to, understanding and being able to correctly perform this music using vocal techniques such as throat singing "khoomei" and harmonic producing instruments such as the jaw harp, bzaanchy, shoor, qyl qiyak, qyl ...
In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".