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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.
Detail from "Farben", 3rd movement of Arnold Schoenberg's Fünf Orchesterstücke Op. 16 (1909).. Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element.
It is indicated by literally coloring the note-heads in the written music differently than their normal appearance. In the 14th and early 15th century, colored notes were typically marked in red while normal notes were black; in the 16th century, the same effect was achieved by filling the note-heads in black while normal notes were hollow.
Different colors of noise have significantly different properties. For example, as audio signals they will sound different to human ears, and as images they will have a visibly different texture. Therefore, each application typically requires noise of a specific color.
Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used in music. Instruments can have their tone muted with wood, rubber, metal, or plastic devices (for string instruments, mutes are clipped to the bridge; for brass instruments, mutes are inserted in the bell), or parts of ...
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.
Isorhythms first appear in French motets of the 13th century, such as in the Montpellier Codex. [1] Although 14th-century theorists used the words talea and color—the latter in a variety of senses related to repetition and embellishment [2] —the term isorhythm was coined in 1904 by musicologist Friedrich Ludwig, initially to describe the practice in 13th-century polyphony.
The underlying observation is that humans perceive two musical pitches as similar in color if they differ by an octave. Based on this observation, a pitch can be separated into two components, which are referred to as tone height and chroma. [1] Assuming the equal-tempered scale, one considers twelve chroma values represented by the set