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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.
This instrument had an influence on the Thai classical instrument, known as Khim (ขิม). The yangqin was traditionally fitted with bronze strings (though older Chinese stringed instruments used silk strings, resulting in their, and the yangqin's, categorisation as a silk, or "si" instrument), which gave the instrument a soft timbre.
Timbre composition with acoustic instruments is usually very subtle. Minute altercations in performance change the sound produced by the instrument. Percussionists use specific sticks and mallets to yield desired timbres. Players of wind instruments alter the tone simply by changing the pressure of their lips. One could argue that the act of ...
The tabret or timbrel was a favorite instrument of the women, and was used with dances, as by Miriam, to accompany songs of victory, or with the harp at banquets and processions; it was one of the instruments used by King David and his musicians when he danced before the Ark of the Covenant.
Print/export Download as PDF; Printable version; In other projects ... Pages in category "Timbre" The following 12 pages are in this category, out of 12 total. ...
The first mention of the word is in Paulus Paulirinus of Prague's (1413–1471) Tractatus de musica, of around 1460, where he writes: "The virginal is an instrument in the shape of a clavichord, having metal strings which give it the timbre of a clavicembalo. It has 32 courses of strings set in motion by striking the fingers on projecting keys ...
A bawu in the key of F. The bawu (simplified Chinese: 巴乌; traditional Chinese: 巴烏; pinyin: bāwū; also ba wu) is a Chinese wind instrument. [1] Although shaped like a flute, it is actually a free reed instrument, with a single metal reed.
Late in the 19th century, a sophisticated treatment of musical timbre started to emerge in works like Claude Debussy's Prélude à l'après-midi d'un faune. [1] During the same period, Hermann von Helmholtz theorized that timbre is part of what enables a listener to perceive melody.