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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.
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.
Meyer lists melody, rhythm, timbre, harmony, "and the like" [12] as principal elements of music, while Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". [13] According to McClellan, two things should be considered, the quality or state of an element and its change over time. [14]
Players of wind instruments alter the tone simply by changing the pressure of their lips. One could argue that the act of choosing which instrument to play or write for is in itself timbre composition. Timbre composition is used in vocal techniques such as throat-singing where the main focus of the music is timbre as opposed to pitch.
Additive synthesis is a sound synthesis technique that creates timbre by adding sine waves together. [1] [2]The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones.
Polymorphia (Many forms) is a composition for 48 string instruments (24 violins and 8 each of violas, cellos and basses) composed by the Polish composer Krzysztof Penderecki in 1961. The piece was commissioned by the North German Radio Hamburg. It premiered on 16 April 1962 by the radio orchestra and was conducted by Andrzej Markowski.
Dynamic tonality is a paradigm for tuning and timbre which generalizes the special relationship between just intonation, and the harmonic series to apply to a wider set of pseudo-just tunings and related [1] pseudo-harmonic timbres.
Slovak musician and instrument maker Ľubomír Párička plays the fujara A fujara player.. The atypical design produces a deep, meditative timbre. Ornaments are traditionally added to the base melodies, which usually occur in the Mixolydian mode.