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Timbral Listening
Timbral listening is the process of actively listening to the timbral characteristics of sound. Concept In timbral listening, "pitch is subordinate to timbre". Instead, the specific quality of a musical tone is determined by considering "the presence, distribution and relative amplitude of overtones." When using this listening technique/ method of perception / interpretation there is "a relation between timbre and spectral content which is analogous to that between pitch and frequency in that one is the prevalent cultural construct of the other." The most common form of timbral listening is listening to speech. This is demonstrated by listening to, for example, the vowels /a/ and /i/ spoken at the same pitch and intensity. The difference between the two sounds is entirely one of spectrum, or as the term is used in this article, timbre. Nature It has been suggested that "timbral listening is an ideal sonic mirror of the natural world". It is often (but not always) used in associ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timbre
In music, timbre ( ), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or musical tone, tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in the same category (e.g., an oboe and a clarinet, both Woodwind instrument, woodwind instruments). In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own unique tone color. Experienced musicians are able to distinguish between diff ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inanga (instrument)
The inānga, also known as ''enanga, ennanga, ikivuvu,'' and ''indimbagazo,'' is a traditional musical instrument played in Burundi, Rwanda, Uganda, and parts of the Democratic Republic of Congo. It consists of a flat soundboard with slightly concave sides; on these sides is a surrounding, thick rim, where several notches are made to hold the strings in place. Ināngas typically have between six to eight strings. Construction & use Ināngas range from 75 cm to 1 m in length, and 25 to 30 cm in width. There are two types of decorations for the soundboard: star shaped or oval incisions, which are referred to as "the eyes of the inanga." These serve to distribute sound. The soundboard may also be decorated with burnt wood markings. Ināngas are made of a number of trees, including the igiháhe, umwūngo, umukoni or umunyáre. Natural fibers are used to make the strings; traditionally, animal guts or muscle was used, but nowadays, nylon and metal strings can be us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicology
Musicology (from Greek μουσική ''mousikē'' 'music' and -λογια ''-logia'', 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus (psychological, sociological, acoustical, neurological, computational). Some geographers and anthropologists have an interest in musicology so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist. Musicology traditionally is divided in three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the western classical music tradition, though the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Sethares
William A. Sethares (born April 19, 1955) is an American music theorist and professor of electrical engineering at the University of Wisconsin. In music, he has contributed to the theory of Dynamic Tonality and provided a formalization of consonance. Consonance and dissonance Among the earliest musical traditions, musical consonance was thought to arise in a quasi-mystical manner from ratios of small whole numbers. (For instance, Pythagoras made observations relating to this, and the ancient Chinese Guqin contains a dotted scale representing the harmonic series.) The source of these ratios, in the pattern of vibrations known as the harmonic series, was exposed by Joseph Sauveur the early 18th century and even more clearly by Helmholtz in the 1860s. In 1965, Plomp and Levelt showed that this relationship could be generalized beyond the harmonic series, although they did not elaborate in detail. In the 1990s, Sethares began exploring Plomp and Levelt's generalization, both mathema ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ear Training
Ear training or aural skills is a music theory study in which musicians learn to identify pitches, intervals, melody, chords, rhythms, solfeges, and other basic elements of music, solely by hearing. The application of this skill is analogous to taking dictation in written/spoken language. As a process, ear training is in essence the inverse of sight-reading, the latter being analogous to reading a written text aloud without prior opportunity to review the material. Ear training is typically a component of formal musical training and is a fundamental, essential skill required in music schools. Functional pitch recognition Functional pitch recognition involves identifying the function or role of a single pitch in the context of an established tonic. Once a tonic has been established, each subsequent pitch may be classified without direct reference to accompanying pitches. For example, once the tonic G has been established, listeners may recognize that the pitch D plays the ro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sound Mass
In physics, sound is a vibration that propagates as an acoustic wave, through a transmission medium such as a gas, liquid or solid. In human physiology and psychology, sound is the ''reception'' of such waves and their ''perception'' by the brain. Only acoustic waves that have frequencies lying between about 20 Hz and 20 kHz, the audio frequency range, elicit an auditory percept in humans. In air at atmospheric pressure, these represent sound waves with wavelengths of to . Sound waves above 20 kHz are known as ultrasound and are not audible to humans. Sound waves below 20 Hz are known as infrasound. Different animal species have varying hearing ranges. Acoustics Acoustics is the interdisciplinary science that deals with the study of mechanical waves in gasses, liquids, and solids including vibration, sound, ultrasound, and infrasound. A scientist who works in the field of acoustics is an ''acoustician'', while someone working in the field of acoustical e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spectral Music
Spectral music uses the acoustic properties of sound – or sound spectra – as a basis for composition. Definition Defined in technical language, spectral music is an acoustic musical practice where compositional decisions are often informed by sonographic representations and mathematical analysis of sound spectra, or by mathematically generated spectra. The spectral approach focuses on manipulating the spectral features, interconnecting them, and transforming them. In this formulation, computer-based sound analysis and representations of audio signals are treated as being analogous to a timbral representation of sound. The (acoustic-composition) spectral approach originated in France in the early 1970s, and techniques were developed, and later refined, primarily at IRCAM, Paris, with the Ensemble l'Itinéraire, by composers such as Gérard Grisey and Tristan Murail. Hugues Dufourt is commonly credited for introducing the term ''musique spectrale'' (spectral music) in an ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shakuhachi Musical Notation
Shakuhachi musical notation is a traditional tablature-style method of transcribing shakuhachi music. A number of systems exist for notating shakuhachi music, most of which are based on the ''rotsure'' (ロツレ) and the ''fuho-u'' (フホウ) systems. Traditional solo shakuhachi music (honkyoku) is transmitted as a semi-oral tradition; notation is often used as a mnemonic device. However, the master-disciple relationship is given emphasis within the tradition, and written sources are considered of little value 'without experience of the living tradition of actual training within the school'.Ortolani, Benito. 1969. "Iemoto." Japan Quarterly 16 (3): 301. In contrast to Western staff notation, shakuhachi playing instructions commonly indicate multiple fingerings resulting in various timbres for a given pitch, and microtonal slides between semitones. Solo Kinko school honkyoku ''Honkyoku'' (本曲, "original pieces") are the pieces of shakuhachi music collected in the 18th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Honkyoku
''Honkyoku'' (本曲, "original pieces") are the pieces of shakuhachi music collected in the 18th century by a Komuso of the Japanese Fuke sect Kinko Kurosawa. It was believed that these pieces were played by the members of the Fuke Sect. The Fuke sect was a Japanese sect of masterless samurai (Ronins) self called komusō "Lay Monks of the Non-Dual & None-ness". According to Japanologist Torsten Olafsson ''"Having become masterless samurai in a time of peace and having had to join the growing groups of flute-playing beggars to survive, like the komosō:, those rōnin did no longer enjoyed the privileges and relative security of belonging to any ordinary families, or households, that could be inspected, approved, and registered every year under the new "Danka System", as a result in 1640 they organized themselves as sincere members of some kind of a "new" native Buddhist movement that played the shakuhachi' It is believed that after the crushing of the revolt of ronins around Sh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shakuhachi
A is a Japanese and ancient Chinese longitudinal, end-blown flute that is made of bamboo. The bamboo end-blown flute now known as the was developed in Japan in the 16th century and is called the .Kotobank, Fuke shakuhachi. The Asahi ShimbunKotobank, Shakuhachi. The Asahi Shimbun A bamboo flute known as the , which is quite different from the current style of , was introduced to Japan from China in the 7th century and died out in the 10th century. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mara Helmuth
Margaret Mara Helmuth (born 1957) is an American composer. She studied at the University of Illinois Urbana–Champaign, and then continued her studies at Columbia University, graduating with a doctorate in music. After completing her education, Helmuth took a position teaching at the University of Cincinnati and became director of the university's Center for Computer Music. She has published professional articles in ''Audible Traces'', ''Analytical Methods of Electroacoustic Music'', the ''Journal of New Music Research'' and ''Perspectives of New Music''. She was a co-editor of the Society for Electro-Acoustic Music in the United States' newsletter along with Sylvia Pengilly and Sally Johnston Reid from 1995 to 1996. Works Helmuth is known for electronic music. She composes for fixed format and also creates interactive installations. Selected works include: *''Mellipse'' (1989, 1995) *''Abandoned Lake in Maine'' (1997) *''Bugs and Ice: A Question of Focus'' (2002) *''Where Is My ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Granular Synthesis
Granular synthesis is a sound synthesis method that operates on the microsound time scale. It is based on the same principle as sampling. However, the samples are split into small pieces of around 1 to 100 ms in duration. These small pieces are called grains. Multiple grains may be layered on top of each other, and may play at different speeds, phases, volume, and frequency, among other parameters. At low speeds of playback, the result is a kind of soundscape, often described as a cloud, that is manipulatable in a manner unlike that for natural sound sampling or other synthesis techniques. At high speeds, the result is heard as a note or notes of a novel timbre. By varying the waveform, envelope, duration, spatial position, and density of the grains, many different sounds can be produced. Both have been used for musical purposes: as sound effects, raw material for further processing by other synthesis or digital signal processing effects, or as complete musical works in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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