Tembre ( fr. Timbre - bell, label, decal) - ( overtone ) color of the sound ; one of the specific characteristics of musical sound (along with its pitch , volume and duration ).
The timbre is distinguished by sounds of the same pitch and volume, but performed on different instruments , in different voices, or on the same instrument, but in different ways, strokes , etc.
The timbre of a musical instrument is determined by the material, shape, design and vibration conditions of its vibrator, various properties of its resonator , as well as the acoustics of the room in which this instrument sounds. In the formation of the timbre of each concrete sound, its overtones and their ratio in height and volume, noise overtones , attack parameters (initial pulse of sound extraction), formants , vibrato characteristics and other factors are of key importance.
When perceiving timbres, various associations usually arise: the timbre specificity of sound is compared with organoleptic sensations from various objects and phenomena, for example, sounds are called bright , shiny , matte , warm , cold , deep , full , sharp , saturated , juicy , metal , glass ; the actual auditory definitions are also used (eg, voiced , deaf , noisy ) [1] .
In a strictly scientific sense, a sound typology of the timbre has not yet developed. It was established that timbre hearing has a zonal nature.
The timbre is used as an important means of musical expressiveness: with the help of a timbre one or another component of the musical whole can be distinguished, enhance or weaken contrasts; changing tones is one of the elements of musical drama.
In the music of the 20th century , a tendency arose by means of harmony and texture to strengthen, emphasize the timbre side of the sound ( parallelism , clusters ). Special areas for using the artistic properties and expressive capabilities of the timbre palette are sonorics and spectral music .
Very vast banks of new (mostly artificially synthesized) tones are created today in the field of electronic music .
See also
- Musical acoustics
- Musical psychology
- Psychoacoustics
- Ear for music
Notes
- ↑ A Brief Anatomy of Type I: Stress October 14, 2012 (link not available) . Date of treatment March 16, 2016. Archived March 20, 2016.
Literature
- Nazaikinsky E. , Rags Yu. Perception of musical timbres and the significance of individual harmonics of sound, in the book: Application of acoustic research methods in musicology, M., 1964.
- Garbuzov N. Natural sounds and their harmonic meaning, in the book: Collection of works of the commission on musical acoustics. Proceedings of the Hymn, vol. 1, M., 1925.
- Garbuzov N. Zone nature of timbre hearing, M., 1956.
- Volodin A. The role of the harmonic spectrum in the perception of the pitch and timbre of sound, in the book: Musical Art and Science, issue 1, M., 1970.
- Timbre // Musical Encyclopedia. - M .: Soviet Encyclopedia, 1981. - T. 5. - S. 488-490. - 1056 s.