Pub Date : 2018-10-09DOI: 10.1093/oxfordhb/9780190637224.013.27
Emily I. Dolan, Thomas Patteson
The notion of the “ethereal” has a long and surprisingly continuous history in Western art music. From the Aeolian harp to early electronic music, listeners have identified certain instruments as producing otherworldly and supernatural sounds. This essay considers the diverse range of technologies that have been frequently identified as “ethereal,” while also delving into the use of the idea of the ethereal within writing about music. This phenomenon is found to be unsurprisingly elusive, in some cases seeming to correlate to certain timbral qualities, such as sustained tones with shimmering upper harmonics or slowly fading envelopes, while in other instances relating instead to circumstances of audition, most famously in the case of the unseen sound sources of “acousmatic” listening. The study of ethereal timbres thus occupies a nexus between the topics of sound technology, listening practices, musical aesthetics, and experimental art.
{"title":"Ethereal Timbres","authors":"Emily I. Dolan, Thomas Patteson","doi":"10.1093/oxfordhb/9780190637224.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.27","url":null,"abstract":"The notion of the “ethereal” has a long and surprisingly continuous history in Western art music. From the Aeolian harp to early electronic music, listeners have identified certain instruments as producing otherworldly and supernatural sounds. This essay considers the diverse range of technologies that have been frequently identified as “ethereal,” while also delving into the use of the idea of the ethereal within writing about music. This phenomenon is found to be unsurprisingly elusive, in some cases seeming to correlate to certain timbral qualities, such as sustained tones with shimmering upper harmonics or slowly fading envelopes, while in other instances relating instead to circumstances of audition, most famously in the case of the unseen sound sources of “acousmatic” listening. The study of ethereal timbres thus occupies a nexus between the topics of sound technology, listening practices, musical aesthetics, and experimental art.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130954142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190637224.013.31
A. Rehding
One long-standing criticism of our understanding of timbre has been its subordination to the parameter of pitch. While this criticism is articulated most clearly in the twentieth century and is largely associated with synthesized sounds, this chapter explores the time before synthesizers. In three vignettes from Berlioz, Wagner, and Saint-Saëns, orchestral works are explored from the perspective of how timbral aspects may take on a constitutive function in the music that cannot be reduced simply to pitch. The discussion of these musical passages engages psychoacoustical phenomena, such as auditory scene analysis, emergent timbre, and auditory illusions. Curiously, all three examples employ the piano sound—typically assumed to be somehow neutral—as a kind of control in their experimental setup. The chapter is framed by broader epistemic questions that seem particularly relevant to the study of timbre, lodged as it is between art and science, including episteme versus techne, consilience, and aisthesis.
{"title":"Timbre/Techne","authors":"A. Rehding","doi":"10.1093/oxfordhb/9780190637224.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.31","url":null,"abstract":"One long-standing criticism of our understanding of timbre has been its subordination to the parameter of pitch. While this criticism is articulated most clearly in the twentieth century and is largely associated with synthesized sounds, this chapter explores the time before synthesizers. In three vignettes from Berlioz, Wagner, and Saint-Saëns, orchestral works are explored from the perspective of how timbral aspects may take on a constitutive function in the music that cannot be reduced simply to pitch. The discussion of these musical passages engages psychoacoustical phenomena, such as auditory scene analysis, emergent timbre, and auditory illusions. Curiously, all three examples employ the piano sound—typically assumed to be somehow neutral—as a kind of control in their experimental setup. The chapter is framed by broader epistemic questions that seem particularly relevant to the study of timbre, lodged as it is between art and science, including episteme versus techne, consilience, and aisthesis.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123864197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190637224.013.5
G. Williams
This chapter tracks timbre through the mediated public sphere of Milan, as it came to congeal in Italian Futurism. Long mythologized as the origin of noisy art, sound scholars have yet to consider what the movement’s timbres meant in their time. They emerged beneath the rubric of “musical sensibility”—a coinage that harked back to timbre’s eighteenth-century emergence under the sign of aesthetic attention within Western modernities. The Futurists’ activities can thus be broadly historicized; vice versa, in their own context, timbre becomes estranged as a centuries-old concern. The Futurists’ interest in timbre dates them; it also proves their undoing: they set out to colonize the world of timbre, but social and technological factors intervene. Thus, while Futurism may not yield origins for modernism, it underscores the relational nature of listening—especially listening for timbre, which, as the social organization of concentrated listening, unexpectedly manifests when aesthetic attention breaks down.
{"title":"Futurist Timbres","authors":"G. Williams","doi":"10.1093/oxfordhb/9780190637224.013.5","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.5","url":null,"abstract":"This chapter tracks timbre through the mediated public sphere of Milan, as it came to congeal in Italian Futurism. Long mythologized as the origin of noisy art, sound scholars have yet to consider what the movement’s timbres meant in their time. They emerged beneath the rubric of “musical sensibility”—a coinage that harked back to timbre’s eighteenth-century emergence under the sign of aesthetic attention within Western modernities. The Futurists’ activities can thus be broadly historicized; vice versa, in their own context, timbre becomes estranged as a centuries-old concern. The Futurists’ interest in timbre dates them; it also proves their undoing: they set out to colonize the world of timbre, but social and technological factors intervene. Thus, while Futurism may not yield origins for modernism, it underscores the relational nature of listening—especially listening for timbre, which, as the social organization of concentrated listening, unexpectedly manifests when aesthetic attention breaks down.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132536971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190637224.013.14
Zachary Wallmark, Roger A. Kendall
Timbre exists at the confluence of the physical and the perceptual, and due to inconsistencies between these frames, it is notoriously hard to describe. This chapter examines the relationship between timbre and language, offering a critical review of theoretical and empirical thought on timbre semantics and providing a preliminary cognitive linguistic account of timbre description. It first traces the major conceptual and methodological advances in psychological timbre research since the 1970s with a focus on the mediating role of verbalization in previous paradigms. It then discusses the cognitive mechanisms underlying how listeners map timbral qualities onto verbal attributes. Applying a cognitive linguistic approach, the chapter concludes that timbre description may reflect certain fundamental aspects of human embodiment, which may help account for certain trans-historical and cross-cultural consistencies in descriptive practices.
{"title":"Describing Sound","authors":"Zachary Wallmark, Roger A. Kendall","doi":"10.1093/oxfordhb/9780190637224.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.14","url":null,"abstract":"Timbre exists at the confluence of the physical and the perceptual, and due to inconsistencies between these frames, it is notoriously hard to describe. This chapter examines the relationship between timbre and language, offering a critical review of theoretical and empirical thought on timbre semantics and providing a preliminary cognitive linguistic account of timbre description. It first traces the major conceptual and methodological advances in psychological timbre research since the 1970s with a focus on the mediating role of verbalization in previous paradigms. It then discusses the cognitive mechanisms underlying how listeners map timbral qualities onto verbal attributes. Applying a cognitive linguistic approach, the chapter concludes that timbre description may reflect certain fundamental aspects of human embodiment, which may help account for certain trans-historical and cross-cultural consistencies in descriptive practices.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117235851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/OXFORDHB/9780190637224.013.3
Naomi Waltham-Smith
Why is philosophy captivated by sound and especially by its material existence as timbre? While Western metaphysics has long been fascinated by role of the voice in the construction of subjectivity, consciousness, and the human, deconstruction has turned with surprising frequency to the idea of sound-as-timbre as a way to think beyond paradigms of identity, self-presence, and the present. The article asks what motivates this preoccupation with timbre and what is at stake philosophically and politically in this move, focusing on the bell in Derrida’s Glas as a figure for timbre and for philosophy’s relation to its own outside. Derrida’s argument is contrasted with Jean-Luc Nancy’s notions of timbre and resonance and Agamben’s critique of grammatology.
{"title":"Deconstruction and Timbre","authors":"Naomi Waltham-Smith","doi":"10.1093/OXFORDHB/9780190637224.013.3","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190637224.013.3","url":null,"abstract":"Why is philosophy captivated by sound and especially by its material existence as timbre? While Western metaphysics has long been fascinated by role of the voice in the construction of subjectivity, consciousness, and the human, deconstruction has turned with surprising frequency to the idea of sound-as-timbre as a way to think beyond paradigms of identity, self-presence, and the present. The article asks what motivates this preoccupation with timbre and what is at stake philosophically and politically in this move, focusing on the bell in Derrida’s Glas as a figure for timbre and for philosophy’s relation to its own outside. Derrida’s argument is contrasted with Jean-Luc Nancy’s notions of timbre and resonance and Agamben’s critique of grammatology.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127319301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/OXFORDHB/9780190637224.013.10
Meghan Goodchild, S. McAdams
The study of timbre and orchestration in music research is underdeveloped, with few theories to explain instrumental combinations and orchestral shaping. This chapter will outline connections between the orchestration practices of the nineteenth and early twentieth centuries and perceptual principles based on recent research in auditory scene analysis and timbre perception. Analyses of orchestration treatises and musical scores reveal an implicit understanding of auditory grouping principles by which many orchestral effects and techniques function. We will explore how concurrent grouping cues result in blended combinations of instruments, how sequential grouping into segregated melodies or stratified (foreground and background) layers is influenced by timbral similarities and dissimilarities, and how segmental grouping cues create formal boundaries and expressive gestural shaping through changes in instrumental textures. This exploration will be framed within an examination of historical and contemporary discussion of orchestral effects and techniques.
{"title":"Perceptual Processes in Orchestration","authors":"Meghan Goodchild, S. McAdams","doi":"10.1093/OXFORDHB/9780190637224.013.10","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190637224.013.10","url":null,"abstract":"The study of timbre and orchestration in music research is underdeveloped, with few theories to explain instrumental combinations and orchestral shaping. This chapter will outline connections between the orchestration practices of the nineteenth and early twentieth centuries and perceptual principles based on recent research in auditory scene analysis and timbre perception. Analyses of orchestration treatises and musical scores reveal an implicit understanding of auditory grouping principles by which many orchestral effects and techniques function. We will explore how concurrent grouping cues result in blended combinations of instruments, how sequential grouping into segregated melodies or stratified (foreground and background) layers is influenced by timbral similarities and dissimilarities, and how segmental grouping cues create formal boundaries and expressive gestural shaping through changes in instrumental textures. This exploration will be framed within an examination of historical and contemporary discussion of orchestral effects and techniques.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126173784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/oxfordhb/9780190637224.013.15
Theodore Levin, Valentina Süzükei
This chapter explores timbre-centered listening as an enculturated practice among Tuvan pastoralists, whose perceptual focus on timbral qualities of sound correlates with exceptional acuity to ambient soundscape. Tuvan pastoralists’ prioritization of timbre as a locus of interest extends to human-made sound and music and is reflected in the timbre of two-stringed fiddles strung with horsehair strings, metal jaw harps, and the widespread vocal practice of xöömei, whose performers selectively reinforce harmonics naturally present in the voice. Enculturated listeners can describe the timbral qualities of sound with great precision using an ideophonic vocabulary consisting of onomatopoeia and other forms of sound symbolism, cross-modal sensory associations (e.g., the depiction of sound in visual and haptic terms), and affective words, which comprise a rich lexical resource. The central role of timbre in Tuvan music and its depiction in discourse about sound and music suggest a culturally specific and pervasive form of timbre-centered listening.
{"title":"Timbre-Centered Listening in the Soundscape of Tuva","authors":"Theodore Levin, Valentina Süzükei","doi":"10.1093/oxfordhb/9780190637224.013.15","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.15","url":null,"abstract":"This chapter explores timbre-centered listening as an enculturated practice among Tuvan pastoralists, whose perceptual focus on timbral qualities of sound correlates with exceptional acuity to ambient soundscape. Tuvan pastoralists’ prioritization of timbre as a locus of interest extends to human-made sound and music and is reflected in the timbre of two-stringed fiddles strung with horsehair strings, metal jaw harps, and the widespread vocal practice of xöömei, whose performers selectively reinforce harmonics naturally present in the voice. Enculturated listeners can describe the timbral qualities of sound with great precision using an ideophonic vocabulary consisting of onomatopoeia and other forms of sound symbolism, cross-modal sensory associations (e.g., the depiction of sound in visual and haptic terms), and affective words, which comprise a rich lexical resource. The central role of timbre in Tuvan music and its depiction in discourse about sound and music suggest a culturally specific and pervasive form of timbre-centered listening.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129020568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/OXFORDHB/9780190637224.013.23
Naomi A. Weiss
This chapter investigates the timbral world of ancient Greece through a close analysis of particular types of sonic language in a selection of poetry and prose treatises, from Homeric epic to fifth-century BCE tragedy to the treatises of Aristotle and his school. By trying to locate this elusive category within accounts of music-making and sound more generally, it demonstrates not just the rich vocabulary for conveying different elements of an acoustic experience in the ancient Greek world, but the cultural valences of specific terms and images. In particular, the chapter shows how frequently the various auditory qualities that we might—however anachronistically—associate with timbre are as much social constructions as physical properties.
{"title":"Tracing Timbre in Ancient Greece","authors":"Naomi A. Weiss","doi":"10.1093/OXFORDHB/9780190637224.013.23","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190637224.013.23","url":null,"abstract":"This chapter investigates the timbral world of ancient Greece through a close analysis of particular types of sonic language in a selection of poetry and prose treatises, from Homeric epic to fifth-century BCE tragedy to the treatises of Aristotle and his school. By trying to locate this elusive category within accounts of music-making and sound more generally, it demonstrates not just the rich vocabulary for conveying different elements of an acoustic experience in the ancient Greek world, but the cultural valences of specific terms and images. In particular, the chapter shows how frequently the various auditory qualities that we might—however anachronistically—associate with timbre are as much social constructions as physical properties.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131754425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/oxfordhb/9780190637224.013.33
Daniel K. S. Walden
Early comparative musicology habitually ignored, even extinguished, timbre in its single-minded focus on pitch. This chapter traces the broader social, cultural, and political consequences of this framework. It surveys how, at the turn of the twentieth century, John Comfort Fillmore and Benjamin Ives Gilman followed the lead of Alice Fletcher and Alexander Ellis in deploying a broad range of technologies—phonograph, Helmholtz resonator, keyboard, and musical notation—to develop frameworks for analyzing essential similarities and differences between Native American and Western musics. It argues that such scholarship, while ostensibly aimed at salvaging Native American music, also served American efforts to reform and silence indigenous voices. The postscript examines the resonances between their theories and modern frameworks of parametric analysis that construe pitch and timbre as autonomous, and proposes that there may be unrecognized perils in overly articulating the boundaries between pitch and timbre to focus analytical attention exclusively on the measurable quantities of musical sound.
{"title":"Pitch vs. Timbre","authors":"Daniel K. S. Walden","doi":"10.1093/oxfordhb/9780190637224.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.33","url":null,"abstract":"Early comparative musicology habitually ignored, even extinguished, timbre in its single-minded focus on pitch. This chapter traces the broader social, cultural, and political consequences of this framework. It surveys how, at the turn of the twentieth century, John Comfort Fillmore and Benjamin Ives Gilman followed the lead of Alice Fletcher and Alexander Ellis in deploying a broad range of technologies—phonograph, Helmholtz resonator, keyboard, and musical notation—to develop frameworks for analyzing essential similarities and differences between Native American and Western musics. It argues that such scholarship, while ostensibly aimed at salvaging Native American music, also served American efforts to reform and silence indigenous voices. The postscript examines the resonances between their theories and modern frameworks of parametric analysis that construe pitch and timbre as autonomous, and proposes that there may be unrecognized perils in overly articulating the boundaries between pitch and timbre to focus analytical attention exclusively on the measurable quantities of musical sound.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124998204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1093/OXFORDHB/9780190637224.013.29
N. Eidsheim, Schuyler Whelden
In this chapter, we discuss the dramatic narrative arc of what we call the timbre–race equilibrium, particularly how it unfolds in discourse around the career of singer Bobby Caldwell and during the blind auditions for the televised singing competition The Voice. We outline how audience confusion about Caldwell’s racial identity has served as a reliable source of conversation and so-called clickbait. We also examine two instances in which The Voice employs this narrative arc, with the show’s judges serving as listener-protagonists. These judges model a way of listening for the home audience, enacting what Eidsheim calls “informal listening pedagogy.” In witnessing an effort to repair the rupture that occurs when race and timbre fail to align as expected, the public is entrained into normative—in this case, racialized—listening. In short, these examples model how we train ourselves, through this cyclical narrative arc, to hear timbre as racialized essence.
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