![]() ".timbre depends principally upon the overtone structure but large changes in the intensity and the frequency also produce changes in the timbre." (p. ![]() ".changes in loudness or pitch without in any way changing the overtone structures, will also produce changes in timbre." (p. One might define timbre as "that characteristic of sensation which enables the listeners to recognize the kind of musical instrument producing the tone, that is, whether it is a cornet, a flute or a violin." (p. "but these experiments show that a simple one-to-one relationship does not exist." (p. Textbooks customarily believe that loudness, pitch and timbre correlate directly with sound intensity, fundamental frequency and overtone structure. It must be here observed that we are speaking only of musical quality as previously defined." (p: 127) ".differences in musical quality of tone depend solely on the presence and strength of partial tomes and in -no respect on the differences in phase under which these partial tones enter into composition. In the present chapter we shall at first disregard all irregular portions of the motion of the air and the mode in which sounds commence or terminate, directing our attention solely to the musical part of the tone, properly so called, which corresponds to a uniformly sustained and regularly period motion of the air." (p: 68) Notwithstanding the absence of these noises, it is generally possible to discriminate the-different musical instruments although it must be acknowledged that under such circumstances the tone of a French horn may be occasionally mistaken for that of the singing voice or a violoncello may be confused with an harmonium. 67) "Such accompanying noises and little inequalities in the motion of the air, furnish much that is characteristic in the tones of musical instruments. But even when a musical tone continues with uniform or variable intensity, it is mixed up, in the general methods of excitement with certain noises, which express greater or less irregularities in the motion of the air." (p. differences in the quality of tone of struck strings.partly depends on the rapidity with which the tone dies away." (p: 66) "When we speak in what follows of musical quality of tone, we shall disregard these peculiarities of beginning and ending, and confine our attention to the peculiarities of the musical tone which continues uniformly. ![]() This was correct to the extent that quality of tone was merely a negative conception: But very slight consideration will suffice to show that many of these peculiarities of musical tones depend upon the way in which they begin and end. 65) "There has been a general inclination to credit quality with all possible peculiarities of musical tones that were not evidently due to force and pitch. ".to what extent can the differences of musical quality be reduced to the combination of different partial tones with different intensities in different musical tones?" (p. The only possible hypothesis, therefore is that the quality of tone should depend upon the manner in which the motion is performed within the period of each single vibration." (p. Quality of tone can therefore depend upon neither of these. ![]() ".the amplitude of the vibration determines the force or loudness, and the period of vibration the pitch. "When we hear notes of the same force and same pitch sounded successively on a piano-forte, a violin, clarinet, oboe, or trumpet, or by the human voice, the character of the musical tone of each of these instruments, notwithstanding the identify of force and pitch, is so different that by means of it we recognize with the greatest of ease which of these instruments was used." (p.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |