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36:
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746:, as "a seven-bar link to the trio consisting of an extension in diminuendo of the repeated As… though now rising in a succession of piled octaves which moreover leap-frog with Cs added to the As. The lower octaves then drop away and only the Cs remain so as to dovetail with the first oboe phrase of the trio." During these bars, Mahler passes the repeated notes through a gamut of instrumental colors, mixed and single: starting with horns and pizzicato strings, progressing through trumpet, clarinet, flute, piccolo and finally, oboe:
498:
623:
806:, acoustic analysis shows waveforms irregular enough to suggest three instruments rather than one. David Luce suggests that this implies that "ertain strong regularities in the acoustic waveform of the above instruments must exist which are invariant with respect to the above variables". However, Robert Erickson argues that there are few regularities and they do not explain our "...powers of recognition and identification." He suggests borrowing the concept of
159:
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 different instruments of the same type based on their varied timbres, even if those instruments are playing notes at the same fundamental
646:. For instance, if one takes away the attack from the sound of a piano or trumpet, it becomes more difficult to identify the sound correctly, since the sound of the hammer hitting the strings or the first blast of the player's lips on the trumpet mouthpiece are highly characteristic of those instruments. The envelope is the overall amplitude structure of a sound.
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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
568:
is played, the sound is a combination of 440 Hz, 880 Hz, 1320 Hz, 1760 Hz and so on. Each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap
845:
in a given sound, grouped into three sections. It is basically a proposal of reducing a huge number of sound partials, that can amount to dozens or hundreds in some cases, down to only three values. The first tristimulus measures the relative weight of the first harmonic; the second tristimulus
750:
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174:. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques. For example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres (e.g., playing
56:
517:, and the pitch it produces is used to name the note, but the fundamental frequency is not always the dominant frequency. The dominant frequency is the frequency that is most heard, and it is always a multiple of the fundamental frequency. For example, the dominant frequency for the
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708:, who composed during the last decades of the nineteenth and the first decades of the twentieth centuries, has been credited with elevating further the role of timbre: "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in
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1122:. Timbre researchers consider brightness to be one of the perceptually strongest distinctions between sounds, and formalize it acoustically as an indication of the amount of high-frequency content in a sound, using a measure such as the
309:
Many commentators have attempted to decompose timbre into component attributes. For example, J. F. Schouten (1968, 42) describes the "elusive attributes of timbre" as "determined by at least five major acoustic parameters", which
297:(ASA) Acoustical Terminology definition 12.09 of timbre describes it as "that attribute of auditory sensation which enables a listener to judge that two nonidentical sounds, similarly presented and having the same loudness and
54:
55:
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that passes through a gamut of orchestral timbres. First the woodwind (flute, followed by oboe), then the massed sound of strings with the violins carrying the melody, and finally the brass (French horns).
143:. 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
1100:{\displaystyle T_{1}={\frac {a_{1}}{\sum _{h=1}^{H}{a_{h}}}}\qquad T_{2}={\frac {a_{2}+a_{3}+a_{4}}{\sum _{h=1}^{H}{a_{h}}}}\qquad T_{3}={\frac {\sum _{h=5}^{H}{a_{h}}}{\sum _{h=1}^{H}{a_{h}}}}}
753:
1175:
Acoustical
Society of America Standards Secretariat (1994). "Acoustical Terminology ANSI S1.1–1994 (ASA 111-1994)". American National Standard. ANSI / Acoustical Society of America.
841:
originates in the world of color, describing the way three primary colors can be mixed together to create a given color. By analogy, the musical tristimulus measures the mixture of
301:, are dissimilar", adding, "Timbre depends primarily upon the frequency spectrum, although it also depends upon the sound pressure and the temporal characteristics of the sound".
285:. In visual representations of sound, timbre corresponds to the shape of the image, while loudness corresponds to brightness; pitch corresponds to the y-shift of the spectrogram.
846:
measures the relative weight of the second, third, and fourth harmonics taken together; and the third tristimulus measures the relative weight of all the remaining harmonics.
683:
817:
Psychoacoustic experiments from the 1960s onwards tried to elucidate the nature of timbre. One method involves playing pairs of sounds to listeners, then using a
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Often, listeners can identify an instrument, even at different pitches and loudness, in different environments, and with different players. In the case of the
1317:
Luce, David A. (1963). "Physical
Correlates of Nonpercussive Musical Instrument Tones", Ph.D. dissertation. Cambridge: Massachusetts Institute of Technology.
362:
An example of a tonal sound is a musical sound that has a definite pitch, such as pressing a key on a piano; a sound with a noiselike character would be
257:
for their pre-existing
English meanings. Determined by its frequency composition, the sound of a musical instrument may be described with words such as
710:
1166:
Abbado, Adriano (1988). "Perceptual
Correspondences: Animation and Sound". MS Thesis. Cambridge: Massachusetts Institute of Technology. p. 3.
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made significant contributions to its development during the nineteenth century. For example, Wagner's "Sleep motif" from Act 3 of his opera
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algorithm to aggregate their dissimilarity judgments into a timbre space. The most consistent outcomes from such experiments are that
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1110:
However, more evidence, studies and applications would be needed regarding this type of representation, in order to validate it.
507:
The richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct
1518:, edited by Aram Glorig, 55. Baltimore: Williams & Wilkins Co. Reprinted, Huntington, N.Y.: R. E. Krieger Pub. Co., 1977.
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182:
produces a harsh, even and aggressive tone). On electric guitar and electric piano, performers can change the timbre using
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multiples of the fundamental frequency, such as ×2, ×3, ×4, etc. Partials are other overtones. There are also sometimes
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1562:
1540:
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Erickson gives a table of subjective experiences and related physical phenomena based on
Schouten's five attributes:
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and combine, and the balance of these amplitudes is a major factor in the characteristic sound of each instrument.
545:
of the fundamental frequency. Most instruments produce harmonic sounds, but many instruments produce partials and
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294:
1511:
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1468:
A Large Set of Audio
Features or Sound Description (Similarity and Classification) in the CUIDADO Project
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35:
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from the late 1960s to the 2000s, the timbre of specific sounds is important to a song. For example, in
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illustrates the increasing role of differentiated timbres in music of the early twentieth century.
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Noise, including random pulses characterized by the rustle time (the mean interval between pulses)
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20:
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in terms of rise, duration, and decay (ADSR, which stands for "attack, decay, sustain, release")
166:
The physical characteristics of sound that determine the perception of timbre include frequency
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The term "brightness" is also used in discussions of sound timbres, in a rough analogy with
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590:/timbre of many western instruments in an analogous way that the inharmonic timbre of the
8:
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renat (a xylophone-like instrument) is related to the seven-tone near-equal tempered
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1958:
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Grey, John M. (1977). "Multidimensional perceptual scaling of musical timbres".
829:, or rate and synchronicity and rise time, of the attack are important factors.
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1585:, 6 vols., edited by Y. Kohasi, 35–44, 90. Tokyo: Maruzen; Amsterdam: Elsevier.
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The timbre of a sound is also greatly affected by the following aspects of its
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is double the fundamental frequency. Other significant frequencies are called
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2029:
1973:
1963:
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366:, the sound similar to that produced when a radio is not tuned to a station.
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1998:
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played on electric guitar through very loud guitar amplifiers and rows of
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39:
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McAdams, Stephen, and Albert
Bregman (1979). "Hearing Musical Streams".
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Music in
Transition: A Study of Tonal Expansion and Atonality, 1900–1920
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metallophones combined with harmonic instruments such as the stringed
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Reports of the 6th
International Congress on Acoustics, Tokyo, GP-6-2
1360:
1249:. BBC Music Guides. London: British Broadcasting Corporation. p. 51.
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508:
222:
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scale in which they are tuned. Similarly, the inharmonic spectra of
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Wessel, David (1979). "Low
Dimensional Control of Musical Timbre".
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Instrumental timbre played an increasing role in the practice of
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vol. 1, edited by Jerry V. Tobias, . New York: Academic Press.
1412:"A common perceptual space for harmonic and percussive timbres"
786:, the sonic impact of the heavily amplified, heavily distorted
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or the voice, are related to the five-note near-equal tempered
27:
1500:
1266:
Latham, Peter. (1926) "Wagner: Aesthetics and Orchestration".
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of a sound, quite dissimilar to the ensuing lasting vibration
1557:. Berkeley and Los Angeles: University of California Press.
1481:
A Tristimulus Method for the Specification of Musical Timbre
634:: attack time and characteristics, decay, sustain, release (
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finds, "scaled to the concerns of much contemporary music":
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2014:
1948:
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1422:(7). Springer Science and Business Media LLC: 1426–1439.
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79:
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Schouten, J. F. (1968). "The Perception of Timbre". In
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Noisy, with or without some tonal character, including
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is an essential part of the style's musical identity.
213:
attributed to a single instrument". However, the word
1347:(5). Acoustical Society of America (ASA): 1270–1277.
855:
765:
Mahler, Symphony No. 6, Scherzo, Figure 55, bars 5–12
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Mahler, Symphony No. 6, Scherzo, Figure 55, bars 5–12
642:. Thus these are all common controls on professional
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a singable melody accompanied by subordinate chords
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1341:The Journal of the Acoustical Society of America
658:during the eighteenth and nineteenth centuries.
525:of the fundamental frequency, which may include
1531:Dixon Ward, W. (1970) "Musical Perception". In
1239:
178:produces a light, airy timbre, whereas playing
50:guitar. Below is the E9 suspended chord audio:
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1753:
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1284:. New York City: W. W. Norton & Company.
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217:can also refer to the type of music, such as
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437:Small change (one up and down) in frequency
1505:. New York: American Standards Association.
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1403:
1398:Timbre Space as a Musical Control Structure
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16:Quality of a musical note or sound or tone
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1479:Pollard, H. F., and E. V. Jansson (1982)
1427:
1260:
825:or spectral energy distribution, and the
738:describes the following passage from the
626:A signal and its envelope marked with red
1580:
1547:
1503:American Standard Acoustical Terminology
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1326:
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1184:
1169:
1154:
760:
748:
693:
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245:, but both terms were disapproved of by
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1501:American Standards Association (1960).
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135:), is the perceived sound quality of a
3150:
1396:3:45–52. Rewritten version, 1999, as "
1279:
2742:
2620:
2310:
1741:
1593:
1533:Foundations of Modern Auditory Theory
511:. The lowest frequency is called the
1516:Audiometry: Principles and Practices
1338:
649:
610:scale commonly found in Indonesian
219:multiple, interweaving melody lines
13:
426:Coloration glide or formant glide
273:, and other terms. There are also
14:
3184:
1212:]. Berlin, London, and New York:
711:Prélude à l'après-midi d'un faune
698:Wagner Sleep music from Act 3 of
687:Wagner Sleep music from Act 3 of
549:tones, such as cymbals and other
391:Tonal character, usually pitched
288:
241:proposed an English translation,
1306:Mahler’s Sixth Symphony: A Study
69:
52:
1576:3, no. 4 (December): 26–43, 60.
1210:Tuning, Timbre, Spectrum, Scale
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918:
822:
1416:Perception & Psychophysics
1:
1494:
1113:
421:Physical rise and decay time
304:
295:Acoustical Society of America
42:of the first second of an E9
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586:are related to the harmonic
486:
429:Change of spectral envelope
7:
2768:
1129:
810:from studies of vision and
617:
193:
10:
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3106:Sound reinforcement system
2966:Concepts · Techniques
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1619:
1208:Sethares, William (1998).
726:functions referentially".
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18:
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2007:
1941:
1865:
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1627:
1410:Lakatos, Stephen (2000).
1245:Macdonald, Hugh. (1969).
2338:Musical range or compass
1554:Sound Structure in Music
1510:Dixon Ward, W. (1965). "
1304:Del Mar, Norman (1980).
1247:Berlioz Orchestral Music
833:Tristimulus timbre model
819:multidimensional scaling
672:, features a descending
26:Not to be confused with
798:Psychoacoustic evidence
481:Psychoacoustic evidence
322:and noiselike character
21:Timbre (disambiguation)
1574:Computer Music Journal
1394:Computer Music Journal
1101:
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249:, who also discredits
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2664:Fundamental frequency
2255:Stile rappresentativo
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514:fundamental frequency
500:
491:Further information:
457:Amplitude modulation
447:Frequency modulation
342:fundamental frequency
227:Hermann von Helmholtz
38:
2893:Voice classification
1466:Peeters, G. (2003) “
1308:. London: Eulenburg.
1280:Samson, Jim (1977).
853:
808:subjective constancy
340:(formant-glide) and
153:woodwind instruments
19:For other uses, see
2957:Non-classical music
2862:Forms · Genres
1928:Tragédie en musique
1797:Concert performance
1353:1977ASAJ...61.1270G
48:Fender Stratocaster
2792:Extended technique
2718:Sympathetic string
2586:Organ registration
2475:Tenore contraltino
2260:Tenore contraltino
1429:10.3758/bf03212144
1097:
772:Klangfarbenmelodie
767:
759:
703:
692:
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551:indefinite-pitched
505:
413:Spectral envelope
209:, as well as the "
188:graphic equalizers
61:
3163:Opera terminology
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3144:
2736:
2735:
2713:Spectral envelope
2614:
2613:
2304:
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1735:
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1124:spectral centroid
1120:visual brightness
1095:
1007:
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812:visual perception
784:heavy metal music
754:
684:
502:Harmonic spectrum
493:Fourier transform
477:
476:
418:Beginning/ending
338:spectral envelope
326:Spectral envelope
205:are synonyms for
123:), also known as
57:
3180:
3101:Pitch correction
3068:Vocal resonation
2846:Vocal percussion
2802:Overtone singing
2787:Bathroom singing
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2549:Related articles
2480:Tenore di grazia
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2265:Tenore di grazia
2020:Aria di sorbetto
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742:movement of his
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650:In music history
579:and the western
573:William Sethares
541:at whole number
533:. Harmonics are
519:transverse flute
434:Microintonation
372:
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346:micro-intonation
336:Changes both of
229:used the German
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1954:Gesamtkunstwerk
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1240:
1207:
1203:
1195:
1191:
1183:
1179:
1174:
1170:
1165:
1161:
1153:
1149:
1144:
1132:
1116:
1087:
1083:
1082:
1076:
1065:
1060:
1052:
1048:
1047:
1041:
1030:
1025:
1023:
1014:
1010:
999:
995:
994:
988:
977:
972:
965:
961:
952:
948:
939:
935:
934:
932:
923:
919:
908:
904:
903:
897:
886:
881:
875:
871:
869:
860:
856:
854:
851:
850:
837:The concept of
835:
800:
749:
730:'s approach to
679:
674:chromatic scale
652:
620:
577:just intonation
495:
489:
394:Periodic sound
312:Robert Erickson
307:
291:
275:colors of noise
247:Alexander Ellis
196:
133:psychoacoustics
108:
93:
72:
68:
53:
51:
44:suspended chord
31:
24:
17:
12:
11:
5:
3186:
3176:
3175:
3170:
3165:
3160:
3143:
3142:
3140:
3139:
3134:
3129:
3123:
3121:
3117:
3116:
3114:
3113:
3108:
3103:
3098:
3093:
3091:In-ear monitor
3087:
3085:
3079:
3078:
3076:
3075:
3070:
3065:
3063:Vocal register
3060:
3055:
3053:Vocal pedagogy
3050:
3045:
3040:
3035:
3030:
3025:
3020:
3015:
3010:
3005:
3000:
2995:
2990:
2985:
2980:
2975:
2969:
2967:
2963:
2962:
2960:
2959:
2954:
2949:
2948:
2947:
2942:
2937:
2932:
2927:
2922:
2917:
2912:
2907:
2896:
2894:
2890:
2889:
2887:
2886:
2881:
2876:
2871:
2865:
2863:
2859:
2858:
2856:
2855:
2854:
2853:
2843:
2842:
2841:
2836:
2826:
2821:
2816:
2811:
2806:
2805:
2804:
2799:
2797:Throat singing
2789:
2784:
2778:
2776:
2772:
2771:
2766:
2765:
2758:
2751:
2743:
2734:
2733:
2731:
2730:
2725:
2720:
2715:
2710:
2703:
2698:
2693:
2688:
2683:
2678:
2673:
2666:
2661:
2655:
2652:
2651:
2644:
2643:
2636:
2629:
2621:
2612:
2611:
2609:
2608:
2603:
2598:
2593:
2588:
2583:
2578:
2573:
2568:
2563:
2558:
2552:
2550:
2546:
2545:
2543:
2542:
2537:
2532:
2526:
2524:
2520:
2519:
2517:
2516:
2515:
2514:
2512:Basso profondo
2504:
2499:
2494:
2489:
2488:
2487:
2482:
2477:
2472:
2462:
2461:
2460:
2450:
2445:
2435:
2430:
2429:
2428:
2423:
2418:
2413:
2408:
2403:
2393:
2387:
2385:
2379:
2378:
2376:
2375:
2370:
2365:
2360:
2354:
2352:
2350:Vocal register
2346:
2345:
2334:
2333:
2326:
2319:
2311:
2302:
2301:
2299:
2298:
2292:
2290:
2286:
2285:
2283:
2282:
2277:
2272:
2267:
2262:
2257:
2252:
2247:
2242:
2237:
2232:
2227:
2222:
2217:
2212:
2207:
2202:
2197:
2192:
2187:
2182:
2177:
2172:
2167:
2162:
2157:
2152:
2147:
2142:
2137:
2132:
2127:
2122:
2117:
2112:
2107:
2102:
2097:
2092:
2087:
2082:
2077:
2072:
2067:
2062:
2057:
2052:
2047:
2042:
2037:
2032:
2027:
2022:
2017:
2011:
2009:
2005:
2004:
2002:
2001:
1996:
1991:
1986:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1945:
1943:
1939:
1938:
1936:
1935:
1930:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
1890:
1885:
1883:Divertissement
1880:
1878:Coup de glotte
1875:
1869:
1867:
1863:
1862:
1860:
1859:
1854:
1849:
1844:
1839:
1834:
1829:
1824:
1819:
1814:
1812:Insertion aria
1809:
1804:
1799:
1794:
1789:
1783:
1781:
1777:
1776:
1765:
1764:
1757:
1750:
1742:
1733:
1732:
1730:
1729:
1724:
1719:
1714:
1708:
1703:
1698:
1693:
1688:
1683:
1678:
1673:
1672:
1671:
1661:
1656:
1654:Melodic motion
1651:
1646:
1641:
1636:
1628:
1625:
1624:
1617:
1616:
1609:
1602:
1594:
1588:
1587:
1578:
1569:
1563:
1545:
1528:
1507:
1496:
1493:
1490:
1489:
1472:
1459:
1402:
1382:
1331:
1319:
1310:
1297:
1290:
1272:
1259:
1238:
1201:
1189:
1177:
1168:
1159:
1146:
1145:
1143:
1140:
1139:
1138:
1131:
1128:
1115:
1112:
1108:
1107:
1090:
1086:
1079:
1074:
1071:
1068:
1064:
1055:
1051:
1044:
1039:
1036:
1033:
1029:
1022:
1017:
1013:
1002:
998:
991:
986:
983:
980:
976:
968:
964:
960:
955:
951:
947:
942:
938:
931:
926:
922:
911:
907:
900:
895:
892:
889:
885:
878:
874:
868:
863:
859:
834:
831:
799:
796:
774:
744:Sixth Symphony
736:Norman Del Mar
651:
648:
619:
616:
581:equal tempered
488:
485:
475:
474:
471:
467:
466:
463:
459:
458:
455:
449:
448:
445:
439:
438:
435:
431:
430:
427:
423:
422:
419:
415:
414:
411:
407:
406:
403:
396:
395:
392:
388:
387:
380:
360:
359:
349:
334:
328:
323:
318:Range between
306:
303:
290:
289:ASA definition
287:
195:
192:
180:sul ponticello
163:and loudness.
15:
9:
6:
4:
3:
2:
3185:
3174:
3171:
3169:
3166:
3164:
3161:
3159:
3156:
3155:
3153:
3138:
3135:
3133:
3130:
3128:
3125:
3124:
3122:
3120:Miscellaneous
3118:
3112:
3109:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3088:
3086:
3080:
3074:
3071:
3069:
3066:
3064:
3061:
3059:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
2999:
2996:
2994:
2991:
2989:
2986:
2984:
2981:
2979:
2976:
2974:
2973:Backup vocals
2971:
2970:
2968:
2964:
2958:
2955:
2953:
2950:
2946:
2943:
2941:
2940:Mezzo-soprano
2938:
2936:
2933:
2931:
2928:
2926:
2923:
2921:
2918:
2916:
2913:
2911:
2910:Bass-baritone
2908:
2906:
2903:
2902:
2901:
2898:
2897:
2895:
2891:
2885:
2882:
2880:
2877:
2875:
2872:
2870:
2867:
2866:
2864:
2860:
2852:
2849:
2848:
2847:
2844:
2840:
2837:
2835:
2832:
2831:
2830:
2827:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2803:
2800:
2798:
2795:
2794:
2793:
2790:
2788:
2785:
2783:
2780:
2779:
2777:
2775:Singing types
2773:
2764:
2759:
2757:
2752:
2750:
2745:
2744:
2741:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2709:
2708:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2671:
2667:
2665:
2662:
2660:
2657:
2656:
2653:
2649:
2642:
2637:
2635:
2630:
2628:
2623:
2622:
2619:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2553:
2551:
2547:
2541:
2538:
2536:
2533:
2531:
2528:
2527:
2525:
2521:
2513:
2510:
2509:
2508:
2505:
2503:
2502:Bass-baritone
2500:
2498:
2495:
2493:
2490:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2467:
2466:
2463:
2459:
2456:
2455:
2454:
2451:
2449:
2446:
2443:
2439:
2436:
2434:
2433:Mezzo-soprano
2431:
2427:
2424:
2422:
2419:
2417:
2414:
2412:
2409:
2407:
2404:
2402:
2399:
2398:
2397:
2394:
2392:
2389:
2388:
2386:
2384:
2380:
2374:
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2355:
2353:
2351:
2347:
2343:
2339:
2332:
2327:
2325:
2320:
2318:
2313:
2312:
2309:
2297:
2294:
2293:
2291:
2287:
2281:
2278:
2276:
2273:
2271:
2268:
2266:
2263:
2261:
2258:
2256:
2253:
2251:
2248:
2246:
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2211:
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2170:Mezzo-soprano
2168:
2166:
2165:Messa di voce
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2126:
2123:
2121:
2118:
2116:
2113:
2111:
2108:
2106:
2103:
2101:
2098:
2096:
2093:
2091:
2088:
2086:
2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2056:
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2012:
2010:
2006:
2000:
1997:
1995:
1992:
1990:
1987:
1985:
1982:
1980:
1977:
1975:
1974:Literaturoper
1972:
1970:
1967:
1965:
1964:Kapellmeister
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1946:
1944:
1940:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1914:
1911:
1909:
1906:
1904:
1901:
1899:
1896:
1894:
1891:
1889:
1886:
1884:
1881:
1879:
1876:
1874:
1871:
1870:
1868:
1864:
1858:
1855:
1853:
1850:
1848:
1845:
1843:
1840:
1838:
1835:
1833:
1830:
1828:
1825:
1823:
1820:
1818:
1815:
1813:
1810:
1808:
1805:
1803:
1800:
1798:
1795:
1793:
1790:
1788:
1787:Breeches role
1785:
1784:
1782:
1778:
1773:
1770:
1763:
1758:
1756:
1751:
1749:
1744:
1743:
1740:
1728:
1727:Voice leading
1725:
1723:
1720:
1718:
1715:
1712:
1709:
1707:
1704:
1702:
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1682:
1679:
1677:
1674:
1670:
1667:
1666:
1665:
1662:
1660:
1657:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1634:
1630:
1629:
1626:
1622:
1615:
1610:
1608:
1603:
1601:
1596:
1595:
1592:
1584:
1579:
1575:
1570:
1566:
1564:0-520-02376-5
1560:
1556:
1555:
1550:
1546:
1542:
1541:0-12-691901-1
1538:
1534:
1529:
1525:
1524:0-88275-604-4
1521:
1517:
1513:
1508:
1504:
1499:
1498:
1486:
1482:
1476:
1469:
1463:
1455:
1451:
1447:
1443:
1439:
1435:
1430:
1425:
1421:
1417:
1413:
1406:
1399:
1395:
1389:
1387:
1378:
1374:
1370:
1366:
1362:
1358:
1354:
1350:
1346:
1342:
1335:
1329:, p. 11.
1328:
1327:Erickson 1975
1323:
1314:
1307:
1301:
1293:
1291:0-393-02193-9
1287:
1283:
1276:
1269:
1263:
1256:
1255:9780563084556
1252:
1248:
1242:
1235:
1234:3-540-76173-X
1231:
1227:
1223:
1219:
1215:
1211:
1205:
1198:
1197:Erickson 1975
1193:
1186:
1185:Erickson 1975
1181:
1172:
1163:
1156:
1155:Erickson 1975
1151:
1147:
1137:
1134:
1133:
1127:
1125:
1121:
1111:
1088:
1084:
1077:
1072:
1069:
1066:
1062:
1053:
1049:
1042:
1037:
1034:
1031:
1027:
1020:
1015:
1011:
1000:
996:
989:
984:
981:
978:
974:
966:
962:
958:
953:
949:
945:
940:
936:
929:
924:
920:
909:
905:
898:
893:
890:
887:
883:
876:
872:
866:
861:
857:
849:
848:
847:
844:
840:
830:
828:
824:
820:
815:
813:
809:
805:
795:
793:
789:
785:
781:
776:
773:
770:
763:
747:
745:
741:
737:
733:
732:orchestration
729:
725:
721:
717:
713:
712:
707:
701:
696:
690:
677:
675:
671:
670:
665:
661:
657:
656:orchestration
647:
645:
641:
637:
636:ADSR envelope
633:
624:
615:
613:
609:
605:
601:
597:
593:
589:
585:
582:
578:
574:
570:
567:
563:
559:
554:
553:instruments.
552:
548:
544:
540:
536:
532:
528:
524:
520:
516:
515:
510:
503:
499:
494:
484:
482:
472:
469:
468:
464:
461:
460:
456:
454:
451:
450:
446:
444:
441:
440:
436:
433:
432:
428:
425:
424:
420:
417:
416:
412:
409:
408:
404:
402:
398:
397:
393:
390:
389:
386:
385:
381:
379:
378:
374:
373:
370:
367:
365:
357:
353:
350:
347:
343:
339:
335:
332:
331:Time envelope
329:
327:
324:
321:
317:
316:
315:
313:
302:
300:
296:
286:
284:
280:
276:
272:
268:
264:
260:
256:
252:
248:
244:
240:
236:
232:
228:
224:
220:
216:
212:
208:
204:
200:
191:
189:
185:
184:effects units
181:
177:
173:
169:
164:
162:
156:
154:
150:
146:
142:
138:
134:
130:
126:
120:
66:
49:
45:
41:
37:
33:
29:
22:
3073:Vocal weight
3047:
3038:Sprechgesang
3033:Scat singing
2930:Countertenor
2824:Sign singing
2819:Scat singing
2705:
2701:Rustle noise
2668:
2647:
2606:Vocal weight
2595:
2470:Haute-contre
2453:Countertenor
2225:Solita forma
2105:Da capo aria
1999:Sprechgesang
1959:Kammersänger
1922:
1898:Haute-contre
1852:Sung-through
1705:
1631:
1582:
1573:
1553:
1532:
1515:
1502:
1484:
1480:
1475:
1462:
1419:
1415:
1405:
1393:
1344:
1340:
1334:
1322:
1313:
1305:
1300:
1281:
1275:
1267:
1262:
1246:
1241:
1209:
1204:
1199:, p. 6.
1192:
1187:, p. 5.
1180:
1171:
1162:
1157:, p. 7.
1150:
1117:
1109:
836:
826:
816:
801:
777:
768:
715:
709:
704:
699:
688:
667:
653:
644:synthesizers
631:
629:
571:
566:concert band
555:
542:
539:subharmonics
535:whole number
512:
506:
478:
470:Final sound
401:rustle noise
383:
382:
376:
375:
368:
361:
308:
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1994:Spieloper
1989:Sitzprobe
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