491 Sentences With "timbres" | Random Sentence Generator

" In his manifesto, he concluded that "we must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises obtained through special mechanisms.

Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L'Instant & Timbres, Espace, Mouvement

Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L'instant & Timbres, Espace, Mouvement

Many different timbres of sound can be added, resulting in a data-rich soundscape.

What are the timbres, the twangs, the sounds, and what are the lyrical components?

When Mr. Fei's electronics get intense midway through, you respond with some ferocious timbres.

All these things have very different tones and timbres, and the live performance makes a difference.

He combines these timbres and others to create a performance that ranges from maddening to hysterical.

It's about timbres, theory, chords (lots of 'em), and how these nerdy qualities make us feel things.

The human voice theoretically has limits to the amount of timbres it can produce, but apparently Björk's doesn't.

The eight-minute track harks back to the steady blip and thump of 1970s electro with some Kraftwerk timbres.

Pummeling percussion, frenzied pacing, and alien timbres—distinctly machine-like, cold and hard—are hallmarks of the group's sound.

Much of the work is eerily spare and quiet, with instruments gravitating toward fragile sustained tones, shivery glissandos, and fractured timbres.

Their timbres, particularly in the winds and brasses, are distinct, blending less smoothly than in orchestras today yet affording stereoscopic clarity.

This is particularly important for unplugged instruments, which can produce sounds with very different timbres depending on the orientation of the player.

It involves placing found objects inside a piano in order to change the strings' timbres and make them sound like other instruments.

The four central characters—Marnie, Mark, Terry, and Marnie's mother—are beautifully differentiated, with melodic contours and instrumental timbres tailored for each.

In that moment, ringing out amidst the metallic timbres and gentle echoes of the chimes, the familiar song sounded strange and otherworldly. ???

"Fisherman's Edit" is Max's 2016 version of baroque, while holding on to our current idea of retro timbres of the 1990's.

There's a room stacked with drool-worthy synths, like an ARP 2600 clone, which he used for the dark, wobbled timbres of Deadpool.

He sees music as "coherent matter" that can morph as time unfolds until it reaches a final stage with different timbres and distortion.

As a youth he studied the piano, trombone and cello, as if anticipating the eclectic range of timbres on which his work would draw.

A cluster of buttons like organ-stops allowed the performer to switch between different timbres, from white noise to a crystal-clear sine-wave.

Instead they look to make particular sounds—bending notes and creating unusual timbres—which is a consequence of the heavy African influence on jazz.

Ms. Chase brought a substantial warehouse of tools to this meeting, venturing some whispery timbres while the percussionist was gently manipulating a small gong.

After some unsteadiness early on, the brasses nailed edgy timbres during the final movement — achieving an emphatic sense of release, stripped of all irony.

He sang about tragic love in an operatic falsetto, over orchestral timbres laced with sampled screams; he shrieked and cackled and brandished a whip.

Meanwhile, his songs fortify their soul underpinnings with the timbres (though not the clichéd beats) of electronic dance music, exorcising pain with a wallop.

Resonant environments like vast, synthetic prairie lands blanket $uccessor, as do icy surfaces and shimmering, metallic timbres; it's a meditative, cinematic and uncannily beautiful record.

They're into each other, loose and unguarded; they're also good singers with interesting timbres who can harmonize their way through a pop tune with ease.

Their contribution feels intuitive and deep-simmered: Even when a track flaunts its electronic timbres, as on "Rapsódia Brasilis," there's a tendril of folkloric imprecision.

The master contains the record's details in their purest form: the grain of a singer's voice, the timbres of instruments, the ambience of the studio.

They can astound us with timbres never heard before and rhythms that kick and shake; they can tell us things we weren't sure we knew.

His new album, "AZD," uses vintage-sounding samples, beats and timbres in tracks that seem to be dissolving into bleary memories, eroding on the spot.

Later that week, Stafylakis and the others would sit down with the singers one by one and take notes on their individual ranges, skills, and timbres.

The sampler also has a special feature called Location Control, which can create a variety of timbres out of multiple samples housed in four simultaneous sample banks.

It's a processional that circles ceaselessly through four chords, with their dense timbres changing but their cycle only interrupted, now and then, by a booming drum sound.

The organ had been neglected, and some of its stops — levers that activate different sets of pipes with varying timbres and similarities to different instruments — were broken.

Jóhannsson, who died of an accidental drug overdose this past February, specialized in making the most of avant-garde composition methods and unusual timbres in his film scores.

The richness of life doesn't lie in the loudness and the beat, but in the timbres and the variations that you can discern if you simply pay attention.

Meyerbeer represents those binding forces with a complex network of recurring melodic shapes, harmonic relationships, rhythmic patterns, and instrumental timbres—a system that helped inspire Wagner's use of leitmotifs.

Still, the results feel transformed, partly by way of the instrumental timbres and partly because of the heave of two percussionists, panned to either side of a stereo mix.

Few improvising percussionists can draw such a mesmerizing range of timbres from standard equipment, and few are more skilled in using transitions and contrasts to propel a musical narrative.

But Power's rage is more brilliant than bitter, more fantastic than fatalist, as he laces black metal and industrial music with the uplifting timbres of trance, house, and footwork.

After a few minutes, when the ear had settled in, it could seem that you were hearing at least three other pitches, in other timbres: a kind of ghost orchestra.

It develops as a study in parameters: how the notes repeat, in which timbres, in which rhythms, in what implied spaces, against which combination of harmony, counterpoint, distortion and noise.

Attired in white dresses, the singers proceeded in shifting formations from one end of the tunnel to the other, emitting ethereal timbres, playing chiming percussion, and scraping rocks against the walls.

While its instrumentation is evocative of club music, stylistically it situates itself a little less conclusively; it's consistently caught in medias res in a multiplicity of oddly conjoined timbres and moods.

The first four Mutable Instruments modules were designed simultaneously, with Braids, a "macro-oscillator" that digitally modelled a vast range of synth voices and timbres, proving to be the most popular.

This, in turn, led to a performance by the combined ensembles — with the sarod's metallic twang offering a captivating contrast to the timbres of Hespèrion's harp and viols — that drew ecstatic applause.

Ever seeking new sounds, he introduced Asian and African timbres, gourd and gamelan, and tried every newly invented electronic device in the hope that computers might play, in real time, with orchestras.

The edgy electronic timbres can serve a range of compositional functions: contrasting dramatically with the purity of a soprano's sound, in one moment, before finding, in the bass clarinet, a partner in grain.

NATE CHINEN The timbres on Brian Eno's latest ambient album, "Reflection," are calming and rounded by design: shimmery vibraphone-like peals and plinks, organlike low notes, reedy midrange boops, quiet sliding whistle tones.

The magic here is in Berryman's insistence on not merely covering the original but delivering with exacting precision the notes and timbres and tonal quirks of each of the singers and storytellers on the album.

To do it right, Cesar Romero, Jack Nicholson, Mark Hamill, Heath Ledger and Jared Leto, along with several other actors, have had to develop timbres of pure evil and concoct different flavors of insane laughter.

I had my equipment set up in my home studio in London and I was playing around with the gear and I came up with these tones, these timbres that I felt had this powerful effect.

G.R. Ben Frost's electronic music has used such an extensive palette of timbres — though he favors the sepulchral, edgeless, patient and cavernous — that it's intriguing what he chose for a track designated as a self-portrait.

I remember one concert at which I decided to shut my eyes and focus on Ms. Du's music, which often provides a thrilling sense of dramatic development, skating wide of traditional timbres by employing extended techniques.

Salieri's cause has benefitted greatly from early-music performance styles: the tangy timbres and propulsive phrasing in Rousset's renditions give vibrancy to music that can sound listless on modern instruments—like Mozart without the harmonic jolts.

The vocals are a particular point of interest, as Gagneux's now-familiar bluesy croak is put on display and accompanied by two backup singers, who add their even deeper timbres in a call-and-response Delta pastiche.

I've been moving into this direction because it felt extremely limiting to use only hardware gear, and I wanted to generate timbres, as well as melodies and rhythms, that could more easily be done with granular software.

It's a fully imagined artificial universe of improbable timbres and rhythms, of repetitions cracked and warped, of long waits and sudden tangents, of propulsion and suspension, of expectations set up and undermined, of menacing implications and funny noises.

His voice's wide range of timbres allows it to weave in and out of the music through sonority and texture alone, without edits, which preserves the virtual nature, the essential distance, of his music in the freer context.

But hearing can discern much more than just pitch and pace: it can pick up multiple instruments with differing timbres, keeping track of each note's pitch, and even its attack and decay—how fast it rises and falls in volume.

I imagine writing a story guided by the atmosphere of the particular resonance of a particular human voice — her voice — no plot in mind, just trailing her tone, timbres and composing phrases as if music and superimposing them, transparent layers, over hers.

Then again, it is possible that without the hands-on knowledge of the variety of timbres available to the cellist, I would not have been able to make the deductions and connections that allowed me to fill in the theory of how music affects us.

Amedi, a former jazz saxophonist, has recently developed a device called Eye-Music, which replaces the soulless electronic bleeping of the vOICe with instrumental timbres that add color to the auditory translation of visual information: strings are shades of yellow, brass is blue, and so on.

Ms. Sirota is a frequent collaborator with Nico Muhly — the closest thing contemporary classical has to a pop star — and the host of the broadly loved radio show "Meet the Composer," but on this recording the husky timbres and shuddery harmonies do their own persuasive work.

Her work is rooted in the radical musical languages that surfaced after the Second World War: the frenzied gestures of Iannis Xenakis, the visceral timbres of Helmut Lachenmann, the elemental textures of Giacinto Scelsi, and the hyper-dense polyphony of Brian Ferneyhough, who was one of Czernowin's teachers.

The new album involves, among other things, a theory of historical epochs, a post-human artificial intelligence, a sonic palette drawing from folk and Baroque music — with plenty of harpsichord — as well as glossy and grating electronic timbres and, most of all, a deep distrust of anything approaching stability.

The Perceptionists: Resolution (Mello Music) On their 2005 debut, quick, clear, literate, Boston-based, Bajan-American rappers Mr. Lif and Akrobatik sounded more musical trading timbres as a duo than holding forth on their worthy solo albums—little guy Lif clipped and cool and pitched deeper, Akrobatik the good-natured jock.

But because of his maximalist approach to his instruments (his use of voicing, circular breathing, and contact mics is well documented), Stetson's sound is uniquely elaborate and distorted, busied with textures and timbres that lumber, scream, and swirl in many directions, often at once; Górecki's Third Symphony is more homogenous stuff.

Although a fair amount of Shakespeare's dialogue has been jettisoned in favor of more contemporary language — with which it blends with surprising fluidity — Ms. James, a Tony winner for "The Book of Mormon," stands out for her elegant verse-speaking as well as the emotional timbres she brings to her performance.

There is also a flugelbone, which he described as his "orchestrating secret weapon": It's a horn that can be managed by a trumpet player but can sound sort of like a French horn or a trombone, which allows one musician to produce a variety of timbres for a small orchestra.

Truly phenomenal soundtracks by Ennio Morricone, Berto Pisano, Riz Ortolani, and others not only set the scene, but often the entire feeling for the giallo universe, where one certain combination of timbres from a twangy guitar and unidentified wind instrument can effect a unique brew of horror, pleasure, and the allure all at once.

Gestures of gentleness and warmth keep breaking into works like the First Cantata, with texts by the poet Hildegard Jone, who shared with Webern, an alpine enthusiast, an intense love for nature at its most pure; carefully chosen timbres of strings and percussion with solo brass and woodwinds caress as often as they collide.

Lil Wayne & 2 Chainz] "Hotline Bling," Drake Lalah Hathaway Live, Lalah Hathaway "Lake By the Ocean," Hod David & Musze, songwriters (Maxwell) "Cranes in the Sky," Solange "Angel," Lalah Hathaway Talking for Clapping, Patton Oswalt In Such Good Company: Eleven Years of Laughter, Mayhem, and Fun in the Sandbox, Carol Burnett Undercurrent, Sarah Jarosz This Is Where I Live, William Bell "Kid Sister," Vince Gill, songwriter (The Time Jumpers) "House of Mercy," Sarah Jarosz E Walea, Kalani Pe'a Coming Home, O'Connor Band With Mark O'Connor Ziggy Marley, Ziggy Marley Dutilleux: Sur La Même Accord; Les Citations; Mystère de L'instant & Timbres, Espace, Mouvement, Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony) Porcupine Meat, Bobby Rush The Last Days of Oakland, Fantastic Negrito Culcha Vulcha, Snarky Puppy "Don't Let Me Down" [ft.

Noise is filtered through multiple notch filters to produce noisy organ-like timbres.

Jeu de timbres, for orchestra: Program Note by the Composer. Retrieved May 28, 2015.

If these timbres are essential to the melody or function, as in shakuhachi music, then pitch training alone will not be enough to fully recognize the music. Learning to identify and differentiate various timbres is an important musical skill that can be acquired and improved by training.

Composers seek new timbres, remote from the traditional blend of strings, piano and woodwinds that characterized chamber music in the 19th century. This search led to the incorporation of new instruments in the 20th century, such as the theremin and the synthesizer in chamber music compositions. Many composers sought new timbres within the framework of traditional instruments. "Composers begin to hear new timbres and new timbral combinations, which are as important to the new music of the twentieth century as the so-called breakdown of functional tonality," writes music historian James McCalla.

It received critical acclaim, with critics highlighting the instrument's unusual sounds and timbres, the album's skillful pacing and Kakraba's virtuoso technique.

In March 2000, after its 125th issue, Timbroloisirs was incorporated into Timbres magazine along with Le Monde des philatélistes and Timbroscopie.

In the mid-1970s Farfisa produced the "Stereo Syntorchestra", with a three octave keyboard, and "mono" and "poli" tone generator sections. The "poli" section has four timbres: Trombone, Trumpet, Piano, and Viola. The mono section is the "synth" part of the machine. It has nine timbres: Tuba, Trombone, Trumpet, Bari Sax, Alto Sax, Bass Flute, Flute, Piccolo, and Violin.

There is no authoritative system of voice classification in non-classical music as classical terms are used to describe not merely various vocal ranges, but specific vocal timbres unique to each range. These timbres are produced by classical training techniques with which most popular singers are not intimately familiar, and which even those that are do not universally employ.

With Timbres magazine, founded in 2000, L'Écho de la timbrologie is one of the two main French philatelic publications. Since 1996, a weekly philatelic paper, Atouts timbres, is published by the same company. Printed mainly in black and white, it is mainly aimed at a younger audience than L'Écho, but has finally been adopted by established collectors.

Second, the two choirs of strings have different timbres, so contrasting tone qualities can be obtained by selecting just one choir. The contrasting timbres result from two factors. Owing to the slant of the bridges, in each pair the string closer to the outer edge of the case is shorter. Moreover, it is plucked relatively closer to the bridge, which emphasizes higher harmonics.

The Stamp Collector is a children's picture book (recommended for ages 8 and up) by Jennifer Lanthier and François Thisdale. It was published in 2012 by Fitzhenry & Whiteside.The Stamp Collector at WorldCat A French language edition, Le Collectionneur de Timbres, was released in October, 2013.Le Collectionneur de Timbres at WorldCat The theme of the book is freedom of expression.

The President of the Republic's heart break], Timbres magazine #88, March 2008, pages 26-27. Nicolas Sarkozy chose the project of engraver Yves Beaujard.

Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.

Timbres magazine cover May 2014 Timbres magazine is a French monthly magazine about philately and stamp collecting. It was established in 2000 by the merger of three previous publications: Timbroscopie and Timbroloisirs, both from the philatelic publisher Timbropresse, and Le Monde des philatélistes, from the Le Monde group. In the 2000s, it was one of two major French philatelic magazines with L'Écho de la timbrologie.

Triptych : For Violin, Viola, 'Cello and Piano. New York: G. Schirmer, 1945. ———. Jeux De Timbres : Suite Symphonique. Paris; New York: M. Eschig; Associated Music Publishers, 1934.

Negro Necro Nekros is the debut album by Dälek, released in 1998. It is notable for its extended instrumental codas, industrial timbres and use of a sitar.

As of 2010, the magazine's circulation was 40,000.Jean-Christophe Bourdillat interview with Gauthier Toulemonde, « Timbres magazine », France Info, 6 February 2010 ; program aired 15 February 2010.

LmcsL, founded by Don Luigi in 1999 with the support of the then-Archbishop of Milan, Monsignor Carlo Maria Martini, had launched the multidisciplinary Pause Festival in 2004. It included Stockhausen's famous 1956 electronic composition, Gesang der Jünglinge. When Stockhausen mentioned at that time his plan for a new cycle of compositions, Don Luigi seized the opportunity to commission the First Hour, because Stockhausen's approach to music "seems truly sacred" (Gervasoni 2005b). The work uses 24 different tempos in a chromatic time scale, and the part for organ or synthesizer requires 24 corresponding registrations/timbres—the more complex and heavier timbres for slower tempos, the more transparent and lighter timbres for the faster tempos.

In tuning the instruments (including the xylophones), the octave is often deliberately not tuned exactly, resulting in an intended acoustic beat effect. In singing, "coarse" timbres are often used.

Russolo explains how "musical sound is too limited in its variety of timbres." He breaks the timbres of an orchestra down into four basic categories: bowed instruments, metal winds, wood winds, and percussion. He says that we must "break out of this limited circle of sound and conquer the infinite variety of noise-sounds," and that technology would allow us to manipulate noises in ways that could not have been done with earlier instruments.

He has been longtime friends with animator Peter Chung. He also assisted in the development of, and contributed sound patches and timbres to Moog Music's award-winning Animoog iPad app.

Sounds are initiated in the MS2000 in a somewhat standard synthesizer manner, and then routed in various ways to produce the final sound. All sounds (timbres) in the MS2000 consist of the following steps and path: OSC1/OSC2/NOISE, MIXER, FILTER, AMP, EG, LFO, VIRTUAL PATCH, MOD SEQUENCE, EFFECTS and ARPEGGIATOR. If the voice mode is Single, only TIMBRE 1 will sound. If the voice mode is Dual or Split, both timbres TIMBRE 1 and TIMBRE 2 will sound.

Multitimbrality is achieved by having a synthesizer with more than one sound producing module. In a fully digital system, each sound module is virtual, since in reality algorithms combine samples together in real time for output to a single D-A (digital to analogue) circuit. Synthesizers that can combine n timbres together are called n voice multitimbral. For example, a synthesizer capable of playing eight voices or timbres at one time would be an eight voice multitimbral instrument.

Korg's own first version of phase modulation synthesis, producing digital timbres similar to the phase modulation synthesis (marketed as frequency modulation synthesis) made famous by Yamaha's DX line, Synclavier, and their successors.

His acoustic and electric guitar playing is characterized by the extensive use of low alternate tunings, slide, Ebow, reverb, manipulating string overtones and dynamics creating haunting voice- like timbres on the instrument.

The word "philately" is the English transliteration of the French "philatélie", coined by Georges Herpin in 1864.Herpin, Georges. "Bapteme" in Le Collectionneur de Timbres-Postes, Vol.I, 15 November 1864, p.20.

In these new, looser and more flexible musical forms, large-scale orchestral writing could be combined with strong emotions and brilliant timbres to fulfill a wide range of extra-musical demands.Cooper, 24-25.

Still other composers have sought to explore the timbres created by including instruments which are not often associated with a typical orchestral ensemble. For example, Robert Davine explores the orchestral timbres of the accordion when it is included in a traditional wind trio in his Divertimento for accordion, flute, clarinet and bassoon. What do these changes mean for the future of chamber music? "With the technological advances have come questions of aesthetics and sociological changes in music", writes analyst Baron.

Of those, 256 are Timbres (single sounds) and the other 256 are Programs (multi sounds); a Program can consist of up to 4 Timbres, layered or split. Unison, Mono are Timbre parameters, while Effects, Arpeggiator/Phrase recorder settings and EQ settings are stored as part of a program. Rear panel Rear panel presents standard MIDI in/out/thru ports, 4 mono jack outputs (L, R, AUX 1 and AUX 2), 1 Digital Out (S/PDIF), and 4 (2 pedal and 2 switch) inputs.

Further varispeed was then employed to create different timbres and effects. The band also explored musique concrète techniques on the album. Session musician Douglass Lubahn occasionally played bass during the recording of the album.

Other visual-auditory substitution devices deviate from the vOICe's greyscale mapping of images. Zach Capalbo's Kromophone uses a basic color spectrum correlating to different sounds and timbres to give users perceptual information beyond the vOICe's capabilities.

Timbres de France. Le Spécialisé, pages 108 and 110. Worse, after Jacques-Jean Barre died in 1855, he didn't succeed to work with his son and new general engraver, Désiré-Albert and they end their association in August 1866.Yvert et Tellier (2000). Timbres de France. Le Spécialisé, pages 128. But their conflict continued next Autumn until the Commission of Mint and Medals decided that Barre son had to reengrave a laurel-crowned Napoleon III hallmark.Yvert et Tellier (2000). Timbres de France. Le Spécialisé, pages 140. Hulot created new stamps including the 5 franc stamp, the first large postage stamp of France, by putting together older material from Barre father and son until the 1870s. During the Siege of Paris by German armies in 1870, Houlot printed again Ceres stamps on order of the new republican government.

During the Commune in Spring 1871, he told he hid the Ceres series printing material, so that insurgents printed Napoleon III stamps, retrieved in May 1871.Yvert et Tellier (2000). Timbres de France. Le Spécialisé, pages 127.

Multitimbrality is distinct from polyphony, which is the number of notes which can be played at the same time, not the number of different timbres. All multitimbral instruments are polyphonic, but not all polyphonic instruments are multitimbral.

Jeu de timbres has a duration of roughly four minutes. It was originally commissioned by the National Symphony Orchestra as an encore piece for a 2004 French music festival. Therefore, Stucky drew inspiration for the piece from the music of such Impressionist composers as Claude Debussy and Maurice Ravel—even directly quoting an unspecified Ravel piece near the end of the composition. The title Jeu de timbres loosely translates from the French language to "play of colors" and is a regular French phrase for the glockenspiel, which is occasionally featured in the piece.

Wolfgang Amadeus Mozart plays the keyboard while his father, Leopold Mozart, plays violin. During the Classical and Romantic periods of music, lasting from roughly 1750 to 1900, a great deal of musical instruments capable of producing new timbres and higher volume were developed and introduced into popular music. The design changes that broadened the quality of timbres allowed instruments to produce a wider variety of expression. Large orchestras rose in popularity and, in parallel, the composers determined to produce entire orchestral scores that made use of the expressive abilities of modern instruments.

The composition is in only one movement and takes approximately 17 minutes to perform. It is scored for one harpsichord, one vibraphone, two wood blocks, two bongos, three congas, four tom-toms, one bass drum, and seven terracotta flower pots. As put by Xenakis, Komboï explores "non-octave scales", its rhythm examines "anthypheresis" (displacement of stress), and its timbres exploit "the antitheses or homeophanies of the amplified harpsichord and percussion." In this sense, Komboï means knots, as "knots of rhythms, timbres, structures, and personality," interweaving each one with others.

Toulemonde started in an exotic location, travelled with the mail, and filmed its adventures en route to the post offices where he delivered it. He began with uninhabited Clipperton Island during French explorer Jean-Louis Étienne's 2005 expedition, and continued with the North Pole, and the Maroni River in French Guiana in 2006. These filmed travels were released as a DVD in Autumn 2006. Between 2007 and 2009, with technical support from the Place de la Toile society, Timbres magazine ran a television website, TV Timbres, showing free philatelic documentaries.

Jalava lists his primary objectives as emotional and narrative expression. He uses strong contrasts, thereby achieving dramatic effects and aesthetic accents. He uses distorted harmonies, sharp timbres and aggressive rhythms. Rhythm occupies a major role in Jalava's music.

Kandinsky himself, however, stated that his correspondences between colors and musical timbres have no "scientific" basis, but were founded upon a combination of his own personal feelings, current prevailing cultural biases, and mysticism (; ; Jewanski & Sidler 2006, Campen 2007).

Sharman's music is notable for its heavy use of extended techniques and exploration of new timbres. He often writes for uncommon instruments or unusual ensembles. He is also known for his opera transcriptions, cabaret songs, and music for harp.

Alfred Potiquet Alfred Potiquet was a French official who was responsible for the first stamp catalogue in the world.Alfred Potiquet, Catalogue des timbres- poste créés dans les divers états du globe, dressé par Alfred Potiquet. 2e édition. Paris : E. Lacroix, 1862.

Serrane's Vade-Mecum du specialiste en timbres-poste d'Europe (1927 & 1929) Fernand Serrane (1880-1932) was a Belgian philatelist who was a popular philatelic author in France and published one of the classic works in the field of identifying forged stamps.

Further, VCO-3 can also be used as a Low- or Audio-Frequency modulation source. With careful programming, audio frequency modulation using Oscillator 3 can produce convincing pseudo acoustic and FM-like timbres typically not associated with analog subtractive synthesis.

She was regarded as a highly talented singer. According to one biographical article, > Holloway's vocal style was very relaxed, yet she was able to create tension > and exercise control. She was masterful in her ability to produce warm, rich > timbres.

This way, the main loudness-controlling envelope can be cleanly controlled. In Sound Recognition, max amplitude normalization can be used to help align the key harmonic features of 2 alike sounds, allowing similar timbres to be recognized independent of loudness.

In 2000, the combined editorial staffs tried to keep what they thought best of the three original magazines: detailed knowledge and exacting research from Le Monde des philatélistes and Timbroscopie, with lighter topical philately inspired by Timbroloisirs. In the 2000s, under the direction of editor-in-chief Gauthier Toulemonde,Also one of Timbropresse’s shareholders through Collectio Mundi GM. This mail order stamp dealer, created in August 2002, is owned by Toulemonde and Timbres magazine’s journalist Michel Melot. It became one of the main Timbropresse's shareholders in 2003. Timbres magazine went beyond reporting philatelic news and sought to influence policy.

Tombaks with adjustable tuning have been produced experimentally but the head tension is normally fixed prior to performance with careful attention to the temperature and humidity. The player may heat or cool or dampen or dry the membrane to reach a desired fundamental pitch. The pitch can be raised somewhat during a performance by applying finger pressure but a variety of tapping and clicking timbres reduce overall focus on the drum's pitch. Typically, two or three clearly contrasting timbres (through varying finger placement or clacking of a ring against the drum shell) are played in an antiphonal style.

His 1993 paper On the relationship between timbre and scale formalized the relationships between a tuning's notes and a timbre's partials that control sensory consonance. A more accessible version also appeared in Experimental Musical Instruments as "Relating Tuning and Timbre" These papers were followed by two CDs, Xenotonality and Exomusicology (some songs from which can be freely downloaded here), which explored the application of these ideas to musical composition. In his 1998 book Tuning, Timbre, Spectrum, Scale, Sethares developed these ideas further, using them to expose the intimate relationship between the tunings and timbres of Indonesian and Thai indigenous music, and to explore other novel combinations of related tunings and timbres. Where microtonal music was previously either dissonant (due to being played with harmonic timbres to which it was not "related"), or restricted to the narrow range of harmonically related tunings (to retain sensory consonance), Sethares's mathematical and musical work showed how musicians might explore microtonality without sacrificing sensory consonance.

Source: Dallay (2005-2006). Catalogue de cotations de timbres de France, page 182. and a ruling council was instituted in 1943 with Vaillé as president. After the war, finance and an inventory by Vaillé of the postal archives permitted the inauguration in 1946.

CD liner notes in October 2008. Here On Out was hailed as a critical success, but by 2010 the group's focus had become refined to exploring more experimental timbres, with Grimes directing his role in the ensemble solely on the electric cimbalom.

The sound can be modified further via equalizers, filters, and various effects pedals. Timbre composition with acoustic instruments is usually very subtle. Minute altercations in performance change the sound produced by the instrument. Percussionists use specific sticks and mallets to yield desired timbres.

Dreams is an album by Brazilian composer Eloy Fritsch. AllMusic's Cesar Lanzarini said that Fritsch's debut is "a perfect example of how to combine an infinite quantity of timbres created in different synthesizers and use them as tools to explore human sensations".

In the score are featured exotic-sounding percussion, gongs and flutes contrasted with synthesizer and orchestral sounds. It also features Chinese huqin, Vietnamese folk tunes and chant-like vocal textures. It is additionally filled with rich orchestral timbres, and earth-shaking taiko drums.

Timbres de France. Le Spécialisé, page 128. In July 1875, the postal administration gave the printing of its postage stamps to the Banque de France to reduce the high cost and delays it accused Hulot.(1998). Le Patrimoine du timbre-poste français, page 106.

The sound produced by a group of clarinets has been compared to that of a concert organ. Though varying in range, members of the clarinet family have homogenous timbres. Therefore, the clarinet choir may be thought of as a woodwind equivalent to the string orchestra.

Tempering a timbre's partials such that they align with the tuning's notes, as per Dynamic Tonality, maximizes consonance across the entire tuning range of the syntonic temperament. The meantone temperament's narrower range is an artifact of the Static Timbre Paradigm, in which Just tunings are tempered to be pseudo-Just, but the Harmonic timbres in which those tunings are played are untempered. This inevitably misaligns the tuning's notes and timbre's partials, making them less related and hence less consonant. The farther one tunes away from the meantone temperament's defined tuning subrange, the less related the tuning & timbre will be, and hence the less consonant, when using untempered Harmonic timbres.

Jeu de timbres is a single-movement orchestral composition by the American composer Steven Stucky. The work was commissioned by the National Symphony Orchestra and completed in late 2003. It was premiered in January 2004, with the National Symphony Orchestra performing under conductor Leonard Slatkin.Stucky, Steven (2003).

Kuster "writes commandingly for the orchestra," and her music "has an invitingly tart edge" (The New York Times). Kuster's colorfully enthralling compositions take inspiration from architectural space, the weather, and mythology. Her orchestral music "unquestionably demonstrates her expertise in crafting unique timbres" (Steve Smith, Night after Night).

One of the most important tools of musical Impressionism was the tensionless harmony. The dissonance of chords were not resolved, but were used as timbres. These chords were often shifted parallel. In the melodic field the whole tone scale, the pentatonic and church tonal turns were used.

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 ("original pieces") generally do not feature an explicit beat.

Finally, craft ensures your own full expression.” As described in his own words, Zhou Long works to capture Chinese timbres and folk themes and incorporate them with Western conceptions of harmony, chromaticism and angularity.Kozinn, Allan “For Big Music, a Soaring Voice”. The New York Times, 19 December 2004.

Brutal death metal is a subgenre of death metal that privileges heaviness, speed, and complex rhythms over other aspects, such as melody and timbres. Brutal death metal bands employ high-speed, palm-muted power chording and single-note riffage. Notable bands include Cannibal Corpse, Dying Fetus, Suffocation and Skinless.

Aside from the song's form, another jazz-like element is the degree of interactivity among the musicians. The bass frequently responds to vocal gestures, and the bass and synthesizer frequently interact. Likewise, the drums interact with the pitched lines. Two main contrasting vocal timbres are heard in this song.

Allmusic reviewer Thom Jurek states "the current forms are transmuted, offering glimpses of the newer tonal frontiers he has encountered, but the sonorities aside, the feeling of the music remains, with a similar emphasis placed on timbres that highlight rather than consume either a melodic line or an improvisation".

Cover of Luigi Russolo's L'arte dei rumori, published in book form in 1916. The Art of Noises () is a Futurist manifesto written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to "substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms".

In 1928, Georges Brunel published Les Timbres-Poste de l'Île MauriceGeorges Brunel, "Les Timbres-Poste de l'Ile Maurice: Emissions de 1847 à 1898", Editions Philatelia, Paris (1928) in which he stated that the use of the words "Post Office" on the 1847 issue had been an error. Over the years, the story was embellished. One version was that the man who produced the stamps, Joseph Osmond Barnard, was a half-blind watchmaker and an old man who absent-mindedly forgot what he was supposed to print on the stamps. On his way from his shop to visit the postmaster, a Mr. Brownrigg, he passed a post office with a sign hanging above it.

BEPTOM helped to install, maintain and regulate postal networks including the creation of postage stamps if territories and countries asked for it. BEPTOM provided the necessary expertise in the form of French stamp designers and engravers and the French Post's printing plant, the Imprimerie des timbres- poste et des valeurs fiduciaires. In 1894 the Minister of Colonies began selling stamps to collectors through the Agence des timbres-poste d'outre-mer (ATPOM, Overseas Postage Stamp Agency), located first on the avenue de la Bourdonnais, then at the Pavillon de Flore in the Louvre Palace, and after at different addresses: 10 rue du Mont-Thabor, rue Vaneau and 80 rue du Faubourg- Saint-Denis.Timbroscopie #118, November 1994, page 83.

Division of the measure/chromatic scale, followed by pitch/time-point series. The term "interval" can also be generalized to other music elements besides pitch. David Lewin's Generalized Musical Intervals and Transformations uses interval as a generic measure of distance between time points, timbres, or more abstract musical phenomena.Lewin, David (1987).

The work contains quotations from Modest Mussorgsky's Boris Godunov as well as Dutilleux's own Timbres, espace, mouvement in Solzhenitsyn's letter and van Gogh's respectively. It was recorded by Esa-Pekka Salonen and Barbara Hannigan (for whom the composer wrote a new finale) with the Orchestre Philharmonique de Radio France in 2013.

Newsom, however, claims no ties to any particular music scene. Her song-writing incorporates elements of Appalachian music and avant- garde modernism. Newsom is a soprano. Her vocal style (in the November 2006 issue of The Wire, she described her voice as "untrainable") has shadings of folk and Appalachian shaped-note timbres.

ARPEGGIATOR The onboard arpeggiator has six types of arpeggio. For a program whose voice mode is Dual/Split, arpeggios can be played on one or both timbres. Since arpeggiator settings can be made for each program, arpeggio types that are suitable for the sound of a particular timbre can be saved and played.

Bora Yoon is a Korean-American experimental electroacoustic composer/performer known for her use of unconventional instruments and musical technology in her music. An interdisciplinary sound artist, vocalist and TED2014 Fellow, she gathers and uses instruments and timbres from various centuries and cultures, to create immersive audiovisual experiences, with architecture, and acoustics.

This includes extended techniques, microtonality, odd tunings, highly disjunct melodic contour, innovative timbres, complex polyrhythms, unconventional instrumentations, abrupt changes in loudness and intensity, and so on. The diverse group of composers writing in this style includes Richard Barrett, Brian Ferneyhough, Claus-Steffen Mahnkopf, James Dillon, Michael Finnissy, James Erber, and Roger Redgate.

Ghosts & Gargoyles, a concerto for flute solo with flute orchestra, for New Music Concerts, Toronto had its premiere on May 26, 2002. Ice Field, for large orchestral groups and organ, was commissioned by Other Minds for a December 2001 premiere by the San Francisco Symphony. Brant's handbook for orchestration, Textures and Timbres, was published posthumously.

The Edge's style of playing guitar is distinguished by his chiming timbres,Gulla (2009), pp. 57–65 echoing notes, sparse voicings, and extensive use of effects units. He favours the perfect fifth interval and often plays chords consisting of just two notes, the fifth and the root note, while eliminating the third.McCormick (2006), pp.

The simple tones of an instrument are called harmonics or overtones. Timbre is created by putting the harmonics together with the fundamental frequency (a sound's basic pitch). When a complex sound is heard, it causes different parts in the basilar membrane to become simultaneously stimulated and flex. In this way, different timbres can be distinguished.

Ensemble Offspring. (accessed December 2014) Ricketson describes his music as "characterised by exotic sound-worlds and novel forms". An early interest in Spectral music can be seen in his frequent exploration of unusual timbres and microtonal pitch structures. Some Shade of Blue, for example, features a newly invented string instrument in a just intonation system.

In September 2008, alongside a new offer targeting firm and companies, La Poste issued all Marianne et l'Europe denominations in form of self-adhesive stamps, sold in indivisible sheet of one hundred stamps or coil of three hundred.« Du nouveau pour les entreprises », article publié dans Timbres magazine n°95, novembre 2008, page 10.

This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices with different colors have, as sound waves, different waveforms. These waveforms have the same fundamental frequency but differ in the amplitudes of their higher harmonics.

Cited in McVeagh, 5. Using these forces, Bantock formed groups "of different weights and colors to get something of the varied play of tints and perspective [of an orchestra]".Musicologist Ernest Newman, cited in McVeagh, 6. In addition, the choir is generally divided into three sections, approximating the timbres of woodwinds, brass and strings.

In 1939 he founded the Claude Thornhill Orchestra. Polo was his lead clarinet player. Although the Thornhill band was a sophisticated dance band, it became known for its superior jazz musicians and for Thornhill's and Gil Evans's arrangements. The band played without vibrato so that the timbres of the instruments could be better appreciated.

Too Much Sugar for a Dime is an album by Henry Threadgill, released in 1993 on the Axiom label. It has been described as: "a mad, glorious romp which explores some very dark timbres and tonalities and yet remains witty, fresh and consistently exciting." (Richard Cook & Brian Morton, The Penguin Guide to Jazz on CD).

The invasion of Russia by Nazi Germany prevented this production from taking place, and it was not until 1959 that Shostakovich's version of the score was premiered.Maes, 368–369. To Shostakovich, Mussorgsky was successful with solo instrumental timbres in soft passages but did not fare as well with louder moments for the whole orchestra.Maes, 368.

The RM1x has a Yamaha AWM2 tone generator block, producing sound in response to sequenced events, the controller block, and from the MIDI IN connector. Up to 32 notes can be played simultaneously from 16 timbres selected from 654 voices and 46 drum kits.Owner's Manual, page 37. Each voice has an independent filter with cutoff, resonance, and envelope control.

The Don Cossack Choir was renowned for the quality of the tenors and baritones and for the depth and resonance of the low basses. Every member of this choir was and is trained in a classical or operatic way. The singers can reach sheer power without using amplification. Also the voices have different timbres for different volumes.

A stamp from the Bordeaux issue. During the Franco-Prussian War, after Republicans abolished the Empire of Napoléon III on 4 September 1870, they faced the siege of Paris by the German armies and the lack of postage stamps from the former rule. Houlot had to print new Ceres stampsYvert et Tellier (2000). Timbres de France.

Timbres de France. Le Spécialisé, page 127. At the same time, in Bordeaux, where the provisional government fled, the printing of Ceres stamps was authorized from the 5 November 1870 to the 4 March 1871 to supply the post offices of non-occupied France. The stamps were printed in lithography (instead of typography) by Augée-Delile.

193–213; reprinted in: Stefan Kunze, DE MUSICA. Ausgewählte Aufsätze und Vorträge, edd. by Erika Kunze and Rudolf Bockholdt, Tutzing (Schneider) 1998, pp. 543–564. Especially the large choruses, which exhibit a pronounced tendency to build up large soundscapes from highly individual timbres, demonstrate the composer's method of thinking in constellations of basic pitches without veritable chord syntax.

Robert Christgau, reviewing the album for The Village Voice, was less enthusiastic. He found that the album's "eccentric instrumentation" and "electronic timbres" failed to compensate for its lack of "groove" and was unmoved by Björk's lyrics, which he said "might hit home harder if she'd grown up speaking the English she'll die singing, but probably wouldn't".

Additionally, the track has sounds of flute, violins and percussions. For Pachchai Nirame, Rahman ensured to use the timbres effectively so that the picturisation of the song matches to the tune. The track was filmed at Taj Mahal, village, lake, forests of Kashmir. The track "Snehithane Snehithane" is an ode by a wife to the husband.

An early Minimoog synthesizer by R.A. Moog Inc. from 1970. A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate existing sounds (instruments, vocal, natural sounds, etc.), or generate new electronic timbres or sounds that did not exist before.

Each type of musical instrument has a characteristic sound quality that is largely independent of pitch or loudness. Some instruments have more than one timbre, e.g. the sound of a plucked violin is different from the sound of a bowed violin. Some instruments employ multiple manual or embouchure techniques to achieve the same pitch through a variety of timbres.

Its sounds were mostly composed of filtered squarewaves with varied pulse-widths. Its piano, violin, flute and guitar timbres were nearly unrecognizable abstractions of real instruments. It also featured a "fantasy" voice, and a programmable synthesizer which provided for choice of both oscillator waveform and ADSR envelope. It had a range of two and a half octaves.

Glinka therefore uses the principle of repetition from folk song to allowing the musical structure to unfold.Brown, Final, 423-4. He repeats the theme 75 times, all the while varying the background material--the instrumental timbres, harmonization and counterpoint. This way, he preserves the original character of the dance and complements it with creative variations in the orchestral treatment.

In 1921, he completed his first work essential to art historians, Les marques de collections de dessins et d’estampes,Marques de Collections: (Dessins-Estampes), Marques estampillées et écrites de collections particulières et publiques. Marques de marchands, de monteurs et d’imprimeurs. Cachets de vente d’artistes décedés. Marques de graveurs apposés après le triage des planches. Timbres d’edition. Etc.

Glinka therefore uses the principle of repetition from folk song to allowing the musical structure to unfold.Brown, Final, 423-4. He repeats the theme 75 times, all the while varying the accompaniment--the instrumental timbres, harmonization and counterpoint--in a technique that Brown, Francis Maes and other musicologists call "changing backgrounds."Brown, Early, 190; Maes, 28.

Timbre composition is the art of creating new timbres. It is often performed electronically, either by combining sine waves (additive synthesis) or by filtering out harmonics from more complex waves (subtractive synthesis). Timbre composition is also significant for players of the electric guitar. The guitarist's relative proximity to his or her amplifier alters the sound produced.

The composer requires the soloist to play on those four parts in order to create percussive timbres. The premiere took place in the same year by Huang. Its avant-generation aesthetic caused a burst discussion nationwide. Also in 1983, Ge Gan-ru was recommended by Chou Wen- chung to the Columbia University for his doctorate in composition.

For example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres (e.g., playing sul tasto produces a light, airy timbre, whereas playing sul ponticello produces a harsh, even and aggressive tone). On electric guitar and electric piano, performers can change the timbre using effects units and graphic equalizers.

The term "brightness" is also used in discussions of sound timbres, in a rough analogy with visual brightness. 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 spectral centroid.

Their special timbres, which possess an almost exotic sound appeal, are only used for special, dramaturgically motivated tasks. The inclusion of numerous non- European percussion instruments that had not previously been used in the orchestra of European art music cannot be interpreted as musical exoticism, especially since the composer hardly uses the new timbres unmixed. Rather, the gathering of instruments from all parts of the world in the orchestra of Orff's last works for the stage serves to substantiate the claim that the setting of the ancient Greek myth should reveal the all-encompassing nature of the Greek myth which appeals to mankind in its entirety. In the history of 20th-century music, Orff's operas on subjects from Greek Antiquity appear as an extraordinarily original development of musical dramaturgy after 1949.

Potiquet added a lot of stamp issues which had been overlooked by Oscar Berger-Levrault and corrected his errors. His work was published in December 1861 in Paris under the title, "Catalogue des timbres-poste crées dans les divers états du globe". It already contained 1080 postage stamps and 132 postal stationeries. This much improved stamp catalogue was still not error-free.

The term Spaltklang can also be found in the field of organ building. Here, it refers to organs that have registers with very different and distinct timbres. Therefore, single registers tend to be played in isolation. This is in contrast to organs which operate on the basis of a merged sound, which is achieved by adding registers to a root note.

Drums, samples and software > synthesisers are controlled using the step sequencer and, in later versions, > also a digital piano roll. These loops could then be arranged and burned > onto CD or recorded to tape. This production source unified the kuduro sound so it coalesced into an identifiable entity: “Producers using Fruity Loops had created the archetypal kuduro rhythms (see Fig. 1) and timbres”.

Cosmo's Midnight are best known for their use of the vibraslap, a percussive instrument. AllMusic's Marcy Donelson described their music as having "bright keyboard timbres and idiosyncratic beats" and stated that they typically collaborate with acts "from the pop, indie electronica, rap, and EDM realms." Cosmo's Midnight cite Daft Punk, Chic, Nile Rodgers and West Coast rap as musical influences.

London: Macmillan Publishers. Maurice Ravel used it in Tzigane for violin and piano, and in the opera L'Enfant et les sortilèges. It generates a range of colours by adding two treble and two bass stops to a normal grand piano. These enable it to produce, in addition to the normal piano sound, additional timbres resembling cimbalom, harpsichord, and harp (or lute).

A mixing engineer occupies a space between artist and scientist, whose skills are used to assess the harmonic structure of sound to enable them to fashion desired timbres. Their work is found in all modern music, though ease of use and access has now enabled many artists to mix and produce their own music with just a digital audio workstation and a computer.

The original Taurus I was succeeded by the Taurus II, which was produced from 1981 to 1983. The Taurus II uses the same synthesis engine as a contemporary lead synthesizer, the Moog Rogue. The Taurus II was controlled through 18 foot pedals, modulation and pitch bend wheels, and a CV interface. The synthesizer also increased the amount of timbres and effects available.

The timbres include piano, strings, acoustic guitar, woodwinds, sitar, kalimba, wind chimes, and drums. The M1 also features effects including reverb, delay, chorus, tremolo, EQ, distortion, and Leslie simulation, an innovative inclusion at the time. According to Sound on Sound, none of the M1's features were unique at the time of release, but were implemented and combined in a new way.

It is capable of the characteristic timbres of DX7-style FM synthesis but can also expand upon this greatly with various new FM features (hence the A in AFM) and the addition of sampled waveforms (AWM). There are large libraries of patches and expansion cards available for the SY/TG series that enable the user to expand the tonal capabilities of the unit.

There is a focus on rhythm and the spectrum of timbres The orchestra as a whole has a leading role. The mountain itself has its own voice, which is mainly produced by the low wind instruments and the percussion. Talbot got his inspiration from the slow cracking movements of glacial masses over the rocky ground. Nevertheless, there are moments of melodious sound.

All foreign-run post offices in China permanently closed on 31 December 1922 Éditions Yvert & Tellier, "Catalogue de Timbres-Poste Tome 1". Éditions Yvert & Tellier, Paris, 2007. if they had not been closed earlier. \- The remainder stocks of the Indochinese office issues were called back by the French Indochina postal authorities and used up in Indochina and Kouang Tchéou Wan.

The Craviola also received an electric version with Wilkinson pickups. The guitar's wiring has one 3-position key for each of the pickups, which allow them to work with one coil, the other one, both as a humbucker or both separately as single coils, giving a wide range of possible timbres, aside from the regular 3-position key for alternating between both pickups.

In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth- Century Music", Aspects of Twentieth-Century Music, p.475. Wittlich, Gary (ed.).

For example, while organs with multiple keyboards and pedals already existed, the first organs with solo stops emerged in the early fifteenth century. These stops were meant to produce a mixture of timbres, a development needed for the complexity of music of the time. Trumpets evolved into their modern form to improve portability, and players used mutes to properly blend into chamber music.

The Edge playing his signature guitar, the Gibson Explorer The Edge's style of playing guitar is distinguished by his chiming timbres,Gulla (2009), pp. 57–65 echoing notes, sparse voicings, and extensive use of effects units. He favours the perfect fifth interval and often plays chords consisting of just two notes, the fifth and the root note, while eliminating the third.McCormick (2006), pp.

Tatum identified Waller as his biggest influence, while pianist Teddy Wilson and saxophonist Eddie Barefield suggested that Hines was one of his favorite jazz pianists. Another influence was pianist Lee Sims, who did not play jazz, but did use chord voicings and an orchestral approach (i.e. encompassing a full sound instead of highlighting one or more timbres) that appeared in Tatum's playing.

Musicologist and Bach scholar Christoph Wolff wrote that Bach achieves "a finely shaded series of timbres" in . Each of the four solo movements are scored differently. All the instruments accompany the opening aria; only the continuo is scored for the secco recitative, an obbligato oboe for the central aria, and strings for the accompagnato recitative. All instruments return for the closing chorale.

Eötvös's music shows the influence of a variety of composers. As director of the Ensemble InterContemporain, he was exposed to styles, as is evidenced in the variety of timbres and soundworlds within his music. Extended techniques such as over-pressure bowings coexist with lyrical folk songs and synthesized sounds. Eötvös provides detailed instructions on how to mix instruments for electronic manipulation or amplification.

The work follows a traditional ABA’ formal framework, with each section roughly three minutes. Penderecki delineates each section through a system of contrasting timbres. The A section of the piece is from rehearsal 1 through rehearsal 32 and is characterized by sustained (arco) and often microtonal clusters of pitches. Additionally, these measures are based on the material category of metal.

The stamps have been illustrated with Guam topics: the coat of arms, US Navy ships that halted to the island, first trans-Pacific planes, and the portrait of Kimberley Santos, Miss World 1980.From the Guam Guard Mail stamps illustrating « Guam, île-clef de l'aérophilatélie trans-Pacifique », article published in Timbres magazine #81, July--August 2007, pages 69 and 71. It was discontinued on December 31, 1981.

The term ice-cream headache has been in use since at least January 31, 1937, contained in a journal entry by Rebecca Timbres published in the 1939 book We Didn't Ask Utopia: A Quaker Family in Soviet Russia. The first published use of the term brain freeze, in the sense of a cold-stimulus headache, was in 1991. 7-Eleven has trademarked the term.

Russolo compares the evolution of music to the multiplication of machinery, pointing out that our once desolate sound environment has become increasingly filled with the noise of machines, encouraging musicians to create a more "complicated polyphony" in order to provoke emotion and stir our sensibilities. He notes that music has been developing towards a more complicated polyphony by seeking greater variety in timbres and tone colors.

Henderickx's music is characterized by non-western elements, chiefly Indian classical music, raga and the rhythms of African music. It employs changing timbres and structures inspired by Eastern philosophy. He is influenced by Olivier Messiaen, Iannis Xenakis, Igor Stravinsky, György Ligeti and Béla Bartók. As a percussionist, he usually makes use of an extended arsenal of percussion instruments in his works, often calling for unusual instrumentation.

As in many African cultures, there is a preference in Baganda music for "noisy" timbres. In the Kadongo lamellophone, metal rings are put around the lamellas to create a buzzing sound. In the ennanga harp, scales of a kind of goana are fixed on the instrument in such a way that the vibrating strings will touch it. This gives a crackling timbre to the sound.

The composition of two quintets is also noteworthy – three flutes, cello and piano (1984), flute, oboe, clarinet, bassoon and horn (1988), etc. In the 1990s Melikyan composed an octet for oboe, two clarinets (A, B), two trombones, and piano. The variety of compositions of the composer is indicative of his special interest to bring to light the different tones of instrumental timbres that complement one another.

The most common song structures are the call-and-response ("Blow, Gabriel") and repetitive choruses ("He Rose from the Dead"). The call-and-response is an alternating exchange between the soloist and the other singers. The soloist usually improvises a line to which the other singers respond, repeating the same phrase. Song interpretation incorporates the interjections of moans, cries, hollers etc... and changing vocal timbres.

Just Music's repertoire included written scores and graphic notation by Alfred Harth in the very beginning and then free improvisation. It incorporated elements of jazz, classical music, fluxus, dada, happening and the avant-garde. Their music was mostly experimental, making classification all but impossible and contained an extreme variety of timbres and dynamics at the basis of a spontaneous expression. Process was more important than a result.

Reductionism is a form of improvised music that developed towards the end of the 20th century. The centres of the music include Berlin, London, Tokyo and Vienna. The key characteristics of the music include microtonality, extended techniques, very soft and quiet dynamics, silence, and unconventional sounds and timbres. Some of the leading names associated with reductionism are Radu Malfatti, Toshimaru Nakamura, Axel Dörner and Rhodri Davies.

Marianne, the allegory of the French Republic, wearing a Phrygian cap, is presented in profile, looking to the left. Stars surrounded her head, evoking the flag of Europe. One of these stars is in the usual place of the tricolor cockade.Yves Beaujard, « Faire simple et lisible était ma devise » [Do it simple and readable was my motto], Timbres magazine #88, March 2008, pages 26-27.

According to musicologist Walter Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul (1965) and Revolver (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s". Dylan's poetry, the Mothers of Invention's album Freak Out! (1966) and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) were all important in progressive rock's development.

The six timpani are tuned to a whole-tone scale, a quarter tone lower than the piano. Each drum corresponds to one octave in the piano . This oppositional scoring differentiates the piece from its immediate predecessors, Kreuzspiel, Spiel, and Formel. The former two use percussion as a noise element in contrast to pitch, while Formel integrates percussion timbres into the pitch structures of the other instruments .

The Aeolian harp has a long history of being associated with the numinous, perhaps for its vibrant timbres that produce an ethereal sound. Homer relates that Hermes invented the lyre from dried sinews stretched over a tortoise shell. It was able to be played by the wind. The same is said of the lyre of King David, which was played by a wind sent from God.

The ocarina, xun, pan pipes, police whistle, and bosun's whistle are closed-ended. Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres. An organ pipe may be either open or closed, depending on the sound desired. Flutes may have any number of pipes or tubes, though one is the most common number.

Rosen can play about 70 musical instruments including the "flugelbone", melodica, Fender Rhodes and theremin. Of these he has described the flugelbone as his "orchestrating secret weapon" due to its ability to utilize variety of timbres. However, he considers himself primarily a bassist but uses the range of instruments in his repertoire to improve the quality of the music he is able to create.

Les timbres de la Republique Orientale de l'Uruguay. – (Poste adhesifs, enveloppes, cartes, bandes, fiscaux et administratifs, etc.). Neuilly: L. Bouzin, 1887. , Vasconcellos and Durante, who found copies in an old correspondence. In 1892 Mr. Seijó had the opportunity to acquire the correspondence archive of Vicente Piñeiro of Rocha, and found three covers franked with the “Diligencia” second type, all emanating from the merchant Sopeña of Montevideo.

Together with Swedish-born Baron Axel de Reuterskiöld he wrote Les Timbres Postes de la Suisse 1843-1860 which was published in 1899. The book is considered well-researched and the first published deep study of Swiss philately. The book is still considered a standard reference and has been the basis for many more modern or more particular enquiries into the field of the Swiss classical issues.

Classic albums: The Band documentary, 1997. Every member was a multi-instrumentalist. There was little instrument- switching when they played live, but when recording, the musicians could make up different configurations in service of the songs. Hudson in particular was able to coax a wide range of timbres from his Lowrey organ; on the choruses of "Tears of Rage", for example, it sounds like a mellotron.

The film's music is composed by the brothers Mychael and Jeff Danna. Its pallette of timbres sways between the austere, to underscore the real life sequences, and the more colourful to illustrate the parallel fantasy story. Performers include a young girls choir whose participation was arranged through the Afghanistan National Institute of Music.The Danna Brothers Win Over Audiences With “The Breadwinner” 18 December 2017, bmi.

His vocal style is intriguing and unique, particularly in the early stages of Cog's development, alternating between a bizarre high-pitched semi-falsetto sung from the throat and more masculine timbres. His formation of words is also fairly unusual, drawing out diphthongs to extremes. Over the course of Cog's history, the semi-falsetto has been replaced with more conventional singing, but remaining is the odd word formation.

Harmor contains tools on its main GUI to modulate sound, different from the effects located under the FX tab. Two timbres, a saw and square wave, can be morphed or used independently when creating a sound. These are the default when Harmor is opened, but they can be edited or changed. Reverb and preverb effects can be created by using the blur knob to smear the partials horizontally.

Brant's spatial experiments convinced him that space exerts specific influences on harmony, polyphony, texture and timbre. He regarded space as music's "fourth dimension," (after pitch, time and timbre). Brant experimented with new combinations of acoustic timbres, even creating entire works for instrumental family groups of a single timbre: Orbits for 80 trombones, organ and sopranino voice, Ghosts & Gargoyles for 9 flutes, and others for multiple trumpets and guitars.

Animoog comes with tens of varied sound presets. Over 3,100 Animoog presets and 5,100 timbres are also available through official and user-provided expansion packs. Expansion packs include work from acclaimed sound designers, such as Richard Devine, Drew Neumann, Sascha Dikiciyan and Adam Holzman. A set of 82 official presets, available as in-app purchase, are derived from a 1968 live recording of the Grateful Dead's Anthem of the Sun album.

Author Geoffrey Himes said that "Brian's introduction of non-standard harmonies and timbres proved as revolutionary" as Dylan's introduction of "irony into rock'n'roll lyrics". Rock historians also frequently link Pet Sounds to the Beatles' Sgt. Pepper's Lonely Hearts Club Band (May 1967). Paul McCartney later credited Pet Sounds as an influence on his increasingly melodic bass- playing style and cited "God Only Knows" as "the greatest song ever written".

In comparison to when a string is bowed, a plucked string dampens more quickly. The other members of the violin family have different, but similar timbres. The viola and the double bass’s characteristics contribute to them being used less in the orchestra as solo instruments, in contrast to the cello (violoncello), which is not adversely affected by having the optimum dimensions to correspond with the pitch of its open strings.

This can also be achieved by the extended technique of crossing two strings as some experimental jazz guitarists have developed. Also third bridge preparations on guitars cause timbres consisting of sets of high pitched overtones combined with a subharmonic resonant tone of the unplugged part of the string. Subharmonics can be produced by signal amplification through loudspeakers. They are also a common effect in both digital and analog signal processing.

Russolo includes a list of conclusions: #Futurist composers should use their creativity and innovation to "enlarge and enrich the field of sound" by approaching the "noise-sound." #Futurist musicians should strive to replicate the infinite timbres in noises. #Futurist musicians should free themselves from the traditional and seek to explore the diverse rhythms of noise. #The complex tonalities of noise can be achieved by creating instruments that replicate that complexity.

Pierre Schaefer was credited for inventing this method of composition, known as musique concréte, in 1948 in Paris, France. In this style of composition, existing material is manipulated to create new timbres. Musique concréte contrasts a later style that emerged in the mid-1950s in Cologne, Germany, known as elektonische musik. This style, invented by Karlheinz Stockhausen, involves creating new sounds without the use of pre- existing material.

This is pure electronic music and a very good one, with all sorts of really fat analog timbres. "Beyond The Mountains" is a very cinematic and return to the classically inspired structures, with an extra ethnic elements. "Electric Light" is synthetic and even KRAFTWERK-like, with insisting sequences, vocoders and a simple repeating melodic theme. Flutes, marimba sound and percussion welcome the coming of "Savage" before a melodic synthesizers theme appears.

Generally speaking, biwas have four strings. That being said, modern satsuma and chikuzen biwas might have five strings. The first string is thickest and the fourth string is thinnest (the second string is the thickest on the chikuzen- biwa, and the fourth and fifth strings are the same thickness on five-stringed chikuzen and satsuma-biwas).Minoru Miki 75 The varying string thickness creates different timbres when stroked from different directions.

Each side of the split responds to a different MIDI channel. In addition to "split" mode, the AX-60 can be made to operate monophonically in Unison mode, where all 6 voices are "stacked" on each key, resulting in rich, powerful timbres. Also available: Sustain/foot pedal inputs, pitch bend wheel and modulation wheel with adjustable "depth." The pitch bend wheel can also be used to modulate the VCF cutoff frequency.

She was particularly interested in choral writing and her unconventional use of diverse vocal timbres resulted in unique and innovative work. She became musically renowned for her beloved choral arrangements of Chinese folk songs. For example, her most famous piece “Pastoral” is a four-part vocal work based on the Dongmeng folk song “Throwing Sticks.” In this piece, Xixian employs Western tonality and harmonically- driven melodies in conjunction with polyphonic interweaving.

Tempyō Biwa Fu (circa 738 AD), musical notation for Biwa. (Shōsōin, at Nara, Japan) Japanese music is highly diversified, and therefore requires various systems of notation. In Japanese shakuhachi music, for example, glissandos and timbres are often more significant than distinct pitches, whereas taiko notation focuses on discrete strokes. Ryukyuan sanshin music uses kunkunshi, a notation system of kanji with each character corresponding to a finger position on a particular string.

Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang." Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists.

In 1994 his second CD entitled Afriki Djamana was released by the label Amiata Records. The multi-faceted career of this composer and musician has caused him constantly to research new timbres and sonorities. He has kept his African origins despite using instruments of other continents and working with western musicians. The group ‘Gabin Dabiré and Musicians’ is inspired by Dabiré’s compositions, using harmonies that maintain the character of African music.

Including the voice, now all the parts are very different from each other and have strongly contrasting timbres, e.g., the pointillistic harpsichord with the smoother mezzo-soprano. Originally, Ferneyhough intended all the songs to be set to poems by the German poet Ernst Meister. However, he could not find enough suitable poems on death and permanence, and instead commissioned a poet friend, Alrun Moll, to write texts for the remaining songs.

There is a passage in which the players are instructed to muffle the drums by covering the heads with a cloth or chamois. The slow middle movement emphasizes the timbres and tones of the metallic, normally atonal percussion instruments. During the movement, the glockenspiel and xylophone also play fragmented melodious strands, bringing out the composer's Mexican roots. This offers a moment of relaxed interlude before the violent final movement.

The violin produces louder notes with greater bow speed or more weight on the string. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound. One can also achieve a louder sound by placing the bow closer to the bridge. The sounding point where the bow intersects the string also influences timbre (or "tone colour").

During the Baroque era of music (ca. 1600–1750), technologies for keyboard instruments developed, which led to improvements in the designs of pipe organs and harpsichords, and to the development of the first pianos. During the Baroque period, organ builders developed new types of pipes and reeds that created new tonal colors (timbres and sounds). Organ builders fashioned new stops that imitated various instruments, such as the viola da gamba stop.

Vitalyos was the editor-in-chief from 1953 to 1977, and continued to write a weekly column until 1986. In 1954, the magazine took the subtitle L'officiel de la philatélie (the Philatelic Gazette) after it bought three other publications, one of which had this subtitle. In March 2000, when Le Monde des philatélistes ended its run, this became Timbres magazines slogan. Timbroscopie was the figurehead magazine of the publisher Timbropresse.

The Ensemble l’Itinéraire is one of the main European ensembles dedicated to the performance of contemporary music, known in particular for its performances of spectral music works. Spectral music alters “timbres by assembling orchestral masses.”Griffiths, p. 249. Based in Paris, the ensemble was founded in January 1973 by Michaël Lévinas, Tristan Murail, Hugues Dufourt, Gérard Grisey and Roger Tessier.“… the question of timbre, though it is rigorously tackled by Schönberg (in his theory of the ‘melody of timbres’) and above all by Webern, nevertheless has pre-serial origins, especially in Debussy — in this regard a ‘founding father’ of the same rank as Schönberg. […] Later, it also provided the grounds for the break with Boulez’s ‘structural’ orientations and the contestation of the legacy of serialism which was carried out by the French group L’Itinéraire (Gérard Grisey, Michaël Levinas, Tristan Murail ...).” Badiou, p. 82. Michael Levinas is the son of the philosopher Emmanuel Levinas.

Roofing (carpenter's) hammer (Latthammer), specified for the first movement of Herbstmusik The first movement is "literally a two-part polyphony of nailing boards into the roof of a wooden shed" . The score specifies that the two players use a type of roofing (or carpenter's) hammer commonly used in Germany, with one long, tapered point. In addition to ordinary nailing, "all timbres that can possibly result from the contact between hammer or fingers with the nails or wood should be musically exploited" including stroking the heads of different-sized nails with the hammer, quivering the tapered point of the hammer rapidly between two nails or rows of nails, sustained pattering of the broad side of the hammer on two nail heads, or rapid "trilling" of the hammer on a nailhead. These varied sounds follow a formal process in five stages, leading from ordinary nailing to a final, very delicate phase with "individual short trills, soft rebounds, … and magically iridescent timbres".

Lorenzo favored a chromatic quality with refined timbres and delicate nuances of the local tone. The Gallerie dell'Accademia of Venice also possesses an altarpiece by Lorenzo executed in 1371. It originally consisted of five panels, on which an Annunciation and six figures of saints were painted, but it is now broken up into separate works. Also by Lorenzo is Saviour Enthroned with Saints and Angels dated 1369 in the Museo Correr, Venice.

In 1996, Taraskoff began designing postage stamps for Metropolitan France and French overseas departments and territories. In March 2005, he was named art advisor to the Philatelic Commission of Saint-Pierre-et-Miquelon and as such, helped the local administration in creating its stamps and linking the local artists with the Imprimerie des timbres-poste et valeurs fiduciaires (ITVF, public printer of postage and revenue stamps).Émilie Rabottin (June 2005). "Conseiller couleur outre-mer".

The company builds new organs, mostly for use in parish churches, but also in parish halls and hospitals. A typical layout combines a Great division () in Baroque style with a Swell division () with timbres of the Romantic period, which makes it possible to play a wide range of organ repertory. The company restores historic instruments. It has specialized in building small organs called Truhenorgel, which serve for accompanying choirs in church and for rehearsal.

"The foundation of Orthodox bell ringing lies not in melody but in rhythm, with its intrinsic dynamic, and in the interaction of the timbres of [various] bells." These sequences have a very special harmony, since Russian bells (unlike Western European ones) are not tuned to a single note. Western bells usually have an octave between the loudest upper tone ("ring") and the loudest lower tone ("hum"). Russian bells have a seventh between these sounds.

The music of John Luther Adams (an Alaskan environmentalist and no relation to the other John Adams discussed in this article) is informed by nature, especially that of his native Alaska. His Pulitzer Prize-winning symphony Become Ocean was inspired by climate change. Frank's House by Andrew Norman tries to evoke the architecture of Frank Gehry's house in Santa Monica. Péter Eötvös employs a variety of timbres and sound-worlds within his music.

Zaba is primarily a psychedelic indie pop record. The album's sound is characterized by obscure tropical percussion and jungle timbres. This musical motif reflects lead singer David Bayley's exotic subject matter, which was inspired by the William Steig children's book The Zabajaba Jungle. To achieve this sound, Bayley would record ambient sounds of a field near his house or the chewing of rabbits and other animals, and percussive sounds of cooking utensils and children's toys.

Bream's work showed that the guitar could be capably utilized in English, French, and German music. Bream's playing can be characterised as virtuosic and highly expressive, with an eye for details, and with strong use of contrasting timbres. He did not consistently hold his right-hand fingers at right angles to the strings, but used a less rigid hand position for tonal variety. Bream met Igor Stravinsky in Toronto, Canada, in 1965.

Melody, tonality, rhythm and orchestral timbres work together to form an indivisible whole. In the first movement of the Fourth Symphony, he introduces a highly rhythmic theme in the brass. The structure of this movement is made up of a complete series of rotating thirds, from F to A, B D and back to F, then a recapitulation to a third below the tonic. The brass theme delineates each stage of the structure.

The eight songs have a rich and unique musicality: a mix of candomblé and umbanda instruments (like atabaques and afoxés) with timbres common to Brazilian music (agogôs, saxophones and tambourines). The opening track, Canto de Ossanha is ranked number 9 on Rolling Stone's list of 100 greatest Brazilian songs. Baden Powell re-recorded this album in 1990, again accompanied by Quarteto em Cy, but this time singing the lead vocal himself, Vinícius having died.

Instruments in gamelan gong kebyar offer a wide range of pitches and timbres, ranging five octaves from the deepest gongs to the highest key on a gangsa. The high end can be described as "piercing", the low end "booming and sustained," while the drums as "crisp". Kebyar instruments are most often grouped in pairs, or "gendered." Each pair consists of a male and female instrument, the female being slightly larger and slightly lower in pitch.

Works could then be conceived polyphonically, and thus each head conveyed a part of the information and was listened to through a dedicated loudspeaker. It was an ancestor of the multi-track player (four then eight tracks) that appeared in the 1960s. Timbres Durées by Olivier Messiaen with the technical assistance of Pierre Henry was the first work composed for this tape recorder in 1952. A rapid rhythmic polyphony was distributed over the three channels .

Simon Reynolds Energy Flash: A Journey Through Rave Music and Dance Culture. (Picador, ) (excerpt) This is where the English music critic coined the name as a result of his personal perception of stylistic shifts in techstep – backbeats replacing breakbeats, funk harmonies replacing industrial timbres and lack of emphasis on the drop – by referring to them as, "(Neurofunk) is the fun-free culmination of jungle's strategy of cultural resistance: the eroticization of anxiety".

Jamal explored the texture of riffs, timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal, A. B. Spellman of the National Endowment of the Arts said: "Nobody except Thelonious Monk used space better, and nobody ever applied the artistic device of tension and release better.""Ahmad Jamal: 'Ahmad Jamal at the Pershing: But Not For Me.'" Basic Jazz Record Library, NPR. August 1, 2001. Radio.

Distortion synthesis is a group of sound synthesis techniques which modify existing sounds to produce more complex sounds (or timbres), usually by using non-linear circuits or mathematics.Nb. Some authors refer to these techniques as 'modulation synthesis'; e.g. Chapter 6 of While some synthesis methods achieve sonic complexity by using many oscillators, distortion methods create a frequency spectrum which has many more components than oscillators. Some distortion techniques are: FM synthesis,Dodge 1997, pp.

Parry's music is generally described as experimental music whereby he explores and exploits an ongoing collision between harmony and disharmony. The music can be challenging to the listener. Parry has developed a non-standard guitar technique and made use of prepared guitar (e.g. putting a nail file and screws on the strings, playing the guitar with pliers or a dinner fork) the key features being unconventional tunings, timbres, drone, distortion and noise.

The Symphony No. 6 for band is of particular note as a standard larger work. This piece boasts complex percussion lines crucial to the work's thematic material as well as utilizes the full spectrum of colors and timbres of the wind band. He wrote one opera, entitled The Sibyl. The music was noted by critics for its color, but the dramatic and vocal aspects of the work were found by some to be lacking.

However, after his house, with his library of 7000 volumes, had been destroyed by fire, he returned to the USA in 1917, to serve as an adviser to Breitkopf & Härtel and editor of the Concert Exchange. He lectured widely, wrote for magazines and newspapers, published three books of poetry and a novel, and composed numerous pieces in various forms. His works are in a Romantic style, sometimes using themes and timbres imitative of Indian music.

The new trio played three songs at the festival later in the week without a drummer. Each band member took turns playing the drums, until they met drummer Richard Edson. The band signed to Neutral Records, then to Homestead Records, and then to SST Records. Live in the Netherlands (with Sonic Youth), 1991 Moore and Ranaldo make extensive use of unusual guitar tunings, often heavily modifying their instruments to provide unusual timbres and drones.

The music video was created in computer graphics by Semiconductor's Joe Gerhardt and Ruth Jarman. It follows the view of a flock of birds, and presents a lighthouse, presumably very similar to the house in which they stayed. Brad Osborn has noted how the craggy, icy peaks depicted in the video are linked to the pentatonic leaps in the lead vocal melody, and also to the cold, metallic timbres used in the recording.

Performing circus elephants commonly follow musical cues and Adam Forepaugh and Barnum & Bailey circuses even featured "elephant bands". German evolutionary biologist Bernhard Rensch studied an elephant's ability to distinguish music, and in 1957 published the results in Scientific American. Rensch's test elephant could distinguish 12 tones in the music scale and could remember simple melodies. Even though played on varying instruments and at different pitches, timbres and meters, she recognized the tones a year and a half later.

This predefined temporal motion of the harmonic spectrum yields the term "Spectrum Dynamic." The user has very limited influence over the spectrum dynamic using the DCA envelope, and doing so is something of a trial-and-error process. In effect, each so-called "waveform" of an SD synth consists of 2 layered subvoices with independent preset volume envelopes (that cannot be changed by the user). Thus, some "waveforms" crossfade between timbres without filter sweep to simulate e.g.

Roland System-100M modular synthesizer with ring modulator, noise generator, sample & hold, LFO Some of the Minimoog Voyager controls. Note the NOISE/PGM option on the top rotary switches controlling the modulation busses. Noise is used as basic tonal material in electronic music. When pure-frequency sine tones were first synthesised into complex timbres, starting in 1953, combinations using inharmonic relationships (noises) were used far more often than harmonic ones (tones).Stockhausen 1963b, 142 and 144.

Allmusic awarded the album with 3 stars and its review by Richard S. Ginell states: "McLaughlin sounds rejuvenated and refreshed in this format, as he switches between acoustic guitar and a guitar synthesizer attachment that softens and rounds his attacks while creating some luminous timbres and textures. McLaughlin's on-again, off-again Indian kick rises prominently into view here as Trilok Gurtu's role broadens into that of an all-purpose percussionist, producing some amazing sounds as backdrops".

The Baroque period is often thought of as organ building's "golden age," as virtually every important refinement to the instrument was brought to a peak. Builders such as Arp Schnitger, Jasper Johannsen, Zacharias Hildebrandt and Gottfried Silbermann constructed instruments that displayed both exquisite craftsmanship and beautiful sound. These organs featured well- balanced mechanical key actions, giving the organist precise control over the pipe speech. Schnitger's organs featured particularly distinctive reed timbres and large Pedal and Rückpositiv divisions.

As with Revolver, Everett sees the album's progressive rock antecedents among its combination of "rich multipart vocals brimming with expressive dissonance treatment, a deep exploration of different guitars and the capos that produced different colors from familiar finger patterns, surprising new timbres and electronic effects, a more soulful pentatonic approach to vocal and instrumental melody tinged by frequent twelve-bar jams that accompanied the more serious recording, and a fairly consistent search for meaningful ideas in lyrics".

After the war, she read at the Conservatory of Music, first as a pianist, but because of the after-effects of her stay in Frøslevlejren she could not do this and trained instead as a composer. In 1952 she heard a Danmarks Radio programme on Musique concrète and its creator Pierre Schaeffer. It reminded her of her own childhood conception of sounds and timbres. Via family in France, she contacted the French radio RTF and Schaeffer.

Games may also employ two soundtracks and mix between them, as in the case of FTL: Faster Than Light, which has an "explore" and "battle" version of each track. When the player is in battle with another ship, the audio fades into the "battle" version. This "battle" version is usually reasonably similar to the "explore" version with the addition of drums and similar dark timbres. Because of this, the transition is rather smooth and doesn't ruin the player's immersion.

The pieces were played traditionally as well as with note and instrument experimentation. They experimented with modifying the score, tempo, pitch and by inserting random pauses. Texturally they explored the instruments by throwing all sorts of material inside the harpsichord and pounding on the viola da gamba's body, capturing a wide range of timbres, giving Corona many composing options. Corona stated it was a great learning experience for him thanks to the musicians’ open mindedness and fun approach.

The cathedral organ, which expresses a great variety of organ timbres in the French tradition, was built by Casavant Frères of Montreal, Quebec, Canada and installed in 1977. Additions were made in 1999. It is the third instrument since the building was built. From the nave of the church, one can see a collection of the likenesses of the diocese's nine bishops and Auxiliary Bishop Edward P. McManaman, who served as Cathedral Rector from 1936 to 1948.

They have been broadcast over assorted media. Most have been recorded; some were composed for films and theater, and one found was used in animation. In his book Jackson Street After Hours, music critic Paul de Barros called Bisio one of the heirs to Seattle's earthy yet innovative tradition and marked his compositional style as "a spare, bluesy sound, the sweet- and-sour timbres favored by Charles Mingus." Bisio composed the music for Karl Krogstad's film Strings (1985).

Following that interview, the description "high-energy" was increasingly applied to high-tempo disco music, especially songs dominated by electronic timbres. The tempo threshold for high-energy disco was around 130 to 140 BPM. In the 1980s, the term "high-energy" was stylized as "hi-NRG". Eurobeat, dance-pop and freestyle artists such as Shannon, Stock Aitken & Waterman, Taylor Dayne, Freeez or Michael Sembello were also labeled as "hi- NRG" when sold in the United States.

The show Counting Cars paid tribute to White by restoring the last car he owned for his widow, Glodean. In an obituary referring to White by his nickname, "The Walrus of Love", the BBC recalled "the rich timbres of one of the most distinctive soul voices of his generation, about which it was once said: 'If chocolate fudge cake could sing, it would sound like Barry White.'" "Obituary: Barry White", BBC, July 4, 2003. Retrieved April 24, 2016.

Barlow prefers traditional instrumental timbres to electronically synthesized ones because "they sound so much more alive and exciting" . Although for this reason most of his works have been written for traditional instruments, he has frequently used the computer to generate the structures of his works. His comprehensive theory of tonality and metrics was first tested in the piano work Çoǧluotobüsişletmesi (1975–79). Spectral analysis and instrumental resynthesis of human speech has also played an important role in his compositions .

The original score for Final Fantasy Tactics was composed, arranged, and produced by Hitoshi Sakimoto and Masaharu Iwata. Matsuno approached his longtime friends Sakimoto and Iwata to compose the music soon after the initial release of Final Fantasy VII in January 1997. Sakimoto composed 47 tracks for the game, and Iwata was left to compose the other 24. The orchestral timbres of the game's music were synthesized, with performance by Katsutoshi Kashiwabara and sound programming by Hidenori Suzuki.

Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often religious, roots. Although jazz is an American invention, free jazz musicians drew heavily from world music and ethnic music traditions from around the world. Sometimes they played African or Asian instruments, unusual instruments, or invented their own. They emphasized emotional intensity and sound for its own sake, exploring timbres.

These can usually be selected individually or combined in various ways to provide a range of different timbres, by use of register switches arranged by register from high to low. More of the top-line expensive accordions may contain 5 or 6 reed blocks on the treble side for different tunings, typically found in accordions that stress musette sounds. How many reeds an accordion has is specified by the number of treble ranks and bass ranks.

Massive is a commercial wavetable software synthesizer plugin manufactured by Native Instruments for use in professional audio production. It utilizes several wavetables and oscillators in the creation of synthetic timbres. The software can be used as a VST plugin within a digital audio workstation, or as a standalone program. Released in 2007, the plugin has gained widespread popularity in the electronic music field, and is one of the most popular synthesizer plugins for modern dance music production.

The gated pattern gradually changes in order to demonstrate the various rhythms possible with a trance gate. Note that some trancegate patterns are off-beat. Rapid arpeggios and minor keys are common features of Trance, the latter being almost universal. Trance tracks often use one central "hook", or melody, which runs through almost the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody.

The Baroque period is often thought of as organ building's "golden age," as virtually every important refinement to the instrument was brought to a peak. Builders such as Arp Schnitger, Jasper Johannsen, Zacharias Hildebrandt and Gottfried Silbermann constructed instruments that displayed both exquisite craftsmanship and beautiful sound. These organs featured well-balanced mechanical key actions, giving the organist precise control over the pipe speech. Schnitger's organs featured particularly distinctive reed timbres and large Pedal and Rückpositiv divisions.

Organist Gerhardt Egmont "Öcki" Von Brevern joined at the start of 1969 as the band moved away from soul and towards a more jazzy sound. Rhodes left in August 1969, as did Funk, leaving the band without a guitarist. Van Wych took over vocal duties. The band's second album, Electrip, reflected the move away from R&B;, fusing free jazz and psychedelic rock with a satirical, sometimes X-rated sense of humor, as well as studio manipulation of sounds and timbres.

Baron Axel de Reuterskiöld (Stockholm, 1860 – 7 March 1937, Lausanne), known as de Reuter to his friends, was a Swedish philatelist who signed the Roll of Distinguished Philatelists in 1921. He was an expert in the stamps of Switzerland. Together with the French banker and philatelist Paul Mirabaud he wrote the standard reference work: "Les Timbres Postes de la Suisse 1843-1860" which was published in 1899. The book is considered very well researched and the first published deep study of Swiss philately.

She reported that "When I stopped the flute, I felt so limited in my improvisations with timbres that I started to explore the inside of the piano to be able to imitate trumpets, percussions and saxophones [...] I realized that building stuff with my hands for the piano was super fun." Risser was pianist in the Orchestre national de jazz from 2009 to 2013.Scotney, Sebastian (8 March 2015) "Interview: Eve Risser (Banlieues Bleues, Jazzahead, Jazzdor Strasbourg-Berlin) / #IWD2015". London Jazz News.

Another Sawai disciple, Masayo Ishigure, holds down a school in New York City. Yukiko Matsuyama leads her KotoYuki band in Los Angeles. Her compositions blend the timbres of world music with her native Japanese culture. She performed on the Grammy-winning album Miho: Journey to the Mountain (2010) by the Paul Winter Consort, garnering additional exposure to Western audiences for the instrument. In November 2011, worldwide audiences were further exposed to the koto when she performed with Shakira at the Latin Grammy Awards.

Northern Lights chord . In music, the 'northern lights' chord is an eleven- note chord from Ernst Krenek's Cantata for Wartime (1943), that represents the Northern Lights. Krenek's student, Robert Erickson, cites the chord as an example of a texture arranged so as to, "closely approach the single-object status of fused-ensemble timbres, for example, the beautiful 'northern lights'...chord, in a very interesting distribution of pitches, produces a fused sound supported by a suspended cymbal roll".Erickson, Robert (1975).

New York, New York. The string quartet version was premiered on August 23, 1989 by Joan Tower at the Teton Festival in Wyoming. In the woodwind quintet, the Horn takes the role of the bass, the bassoon and clarinet cover the cello and viola, and the flute substitutes for the violin. Tower says that the woodwind quintet version is "heavier" due to the "weight" of the different timbres of the instruments that define the counterpoint and make it "more easily heard."G.

The instruments were amplified using newly developed pick-ups made by Barcus-Berry so that they could be heard over the brass and saxophones. These new timbres offered Ellis a wellspring of creative possibilities. As he explained, "People spend whole evenings listening to a brass quintet, a woodwind or string quartet, so I reasoned that having ALL of these in the context of a big band should give us a fantastic variety of colors from which to draw."Ellis, Don.

Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webern, passing it around various instruments to exploit their different timbres. The introduction presents the theme almost whole: it lacks only the last note. The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. (After the third variation, the original theme is hard to make out.) After the theme's demise the central section is a free rhapsody.

In this piece of music the venue is a deep shaft in which there will be placed, at different heights, bowls of different sizes and tunings pivoted about their center of gravity, the instruments. The players, the drips of water, will strike the bowls, ringing them like bells. As they fill with water their timbres will change, and the delicate equilibrium of their pivots will cause them to sway slightly, modulating the tones. Overflowing, a bowl will drip into ones below it.

The vacuum tube system had to be patched to create timbres. Robert Moog In the 1960s synthesizers were still usually confined to studios due to their size. They were usually modular in design, their stand-alone signal sources and processors connected with patch cords or by other means and controlled by a common controlling device. Harald Bode, Don Buchla, Hugh Le Caine, Raymond Scott and Paul Ketoff were among the first to build such instruments, in the late 1950s and early 1960s.

The change of timbres, the felicitous choice > of melodic designs and figuration patterns, exactly suiting each kind of > instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the > percussion instruments, etc., constitute here the very essence of the > composition and not its garb or orchestration. The Spanish themes, of dance > character, furnished me with rich material for putting in use multiform > orchestral effects. All in all, the Capriccio is undoubtedly a purely > external piece, but vividly brilliant for all that.

A Moon Shaped Pool incorporates elements of art rock, folk, chamber music, and ambient music. It combines electronic elements such as drum machines and synthesisers, acoustic timbres such as guitar and piano, and Greenwood's string and choral arrangements, which feature more heavily than on previous Radiohead albums. The Guardian characterised A Moon Shaped Pool as more restrained and "pared back" than Radiohead's earlier work. The songs are sequenced in alphabetical order, which Greenwood said was chosen only because the order worked well.

He has established himself with a more modern sound, where he is moving in landscapes of more improvised and contemporary music, becoming the basis of timbres from fingerboard and folk music. This has resulted in collaboration with the dance ensemble Carte Blanche and several improvised musical constellations, including folk and jazz based bands. This also led to extensive performing in Norway and abroad, and at the 2016 Nattjazz he performed with his own trio including Stephan Meidell and Øyvind Hegg-Lunde.

Also available is a unison mode which renders the keyboard monophonic but allows for very rich sounding timbres. The Six-Trak is prominently featured and can be heard on the 1998 minimalist space music CD release The Dream Garden, by musician/composer Dane Rochelle. More recently it has been used by composer Christopher de Groot for the 2012 soundtrack to Australian feature film "Sororal". The Six-Trak's more famous sibling is the Prophet 5, widely used in much of the 1970s progressive rock.

Since its inception, Ableton Operator has generally garnered positive reviews throughout its lifetime. These reviews tended to focus on Operator's ability to quickly and easily create many timbres as well as its many editable features. According to Future Music, “With all these fabulous parameters to tweak, you would think you need to have multiple arms like Shiva, but that's where Ableton's Everything Must Be Automated, philosophy really shines. Almost all parameter moves can be recorded and this allows for detailed sonic manipulation.

Onishi’s music has been in part characterized by the engineering of timbres. In his 2009 work for string quartet, Culs-de-sac (en passacaille), he employs varieties of extended techniques for the string instruments. Anthony Tommasini of the New York Times said of the piece: “Who needs electronic instruments when a composer can draw such varied, eerily alluring sounds from good old string instruments?”. Onishi’s works have been commissioned by performers and organizations including Mayumi Miyata, Pacific Music Festival, Norfolk and Lucerne Festivals.

Instrumental timbre played an increasing role in the practice of orchestration during the eighteenth and nineteenth centuries. Berlioz and Wagner made significant contributions to its development during the nineteenth century. For example, Wagner’s “Sleep motif” from Act 3 of his opera Die Walküre, features a descending chromatic scale 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).

The graphic score is presented on millimetre paper, using different colors corresponding to the different timbres of the orchestra. In 1982, in a Greek national competition of composition and artistic music he received a distinction award for his work "Sans titre" ("Untitled"), by the Greek minister of Culture Melina Mercouri. Many of his most significant works have been played at festivals and broadcast throughout Greece and abroad. Since 1988 Nicolas Panagopoulos lives in Greece, where he devotes his time to composition and music education.

Resnais attached great importance to the interplay of vocal timbres of his principal actors, and he described how he thought of them as a Schubertian quintet: Ellen Burstyn a violin, Dirk Bogarde a piano, David Warner a viola, John Gielgud a cello, and Elaine Stritch a double bass."Entretien avec Alain Resnais sur Providence", in Robert Benayoun, Alain Resnais: arpenteur de l'imaginaire. Paris: Éditions Ramsay, 2008. p. 240 The original intention had been to make the film in French, translating it from the English.

As with other members of the concertina family, the bandoneon is held between both hands, and by pulling and pushing actions force air through bellows and then routing air through particular reeds as by pressing the instrument's buttons. Bandoneons have a different sound from accordions, because bandoneons do not usually have the register switches that are common on accordions. Nevertheless, the tone of the bandoneon can be changed a great deal using varied bellows pressure and overblowing, thus creating potential for expressive playing and diverse timbres.

Contemporary Composers from Medieval to Modern - Inventing Finnish Music (English translation Kimmo Korhonen and Jaakko Mäntyjärvi, 2007), 2007, Finnish Music Information Centre, . Chapter IX “That Which Was Old” p126-129. Okko Kamu notes that the symphonic texture is founded on organic expansion of motifs; the work emerges from small intervals. He comments that "the scherzo movement... rushes forward like a tempest... The exquisite section with percussion and harp is peculiarly fascinating with timbres of sound and an exoticism, the intensity of which emanates from an escaping triad".

With the limited quantified he had to deal with, this was very difficult, but his plating was proved correct when adequate quantities were later found. Based on his findings, he wrote and published a monograph entitled A St. Louis Symposium in 1894. Tiffany published the first comprehensive listing of United States postage stamps, entitled Les Timbres des Etats-Unis d'Amerique. It was printed in three parts in 1883, and he later expanded it in 1887 as History of the Postage Stamps of the United States of America.

You can describe the music of this young quartet as a combination of different timbres, unusual instrumentation, and altered sounds that create an open and exciting soundscape. The musicians in the band are also active in other bands and projects like 'Highasakite', 'Machine Birds', 'PolygonJunx', 'Teknopoly', among others, and has collaborated with the likes of Kjetil Møster, Jon Eberson and John Hegre. In autumn 2011 the band toured Norway with the guitarist Thomas T. Dahl. In 2013 they went touring Norway with Karl Seglem.

The unreleased original Synclavier performance was done using only the unit's FM synthesis, while the recording found here was Zappa's "deluxe" arrangement featuring newer samples and timbres. "Night School" was possibly named for a late-night show that Zappa pitched to ABC; the network did not pick it up. A music video was made for the song. "G-Spot Tornado", assumed by Zappa to be impossible to play by humans, would be performed by Ensemble Modern on the concert recording The Yellow Shark (1993).

Niagara Falls for Symphonic Band (1997) by American composer Michael Daugherty, is his first composition for concert band. It is a 10-minute, single-movement work, that (through evocative timbres) explores the most visited waterfalls in the world. Niagara Falls was commissioned by the University of Michigan Bands in honor of its centennial, and dedicated to H. Robert Reynolds. The premiere was performed by the University of Michigan Symphony Band, under the direction of Reynolds, on October 1997, at Hill Auditorium in Ann Arbor, Michigan.

Partial list of orchestral arrangements to Pictures at an Exhibition Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue arranged and orchestrated by Ferde Grofé.Greenberg, Rodney: George Gershwin, page 66. Phaidon Press, 1998. . Erik Satie wrote his three Gymnopédies for solo piano in 1888.Satie Gymnopedie No. 3 for piano soloSatie Gymnopedie No. 3 for piano solo Eight years later, Debussy arranged two of them, exploiting the range of instrumental timbres available in a late 19th century orchestra.

On a micro scale, the section is characterized by rhythmic cancrizans, canons, and other procedural units. As with the A section, a large variety of timbres are executed through the large number of instruments and playing techniques. The piece transitions into the C section by reducing the orchestra in sequence until it is only ten violins playing pppp in a tight tone cluster. In this last section, Penderecki blends the strings and percussion with a combination of percussion sounds, string tremolo glissandi, and unconventional piano techniques.

Moran creates unique timbres through this method, often placing items like screws within the piano and playing the strings with her fingers or an EBow. Moran then records each sound she produces through these methods and feeds them into MIDI software and a sampling keyboard, thus allowing her to electronically manipulate the recordings and play them back as complex, new sounds. This technique creates "an electro-acoustic hybrid instrument" uniquely her own. In addition to Cage, Moran cites Tori Amos and Kayo Dot as artistic influences.

She has performed in recitals and with orchestras in all the major European and Scandinavian countries with reviews praising her brilliant technique and personal charm. "…superb technique and a remarkable variety of tonal hues and timbres." - Paris "…Mastery, skill, elegance" -LA LANTERNE, Brussels In 1974 she founded the Little Orchestra of Loma Linda University, a select group of musicians that included musicians, physicians, medical and dental students, and others in the medical professions. The ensemble toured extensively on the West Coast and in 1979 toured Scandinavia.

Forbin's Catalogue de Timbres- Fiscaux was the most comprehensive all-world catalogue of revenue stamps produced up to that time and is still regularly referred to by revenue philatelists as no other all-world catalogue has been prepared since Forbin's third edition in 1915. Forbin also started a journal Le Bulletin Fiscaliste in order to keep the catalogue up to date."On the History of Fiscal Stamp Collecting" by A. Preston Pearce, 1905, reproduced in The Revenue Journal of Great Britain, Vol.III, No.2.

Gower's style is fairly left field, with a lot of contrast between heavier and lighter timbres. Primary influences on his style are not very apparent upon listening, though he has cited Helmet, Tool and Soundgarden. The tuning of his guitars are all the same in the 4 lower strings. The tuning being (low to high) CGCf always for the lower strings, and the 2 highest strings vary in tuning, depending on the song, for example, "The Spine" and "Doors.." are tuned (low to high) to CGCfcd.

A sample image generated by Lawrence Ball's harmonic maths. Ball has an interest in algorithmically generated sound, music and visuals. He was inspired by John Whitney's pre- computer and computer generated films to begin work on a branch of mathematics called harmonic mathematics in 1984. With the initial help of Michael Tusch and James Larsson, this branch of mathematics was developed on the foundation of Whitney's differential dynamics and has been applied to graphic 3D visuals, sound timbres and melodic loops which evolved from the later 1980s.

A second edition was published in 2002. Her books and courses on Modern Solfeggio can be found in many libraries in the USA, Europe, and Japan. In 2005 she created a new course in music timbre dictations, which is published with a CD containing various natural and synthetic instrumental and vocal timbres. The second area of Karaseva's innovative activities is the creation of interdisciplinary academic courses new to the Russian musical and academic system (in Russia music education is not part of the general university system).

With waveforms containing many overtones, complex transient timbres can be achieved by assigning each overtone to its own distinct transient amplitude envelope. Unfortunately, this has the effect of modulating the loudness of the sound as well. It makes more sense to separate loudness and harmonic quality to be parameters controlled independently of each other. To do so, harmonic amplitude envelopes are frame-by-frame normalized to become amplitude proportion envelopes, where at each time frame all the harmonic amplitudes will add to 100% (or 1).

Cérès Catalogue des Timbres-Poste [any year], Tome [Vol.] B, Andorre, Monaco, Polynésie Française, Terres Australes et Antarctiques Françaises prices "marques postales" for the stampless period as well as "obliterations sur timbres sardes et français" both on- and off-cover. The first Monegasque postage stamps were issued on 1 July 1885, and featured the image of Prince Charles III of Monaco. In 1937, the Principality responded to a growing interest from philatelists by creating a Stamp Issuing Office. The 1949 accession of Prince Rainier III led to increased importance for the principality’s philatelic issues. During his reign, the prince was personally involved in all aspects of the design and format of the principality’s philatelic issues, and he was quoted as stating that stamps were “the best ambassador of a country.” The prince was a noted philatelist and his collection was the basis of Monaco’s Museum of Stamps and Coins. Monaco joined the Universal Postal Union in 1955 and PostEurop in 1993. Monaco’s postage stamps, which are tied to French postal rate, continue to be popular among collectors and are considered to be a source of revenue for the principality.

The French composer Olivier Messiaen had the idea in the late 1940s of transferring the organisation of pitches onto durations, dynamics, and, conceptually, even timbres. Messiaen had two students in Paris who took up his thoughts and from then on were the best-known representatives of serial music—as it was called—Pierre Boulez and Karlheinz Stockhausen. In the 1970s Boulez would become the founder and director of one of the most important institutions in this field, IRCAM. Eimert invited Stockhausen to become his assistant at the Cologne studio, and he arrived in March 1953 .

Before and after World War II each new first-flight to new destinations received commemorative marks in Guam, like any other stops and destinations. Astrophilatelic collections of Guam also exists. In the 1960s and 1970s, the presence of a NASA tracking station produced special covers when a US space launch took place.In article « Guam, île-clef de l'aérophilatélie trans-Pacifique », published dans Timbres magazine #81, July--August 2007, pages 73, the example cover wears a mark for the launch of Apollo 14 ("1 FEB 1971 0703 am") and the station director's signature.

Paquebot cancellations appear on mail posted aboard ship that was delivered to the Guam postal service. The presence of the US Navy base means that Guam cancellations can appear on soldiers' mail. Since the late 20th century, Japanese tourists in particular have been attracted to Guam by the climate and landscape arriving by planesFirst direct service between Guam and Tokyo in May 1967, said a commemorative cover of the PanAm flight reproduced in « Guam, île-clef de l'aérophilatélie trans- Pacifique », published in Timbres magazine #81, July--August 2007, page 72. and by liners.

This is achieved by silently depressed keys and by use of the middle pedal, in order to release the dampers so that certain notes may be set into sympathetic vibration by striking other notes. In this way many different timbres can be created for the same pitch. Over the course of the piece, a series of pitches treated in this way follows the C, with irregular, unpredictable durations and intervals of entry, and each time with a different colouring. The repetitions of these central notes makes them particularly obvious .

Waveforms of a unison (blue) versus a cent (red), nearly indistinguishable. It is difficult to establish how many cents are perceptible to humans; this accuracy varies greatly from person to person. One author stated that humans can distinguish a difference in pitch of about 5–6 cents.D.B. Loeffler, "Instrument Timbres and Pitch Estimation in Polyphonic Music " Master's Thesis, Department of Electrical and Computer Engineering, Georgia Tech. April (2006) The threshold of what is perceptible, technically known as the just noticeable difference (JND), also varies as a function of the frequency, the amplitude and the timbre.

According to some accounts it was repaired in 1411 but later abandoned. During the early years of the War of the Roses, between York and Lancaster, the castle, which was then unoccupied and had fallen into disuses, was dismantled, and its heavy timbres were, according to some sources, used for the construction of stately houses at Henley. A single stone and earthworks remain today, along with evidence of two fishponds and some remains of the motte and bailey fortification. The site was investigated by the archaeologists of Time Team in series 9 (2002).

Born in Kuusalu in 1930, Tormis had a profound experience with choral music starting at an early age. His father was a choral director, organist, and music teacher. His delight in the contrasting timbres provided by the organ stops may also be connected to his later orchestration of choral textures, a hallmark of his mature style. Tormis began his formal musical education in 1943 at the Tallinn Music School, but was interrupted by World War II and illness. In 1949, he entered the Tallinn Conservatory and continued his studies at the Moscow Conservatory (1951–1956).

After Louis Yvert became initiated into stamp collecting by Tellier, both decided in 1895 to make philatelic publications the main activity of the Yvert family company. In November 1896, they published the first Catalogue prix-courant de timbres-poste par Yvert et Tellier, alongside a stamp album. With the prosperity of the Yvert et Tellier company, Théodule Tellier attended to the firm's daily operations while Yvert travelled for philatelic purposes. But Tellier decided to retire after the death of his grandson and sold his shares to Louis Yvert on 1 April 1913.

Chowning is known for having discovered the FM synthesis algorithm in 1967 (; ; ). In FM (frequency modulation) synthesis, both the carrier frequency and the modulation frequency are within the audio band. In essence, the amplitude and frequency of one waveform modulates the frequency of another waveform producing a resultant waveform that can be periodic or non-periodic depending upon the ratio of the two frequencies. Chowning's breakthrough allowed for simple—in terms of process—yet rich sounding timbres, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion.

Bartók shifts timbres continually in this movement by alternating between tutti strings and soloists. The first mistake that a conductor may make is to allow his soloists to play with the typical orchestral solo attitude of “now it is my chance to be heard”. Nearly all the solo portions of the first movement are marked piano or mezzo-piano, and are often inserted between forte statements by the tutti strings. Clearly, by drastically reducing both the musical forces and the written dynamic Bartók was striving for some rather extreme shifts of aural mass.

Schaerer is known for his eclectic array of vocal styles, and is noted for incorporating multiple techniques into one song. He is noted for his extensive scat singing, and his wide variety of vocal timbres which include opera, crooning, soul, and sprechgesang. He is also noted for his usage of beatboxing, which he has been known to use as the primary percussive accompaniment in a number of his songs, occasionally while singing simultaneously. He often incorporates the Mouth trumpet technique, into his songs, harmonizing with the horn sections, of his groups.

Wolfsohn subscribed to the views of Carl Jung, who proposed that each human psyche comprises a composite of subpersonalities that appear most vividly in dreams. Jung claimed to have witnessed what he variously called 'mini-personalities', 'splinter-psyches', and the 'little- people' expressed through vocal sound when he observed his cousin, a girl called Helly, manifest a range of distinct vocal timbres and dialects at séances, during which she claimed to be speaking on behalf of dead persons.Jung, C.G. (1953) The Collected Works of C G Jung, vol. 8 (Bollingen Series XX).

London, MacMillan. In 'The Entrance of Polymnie' from his opera Les Boréades (1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres:'L'Entrée de Polymnie' from Les Boréades by Rameau.'L'Entrée de Polymnie' from Les Boréades by Rameau.In the aria ‘Rossignols amoureux’ from his opera Hippolyte et Aricie, Rameau evokes the sound of lovelorn nightingales by means of two flutes blending with a solo violin, while the rest of the violins play sustained notes in the background.

Collaboration is an important part of Maciá's artistic practice. Maciá has a long-standing collaboration with Senior Perfumer, Ricardo Moya of International Flavors & Fragrances Inc. Maciá's 'Trilogy for Three Timbres', commissioned in 2016 by Museo Universitario Arte Contemporáneo Mexico], was created through a collaboration with Dr Fernando Montealegre-Z, Reader (Associate Professor) at the University of Lincoln, School of Life Sciences, Joseph Banks Bioacoustics Laboratories, and the composer Edmar Soria. In 2010 Maciá worked on the opera 'INXILIO el sendero de las lágrimas' with choreographer Alvaro Restrepo of El Colegio del Cuerpo.

The result of the recordings moving in and out of phase with each other was a transformative process where different timbres, beats, and harmonics were heard; some of which sounded markedly different from the original segment of recorded material. If the sound source had a natural cadence, the phasing created continuously shifting changes to the perceived rhythm as the material drifted in and out of phase. By using additional tracks and loops with identical source material the possibilities for creating a wider range of phasing relationships increases.Holmes (2002), p.238.

Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry .

An example of the crossover distortion created by the peculiar qualities of the YM2612's built-in DAC. In some cases, the crossover distortion can affect the loudness, and to some degree the timbres, of certain sounds. Unlike most Yamaha FM chips which require an external floating-point DAC, the YM2612 features a built-in 9-bit DAC, which utilizes time-division multiplexing to play one sample of each channel in sequence, similar to the YM2413. This method introduces a peculiar form of crossover distortion in the output.

In these pieces, she creates a clash between sounds of each culture rather than limit herself to writing "Chinese" music within a Western art music context. Dong's computer piece Crossing is representative of this period. In this piece, the jarring juxtaposition between rock 'n roll slap bass guitar and a well-known Beijing opera character is in no way subtle. The timbres in Crossing are varied, unpredictable, and dissonantly opposed with one another, very different from her earlier computer piece Flying Apples, which is largely a single timbre.

Additive synthesis more broadly may mean sound synthesis techniques that sum simple elements to create more complex timbres, even when the elements are not sine waves. For example, F. Richard Moore listed additive synthesis as one of the "four basic categories" of sound synthesis alongside subtractive synthesis, nonlinear synthesis, and physical modeling. In this broad sense, pipe organs, which also have pipes producing non-sinusoidal waveforms, can be considered as a variant form of additive synthesizers. Summation of principal components and Walsh functions have also been classified as additive synthesis.

Bach composed the cantata in his fourth year as Thomaskantor in Leipzig. It is structured in five movements, alternating arias and recitatives for a bass soloist and closing with a four- part chorale. He scored the work for a Baroque instrumental ensemble of three woodwind instruments (two oboes and taille), three string instruments (two violins and a viola) and continuo. An obbligato cello features in the first recitative and an obbligato oboe in the second aria, resulting in different timbres in the four movements for the same voice part.

As Debussy told conductor Ernest Ansermet when the latter asked which were the right ones: "I'm not really sure; they are all possibilities. Take this score with you and use whatever you like from it." Debussy continued to modify the composition just as he had for the seven years prior to its publication, sometimes just not satisfied or sometimes thinking of a new experiment in sound, a new color combination of instrumental timbres he hadn't heard yet. Many of these changes were finally incorporated into a "definitive version" published in 1930 by Jobert.

Ravel claimed that "it is impossible to hear two of his chords without attributing them at once to him, and to him alone". French composer Henri Barraud asserted that he was "the most gifted inventor of unimagined harmonies, of rare combinations of timbres, the most vigorous colourist and the most straightforward melodist".Bernac, 1970, p. 81. Enoch, his publisher, tried to get Chabrier to simplify what they judged to be complex piano parts which would discourage amateurs (and thus reduce sales); despite objections from the composer an edition with easy accompaniments was issued by them.

This is also necessary for obtaining the second octave; the chanter must be closed and the bag pressure increased, and then fingered notes will sound in the second octave. A great range of different timbres can be achieved by varying the fingering of notes and also raising the chanter off the knee, which gives the uilleann pipes a degree of dynamic range not found in other forms of bagpipes. Pipers who use staccato fingering often are termed "closed-style" pipers. Those who use legato fingering more predominately are referred to as "open- style" pipers.

This technique expands the harmonic and timbral possibilities of the instrument in extraordinary ways: for example, one can play simultaneously 4, 3, 2, and 1 string, with contrasting polyrhythmic articulations between the two bows. Non-adjacent strings can also be accessed. One bow can be played near the bridge while the other is near the fingerboard. She has used over 75 different tunings in her compositions using this technique, each producing new harmonic possibilities and exotic timbres plus a polyphony and independence of voices that her previous work with a single curved bow couldn't obtain.

A description of their construction and sound quality are below: Straight Mute: Constructed of either aluminum, which produces a bright piercing sound, or stone lined with cardboard, which produces a stuffy sound. Harmon Mute: Constructed of aluminum and consists of two parts called the "stem" and the "body". The stem can be extended or removed to produce different timbres of sound. This mute is also called the "Wah-Wah" mute due to its distinctive sound created by the player placing their hand over the stem opening and waving it back and forth.

Jonathan Romney of The Independent specifically noted Cumberbatch's voice saying it was "So sepulchrally resonant that it could have been synthesised from the combined timbres of Ian McKellen, Patrick Stewart and Alan Rickman holding an elocution contest down a well." The New York Times praised his screen presence saying "He fuses Byronic charisma with an impatient, imperious intelligence that seems to raise the ambient I.Q. whenever he's on screen." Christian Blauvelt from website Hollywood.com criticized the casting of Khan in Star Trek Into Darkness as being "whitewashed into oblivion".

Woolsey Hall predates any major studies within the field of acoustics, so aside from its large size, rectangular shape, hard surfaces and high vaulted ceiling, it has no peculiar architectural properties that contribute positively to its sound. Choral singers are sometimes hampered by Woolsey's muddy resonance, which easily obscures text and delicate timbres, and can also make it difficult to hear oneself on stage. Though Yale University's primary recital hall, it does lack modern amenities including: universal accessibility for people with disabilities, air conditioning, and industry-standard lighting.

The melody was reworked by Joseph Martin Kraus from a Languedoc folk tune; it is accompanied throughout by rapid, nervous quavers (eighth notes), giving the Epistle in Edward Matz's view a cinematic slow motion effect. The melody was used by "several parodists" in the 18th century; it had timbres including "Quoi–" and "Ah! ma voisine, es-tu fâchée?" which the musicologist James Massengale suggests Bellman may have had in mind.Massengale, page 171 Bellman's biographer, Paul Britten Austin, describes the Epistle as rococo, along with No. 25: Blåsen nu alla (All blow now).

In a contemporary review for The Village Voice, the music critic Robert Christgau gave the album an "A–" and praised Dupri for "avoiding BBD's girl-bashing and ABC's kiddie escapism" in his lyrics for the duo. He found the music "ebullient" and suited for Kriss Kross' "preadolescent tempos and timbres". "Jump" was voted the third best single of 1992 in The Village Voices annual Pazz & Jop critics' poll. Christgau, the poll's creator, named it the best single of the year in his own year-end list and also ranked "Warm It Up" at number four.

By 1992 DJ Dag & Torsten Fenslau were running a Sunday morning session at Dorian Gray, a plush discothèque near the Frankfurt airport. They initially played a mix of different styles including Belgian new beat, Deep House, Chicago House, and synthpop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged.Sextro, M. & Wick H. (2008), We Call It Techno!, Sense Music & Media, Berlin, DE. In 1993-94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres".

"Mi Persona Favorita" is a flamenco pop ballad, featuring Spanish flamenco guitarist José Miguel Carmona, lead guitarist from Spanish new flamenco musical group Ketama playing the flamenco guitar in the song. As Jeff Benjamin of Forbes opined, musically, it delivers the kind of quality duet longtime Sanz fans love for the singer and his penchant for flamenco inspired music style, and layers the two singers' distinct vocal timbres—both raspy with the slightest bit of native twang—into a soothing, snappy acoustic cut. Lyrically, it's easy enough for any of the performers' young fans to sing along with—regardless of their native language.

Critics called it a "rousing adventure" and "a riveting action-adventure in space". Cumberbatch's performance attracted praise from critics, with Peter Travers of Rolling Stone calling it a "tour de force to reckon with" and his character "a villain for the ages". Joe Neumaier of the New York Daily News wrote that Cumberbatch delivered "one of the best blockbuster villains in recent memory". Jonathan Romney of The Independent noted Cumberbatch's voice, saying it was "so sepulchrally resonant that it could have been synthesised from the combined timbres of Ian McKellen, Patrick Stewart, and Alan Rickman holding an elocution contest down a well".

Due to limited number of voices in those primitive chips, one of the main challenges is to produce rich polyphonic music with them. The usual method to emulate it is via quick arpeggios, which is one of the most relevant features of chiptune music (along, of course, with its electronic timbres). Some older systems featured a simple beeper as their only sound output, as the original ZX Spectrum and IBM PC; despite this, many skilled programmers were able to produce unexpectedly rich music with this bare hardware, where the sound is fully generated by the system's CPU by direct control of the beeper.

David Howell Evans (born 8 August 1961), better known by his stage name the Edge (or simply Edge),McCormick (2006), pp. 21, 23–24 is a British-born Irish musician and songwriter best known as the lead guitarist, keyboardist, and backing vocalist of the rock band U2. A member of the group since its inception, he has recorded 14 studio albums with them as well as one solo record. The Edge's understated style of guitar playing, a signature of U2's music, is distinguished by chiming timbres, use of rhythmic delay, drone notes, harmonics, and an extensive use of effects units.

A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate existing sounds (instruments, vocal, natural sounds, etc.), or generate new electronic timbres or sounds that did not exist before. They are often played with an electronic musical keyboard, but they can be controlled via a variety of other input devices, including music sequencers, instrument controllers, fingerboards, guitar synthesizers, wind controllers, and electronic drums. Synthesizers without built-in controllers are often called sound modules, and are controlled using a controller device.

From 2004 to 2008 he served as chair of the NTNU Department of Music. Ko's compositions display a cosmopolitan blend of European and Asian timbres and techniques. He often calls upon performers to switch concepts within a single piece, sounding first like an instrument from nineteenth-century Austria and the next like an instrument from ancient Tibet. Compositions by Ko that have drawn particular acclaim include the Quintet II (1992) for chamber ensemble, The Crying Mermaid (1993) for orchestra, the imposing three-movement Dream of the Year 2000 for chorus and orchestra, and Overture to Taiwan's New Century (2003) for orchestra.

The BP scale's use of odd integer ratios is appropriate for timbres containing only odd harmonics. Because the clarinet's spectrum (in the chalumeau register) consists of primarily the odd harmonics, and the instrument overblows at the twelfth (or tritave) rather than the octave as most other woodwind instruments do, there is a natural affinity between it and the Bohlen–Pierce scale. In early 2006, clarinet maker Stephen Fox began offering Bohlen–Pierce soprano clarinets for sale. He produced the first BP tenor clarinet (six steps below the soprano) in 2010 and the first epsilon clarinet (four steps above the soprano) in 2011.

An R&B; and neo soul album, Aaliyah features midtempo funk songs, hip hop-textured uptempo tracks, and slow jams that drew on older soul influences.; ; ; Along with contemporary urban sounds, its music incorporates Middle-Eastern influences, muted alternative rock, and—particularly on Timbaland's songs for the album—Latin timbres.; ; "Never No More" mixes both older soul and modern hip hop sounds with string arrangements by producer Bud'da, while "Read Between the Lines" is a rhythmic, digital samba with Latin percussion.; ; ; Aaliyahs production features synthesizer melodies, vintage syndrums, distorted guitar, staccato arrangements, and layered, eccentrically manipulated vocals.

Giorgio Moroder performing in 2015 "Progressive electronic" is defined by AllMusic as a subgenre of new age music, and a style that "thrives in more unfamiliar territory" where the results are "often dictated by the technology itself." According to Allmusic, "rather than sampling or synthesizing acoustic sounds to electronically replicate them" producers of this music "tend to mutate the original timbres, sometimes to an unrecognizable state." Allmusic also states that, "true artists in the genre also create their own sounds." In house music, a desire to define precise stylistic strands and taste markets saw the interposition of prefixes like "progressive", "tribal", and "intelligent".

The genre places great importance on the bassline, in this case a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common, but examples can be found in the work of artists such as Shapeshifter, Squarepusher, Pendulum, Roni Size and STS9.

Everyone was greatly relieved when, after listening to them perform, he reassured them that they were indeed still playing music within the genre. Piazzolla was tired of the constraints imposed by traditional tango and aimed to use his Octeto to introduce new rhythms, harmonies, melodies, timbres and forms, whilst maintaining the essence of tango. His inclusion of counterpoint, fugues and new harmonic forms was to stir up the first controversies among traditional tangueros which would later come to haunt him. His music was beginning to appeal less to dancers and more to people who would go to listen to his music.

An electric guitar is a guitar that requires external amplification in order to be heard at typical performance volumes. It uses one or more pickups to convert the vibration of its strings into electrical signals, which ultimately are reproduced as sound by loudspeakers. The sound can be shaped or electronically altered to achieve different timbres or tonal qualities, making it quite different than an acoustic guitar. Often, this is done through the use of effects such as reverb, distortion and "overdrive"; the latter is considered to be a key element of electric blues guitar music and rock guitar playing.

Tenor players use matched grip and generally play with mallets with plastic disc-shaped heads, though traditional drumsticks and softer mallets are commonly used to achieve different timbres. Single tenor drums, also known as flubs, are popular in HBCUs, pipe bands or as starting points for inexperienced drummers, and are beaten using soft or hard mallets. Either in the single or the multiple form, these tenors can be mounted on the chest, like bass drums, or horizontally, like traditional snares. Tenor drums are aptly the tenor voice of the ensemble, as well as one of the most melodic.

The band's music was made all the more unique by Michaels' virtuosity on organ, piano, harpsichord, clarinet, and recorder, which gave H. P. Lovecraft a much wider range of sounds and timbres than many of their contemporaries. In late 1967, the band recorded and released their debut album for Philips, H. P. Lovecraft. A cover of the traditional song "Wayfaring Stranger" was issued just ahead of the album as a single in September 1967, but it failed to chart. The album itself was released some weeks later and although it also failed to reach the U.S. charts, it sold reasonably well over time.

Vetter was born in Oberstdorf in the Allgäu region of Germany, and received a conventional school education. He adopted the recorder as his preferred instrument, and began experimenting in the late 1950s with its timbres and techniques, such as multiphonics and microtones. He inspired composers such as Louis Andriessen, and Rob du Bois in the Netherlands, Sylvano Bussotti in Italy, and Mauricio Kagel and Karlheinz Stockhausen in Germany to use the instrument in their compositions. His technical discoveries were codified in a text, Il flauto dolce ed acerbo (The Sweet and Sour Flute, 1969), which included tables of some 2000 fingerings (; ; ).

The album received acclaim from many music critics, gaining an overall metacritic score of 80, indicating generally favorable reviews. Scott Kerr of AllMusic noted that the album is "noticeably more expansive than any of their previous work", and "has a rich texture of classic country instrumentation and stirring string arrangements, matching their soaring vocal melodies." The music review site musicOMH complimented on the larger sound that came from the band utilising more instruments, as well as the sister's "new-found, beefed up timbres". It also described the album as "[P]erfectly poised to knock you for six this summer".

Tanner, Gerow, and Megill liken Hamilton's music to chamber music, and have noted that Hamilton's "subtle rhythmic control and use of different drum pitches and timbres" were well- suited for this style of music. In 1951, pianist Dave Brubeck hired alto saxophonist Paul Desmond, forming a quartet. Desmond's playing style ran counter to bebop, as he seldom used blues elements, and was influenced by Pete Brown and Benny Carter rather than Charlie Parker. The Pacific Jazz and Contemporary record labels were two of the best known that carried West Coast jazz, just as Blue Note Records was the biggest hard-bop label.

Throughout history, the pattern of notes in a tuning could be altered by humans but the pattern of partials sounded by an acoustic musical instrument was unalterably determined by the physics of the Harmonic Series. The resulting misalignment between pseudo-Just tempered tunings and fully-Harmonic untempered timbres made temperament "a battleground for the great minds of Western civilization." Barbour, J.M., 2004, Tuning and Temperament: A Historical SurveyDuffin, R.W., 2006, How Equal Temperament Ruined Harmony (and Why You Should Care) This misalignment, in any tuning that is not fully Just (and hence infinitely complex), is the defining characteristic of the Static Timbre Paradigm.

The BBC Radiophonic Workshop's Malcolm Clarke composed the incidental music for the story. It was his first contribution to the series and was notably more experimental than the series' usual scores by freelance composer Dudley Simpson. Clarke's score was entirely electronic, created on the Radiophonic Workshop's EMS Synthi 100 synthesizer. His score for the serial has been described as "startling in its range of obtrusive electronic timbres and relative melodic paucity", "mixed music and sound effects" and "presented uncomfortable sounds to a substantial early evening audience on Saturdays in a way not duplicated in Britain before or since".

Created by Georges Bartoli, it was published between March 1984 and March 2000 with the subtitle le magazine de la philatélie active (the Magazine of Active Philately). Timbropresses companion magazine for youth was Timbroloisirs, whose goal was to extend the readership of Timbroscopie to philatelic beginners as well as to give confirmed philatelists new ideas for reorganising collections (by country, topic, etc.). Timbroloisirs included detachable cardboard stamp albums for such reorganisations, an innovation continued by Timbres magazine after the merger. Timbroloisirs goals were summarized in the subtitle le magazine des collectionneurs heureux (the Magazine of Happy Collectors).

" Mojo noted, "this is a slim volume rather than a blockbuster epic, but one exquisitely presented and rendered in the kind of creamy white clarity that will not yellow or crack. The natural timbres of live players are captured with intimacy and warmth." Pitchfork noted, "The rest of the band, dubbed by Forster the Magic Five, go tight or loose as the material requires, a marriage adapting to the times". The Guardian said, "He's very much an acquired taste, but lyric-driven songs that seem tuneless on the surface are the ones you find yourself humming later.

Musically the song is a mixture of Yolgnu and balanda styles. The timbres of the song include the balanda rock ensemble of electric guitars, keyboard and drumkit, and on occasion balanda voices. The Yolgnu sounds include the lead singer's vocal quality, and the traditional instruments, bilma (ironwood clapsticks) and yidaki. The song's text is partly in English and partly in Gamatj, and the form of the song, while conforming to the balanda rock structure of verses and choruses with an instrumental break, and the process of intensity through repetition of short motifs, is nevertherless that of a djatpangarri, a form of Yolgnu popular music.

The 1920s Texan singer of cowboy songs, Arthur Miles, independently created a style of overtone singing, similar to sygyt, as a supplement to the normal yodelling of country western music. Blind Willie Johnson, also of Texas, is not a true overtone singer according to National Geographic, but his ability to shift from guttural grunting noises to a soft lullaby is suggestive of the tonal timbres of overtone singing. Starting in the 1960s, some musicians in the West either have collaborated with traditional throat singers or ventured into the realm of throat singing and overtone singing, or both. Some made original musical contributions and helped this art rediscover its transcultural universality.

Club Fonograma writer Blanca Méndez said that "The Blindside Kiss" is about the "staying-at-home-and-staring-at- ceilings early stage" of a breakup, which is "the one in which you allow yourself to wallow in the pain because you deserve at least that much". Méndez noted the song's "tinny layers of sound" and Palomo's "breathy, almost frustrated vocals". The electro-shoegaze song "Hex Girlfriend" addresses an ex-girlfriend, and includes video game synth timbres similar to those on Psychic Chasms opener "(AM)". Both "The Blindside Kiss" and "Hex Girlfriend" are filled with "buzzsaw"-toned guitars, which BBC Music's John Aizlewood compared to the Jesus and Mary Chain.

Another commemoration that year included the strip of 2.80 euro fable stamps, in the composite folder of which appeared a detachable portrait without currency. In 1995 equally, the asteroid 5780 Lafontaine was named in his honour.Dictionary of Minor Planet Names, Springer Science & Business Media, 2013, p.732 Other appearances on postage stamps include the 55 centimes issue of 1938, with a medallion of the fable of The Wolf and the Lamb below him;Timbres France and the Monaco 50-cent stamp commemorating the 350th anniversary of La Fontaine's birth in 1971, in which the head and shoulders of the fabulist appear below some the more famous characters about which he wrote.Colnect.

The first centrozoon album was the predominantly-ambient Blast, which was released on DiN Recordings in 1999. Reviewing the disc, ambient radio station Star's End commented "the duo of centrozoon produce spacemusic difficult to quantify, trace or categorize; their distinguishing characteristic being improvisation… Blast speaks to the listener with a musical vocabulary of contrasting harmonies and remarkable timbres… an album that is at once experimental, cerebral, spacious and engaging. Blast creates its own space, colored by the listener's imagination."Review of Blast at Star’s End, retrieved October 30, 2008 A remastered version of the album was released nearly a decade later in 2008, featuring an extra track ("Power").

Joan La Barbara's early creative work (early to mid 1970s) focuses on experimentation and investigation of vocal sound as raw sonic material including works that explore varied timbres on a single pitch, circular breathing techniques inspired by horn players, and multiphonic or chordal singing. In the mid 1970s, she began creating more structured compositional works, some of which include electronics and layered voice sounds. She has accumulated a large repertoire of vocal works by 20th- and 21st-century music masters, including many pieces composed especially for her voice.Goldsmith, Kenneth. Joan La Barbara: Composer as Performer from “Don’t Quit Your Day Job”, New Music Box/American Music Center, 2000.

While Wu's youthful- sounding vocals often show the influence of Chinese traditional music, the musical background provided by the band is more or less based in straight- ahead rock, ranging from simple flatpicked lines to all-out rocking grooves, giving each song a musical character different from the others. Lead guitarist Geng utilizes a wide range of guitar effects, lending a wide variety of timbres to the group's sound. The group's demo, "Grain," features Wu's voice with only a sensitive, classical-sounding acoustic guitar accompaniment. Like most rock bands in China, Happy Avenue is essentially an underground or cult group, whose audience consists largely of students and those of college age.

Nevertheless, this comparison is not enough to give us an understanding of the special touch that makes his world strange and seductive. Beyond the impeccable mastery of the orchestrations and the entire compositional practice, there is a wise and masterful modernity. In other words, not only has he the temerity to explore structure and language to its limits but also is able to produce an astonishing result of great musical coherence and original timbres without ever breaking the balance between abstraction and human perceptual ability. In the contemporary music scene of recent years, the works of Maestro Rivas are in the forefront of living Latin American composers.

Erkomaishvili's vision was to break through ethnic boundaries of regional styles while performing ethnographically authentic music from all of Georgia. The Rustavi's performance style synthesizes the powerful, rough-hewn sound characteristic of the traditional regional folk choirs with a newer, cleaner, more finely-honed aesthetic whose orientation is towards concert presentation - nowadays on an increasingly international scale. While striving to preserve, and in some cases recreate, authentic voicings and vocal timbres, the Rustavi singers have simplified the complex scales used by the earlier choirs in order to create firmer, more brilliant harmonies. The use of a smaller number of singers for certain songs has also helped to clarify their musical structure.

Variophon at the Technisches Museum Wien A Variophon is an electronic wind instrument invented in 1975 by researchers at the University of Cologne. It synthesizes sounds using the principle of most common brass instruments, creating sounds based on the vibration of the player's lips and breath and the resonance in a particular body. For this purpose, the instrument is played using a pipe-controller, while the pitch is controlled either by keys on the pipe itself or in later models, an external keyboard. The Variophon can alternate in timbres, imitating a variety of wind instruments, ranging from the harmonica to clarinet, saxophone or tuba.

The original Privia was introduced by Casio in 2003, as a new concept within budget digital pianos, and is widely known for offering more advanced features and high-quality sound at affordable prices, being able to keep up with more expensive instruments. The first Privia was the PX-100. Like any other compact digital pianos, it was able to be played on a table or optional stand, and was equipped with a digital sound source created by independent sampling of various piano timbres. The first generation Privia was produced from 2003 to 2006, and utilizes the Zygotech Polynomial Interpolation (ZPI) synthesis sound engine, as used in Casio's numerous former flagship keyboards.

His experience with room-related compositions finally led to his form of contemporary guitar and guitar music, which is identified by bringing together the sound of the electric guitar and the diversity of timbres of the classical guitar, while using vintage electronic with its warm and dynamic sound of the vacuum tube to open up an additional spatial layer. His work could be described as rooted in tradition and inspired by contemporary musical concepts, which also gets obvious in his music for the classical concert guitar. In 1997 he was awarded "Newcomer of the Year" of the German newspaper "Süddeutsche Zeitung".Date of publishing, 01.04.

It is one of the most incredible displays of lights and sounds ever to grace a stage in the city". Eli Petzold from The Reykjavík Grapevine analysed the theme of the show, noting that "In Cornucopia, coherence, linearity, and familiarity are indulgences rather than givens, underscoring the overarching imperative to reject comfort and precedent in search of a better future". In a mixed review for the show, Financial Times journalist John Rockwell observed how "Björk’s remarkable ear for musical timbres can get lost in a bass-heavy sonic sludge. Her fascinating lyrics are pretty much impossible to discern, and the costumes often verge on the downright weird.

The alto aria, "" (Yet Jesus will, even in punishment), is scored as a quartet for the voice, the two recorders, and the oboes in unison, without basso continuo. Mincham notes that "the alto voice [is] surrounded and encompassed by instruments of contrasting but complementary timbres". A movement without continuo appeared in the same position within the cantata the previous week, a soprano aria about the "conscience of the sinner" in Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105. Here Jesus is seen as the caring good shepherd, whom the poet describes: "" (He gathers them as his sheep, Lovingly, as his little chicks).

Along with these churches came Negro spirituals, which are cited as likely the first kind of music native to America made by Africans. Nonetheless, the development of such spirituals included direct influence from the African roots. This became apparent in a number of aspects of the spirituals, from the inclusion of call and response lines and alternate scales to the varied timbres and rhythms. All of this goes to show that Herskovits’s claims in this book carry much truth and accuracy in regards to the establishment of the African American identity as descendant of that of the African, and how music played into such shifts.

The person who makes the arrangement is an arranger. An example is a jazz band hiring an arranger to do an arrangement of a well-known Christmas melody for a 20-instrument big band. The arranger would give the melody to certain instruments, write horn section arrangements for the chord progression, and give some instruments backing parts. Art rock band Roxy Music performing in Toronto in 1974 art rock : An avant-garde genre of rock that is related to progressive rock (Genesis; Rush; Gentle Giant); both genres tend to use unusual instruments, meters, and timbres, and both aim towards more complex, experimental compositions and novel sonic textures.

The landmark protected building of Synchron Stage Vienna formerly "Synchronhalle" From its construction in the early 1940s until the 1950s, the facility shared its history with the Rosenhuegel-Filmstudios. At that time the "Synchronhalle" hosted as many as ten large orchestra film score projects per year. A remnant of the building's designated use is the preserved "Lenkwil" cinema organ with three manuals that features not only various instrumental timbres but also sound effects such as rolling thunder, car horns, clopping horses, twittering birds and ocean waves. It is the only cinema organ in the world that is still housed in its original scoring stage.

Cutoff, resonance, modulators and keyboard tracking affect both VCFs. The Delta parameter, available in parallel and split mode, change the cutoff frequency of the second filter; by using bandpass mode for both filters and by widening their cutoff frequencies, two formants peak may be formed, creating vocal-like timbres. Besides the OB•12, 1983's OSC OSCar synthesizer is the only synth having this facility; in the OSCar this function is called "separation" and has a dedicated knob in the filter section, unlike the OB•12, whose Delta parameter is inside filter's edit menu. Envelopes Two DADBSR envelopes are present, one routed to the VCF and the second to the VCA.

He began developing the Moog synthesizer in response to demand for more practical and affordable electronic music equipment, guided by suggestions and requests from composers including Herb Deutsch, Richard Teitelbaum, Vladimir Ussachevsky, and Wendy Carlos. The synthesizer consists of separate modules—such as voltage-controlled oscillators, amplifiers and filters, envelope generators, noise generators, ring modulators, triggers and mixers—which create and shape sounds, and can be connected via patch cords. It can be played using controllers including musical keyboards, joysticks, pedals, and ribbon controllers, or controlled with sequencers. Its oscillators can produce waveforms of different timbres, which can be modulated and filtered to produce more combinations of sounds (subtractive synthesis).

The Unorthodox Guitar: A Guide to Alternative Performance Practice, p.115-7. Oxford. . "The shape of the bridge, or more precisely, the amount of contact it makes with the string as they pass over it, affects both sustain and cross-bridge resonance." The 3rd bridge is an extended playing technique used on the electric guitar and other string instruments that allows a musician to produce distinctive timbres and overtones that are unavailable on a conventional string instrument with two bridges (a nut and a bridge). The timbre created with this technique is close to that of gamelan instruments like the bonang and similar Indonesian types of pitched gongs.

Although the musical material is all drawn from the Michael and Eve layers of the Licht superformula, the assignment of these melodies to the pairs changes from section to section. The musical figures given to the basset horn and flute on the one hand, and to the tenor and trumpet on the other, are gradually displaced and then brought together again seven times, forming large phases corresponding to the days of the week. At the same time, movements of the performers on the stage corresponding to the musical figures are composed, and the waves are mirrored by a double ring modulation, creating new harmonies and timbres.

She feels that her vocals structure suits on Priyanka Chopra, Katrina Kaif, Kajol, Parineeti Chopra and Urmila Matondkar the most. Chauhan's "high-energy vocals" have been described as "stereotyped" in item numbers by the media. However, according to The Daily Star, "be it a soft classical-like piece or an operatic pitch, Chauhan is spectacular with her vocals". Though she has performs in high-pitched vocals songs, she is known for her "deeper pitched voice", on which Ajay Gehlawat wrote: "Chauhan's deeper timbre replaces Asha Bhosle's higher pitched vocals" in the song "Yeh Mera Dil", ensuring such "fuller female timbres become more commonplace' to a decidedly more forceful and sensual sounds".

He designed in 1972 a catalog of unfindable postage-stamps ("Catalogue de timbres-poste introuvables").,Reissued by Emmanuel Pierrat at Les éditions Cartouche portraying for instance la Semeuse, the sowing woman which symbolizes France on coins and stamps, swinging a tennis racket in her majestic gesture, or Papa Doc, the dictator of Haiti, as Père Ubu. In recognition of the role played in the rebuilding of the OuPeinPo in 1980, Carelman bore the title of Régent of the Collège de Pataphysique, and was in charge of the chair of "Hélicologie", which purpose is to study the Gidouille, i.e. Père Ubu's belly, which is decorated with a spiral.

Mercury is an American composer whose music falls into several genres: space, electronic, electro-acoustic, ambient, cinematic, and contemporary classical/serious music. Using orchestral timbres and futuristic electronic sounds, Mark creates soundscapes, albums, and scores for modern dance, ballet, film, video, and high-tech planetariums. In 1988 Mercury began creating planetarium soundtracks and by 2011 had scored 38 shows. His first album, “Music of the Domes” (1992), contained excerpts from his planetarium soundtracks. Staying in the space music vein, Mercury created all new recordings for his second album, “The Art of Space” (1997), which featured five space poems written by professional poets, recited by actors, and underscored with music.

Garland possessed a contralto vocal range. Her singing voice has been described as brassy, powerful, effortless and resonant, often demonstrating a tremulous, powerful vibrato. Although her range was comparatively limited, Garland was capable of alternating between female and male-sounding timbres with little effort. The Richmond Times-Dispatch correspondent Tony Farrell wrote she possessed "a deep, velvety contralto voice that could turn on a dime to belt out the high notes", while Ron O'Brien, producer of tribute album The Definitive Collection – Judy Garland (2006), wrote the singer's combination of natural phrasing, elegant delivery, mature pathos "and powerful dramatic dynamics she brings to ... songs make her [renditions] the definitive interpretations".

According to Birtwistle himself, while working on the score he found a homonymous woodcut by Flemish painter Pieter Bruegel the Elder, which reflected his own thinking, served as an inspiration for the title and provided a clearer focus for his work. This is a part of a long line of compositions being stimulated in some way by visual art, such as Rachmaninoff's Isle of the Dead, Respighi's Trittico botticelliano, Vaughan Williams's Job: A Masque for Dancing, Henri Dutilleux's Timbres, espace, mouvement, and Mark-Anthony Turnage's Three Screaming Popes. The Triumph of Time, by Pieter Bruegel the Elder. This woodcut served as inspiration to Birtwistle when writing this composition.

Capillary Action was an American avant-rock/experimental music group formed at Oberlin College in 2004 by Philadelphia native, the group's sole constant member, and active until 2012. Capillary Action's self-described “confrontational cubist-pop” was characterized by an unusual blend of acoustic timbres; complex, constantly shifting meter; 12-tone and Philly soul-inspired baritone vocals. The lyrics often employed autobiographical themes to critique power structures. The group performed extensively across North America and Europe alongside Joe Lally, The USA Is a Monster, The Max Levine Ensemble, Už jsme doma, Lightning Bolt, Dirty Projectors, Deerhoof, Les Claypool, Rhys Chatham, Shudder to Think, and Dos, among others.

Lorde's vocals on Melodrama have been noted for her emotional and multitrack delivery. She cites the emotional vocals of Kate Bush and Sinéad O'Connor, as well as Laurie Anderson's use of vocoder as inspiration for her vocal delivery on the album. The Daily Telegraph writer Neil McCormick noted that Lorde's vocals locate "different levels of intimacy in different vocal timbres, multi-tracking her voice so that it often sounds like songs are being delivered by competing versions of herself". According to NME, different personae of Lorde, ranging from the "strong, composed young woman" to the hidden "psycho", are showcased through her vocal performances on the album.

Xenakis also developed an stochastic synthesizer algorithm (used in GENDY), called dynamic stochastic synthesis, where a polygonal waveform's sectional borders' amplitudes and distance between borders may be generated using a form of random walk to create both aleatoric timbres and musical forms.Serra, 241. Further material may be generated by then refeeding the original waveform back into the function or wave forms may be superimposed. Elastic barriers or mirrors are used to keep the randomly generated values within a given finite interval, so as to not exceed limits such as the audible pitch range, avoid complete chaos (white noise), and to create a balance between stability and instability (unity and variety).

Babbitt was less interested in producing new timbres than in the rhythmic precision he could achieve with the synthesizer, a degree of precision previously unobtainable in performance . Through the 1960s and 1970s Babbitt wrote both electronic music and music for conventional musical instruments, often combining the two. Philomel (1964), for example, is for soprano and a synthesized accompaniment (including the recorded and manipulated voice of Bethany Beardslee, for whom the piece was composed) stored on magnetic tape. By the end of the 1970s Babbitt was beginning his third creative period by shifting his focus away from electronic music, the genre that first gained for him public notice .

Thin magnetic tape was not entirely suited for continuous operation, however, so the tape loop had to be replaced from time to time to maintain the audio fidelity of the processed sounds. The Binson Echorec used a rotating magnetic drum or disc (not entirely unlike those used in modern hard disk drives) as its storage medium. This provided an advantage over tape, as the durable drums were able to last for many years with little deterioration in the audio quality. Often incorporating vacuum tube-based electronics, surviving tape-based delay units are sought by modern musicians who wish to employ some of the timbres achievable with this technology.

When he picked up the horn, he got a whole new perspective on music, gaining insight into all the different timbres available, which was invaluable to him when he started working with orchestras. The first band he was in was a wedding dance band which allowed him to gain experience in every different style of music from polkas to rock and roll to jazz classics. After attending Moorhead State University as a music major, he led some of his own bands around the area that toured Midwest nightclubs. He played sax and guitar in some of these earlier bands but left them to concentrate on just the piano/keyboards.

Dynamic Tonality is a new paradigm for music which generalizes the special relationship between Just Intonation and the Harmonic Series to apply to a much wider set of pseudo-Just tunings and pseudo-Harmonic timbres. Alt URL Dynamic Tonality enables many new musical effects that could expand the frontiers of tonality, including polyphonic tuning bends, tuning modulations, new chord progressions, temperament modulations and progressions, and novel timbre effects such as dynamic changes to primeness, conicality, and richness. 50px The definitions of primeness, conicality, and richness were copied from this source, which is available under a Creative Commons Attribution- ShareAlike 3.0 Unported license and the GNU Free Documentation License.

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 different instruments of the same type based on their varied timbres, even if those instruments are playing notes at the same fundamental pitch and loudness. The physical characteristics of sound that determine the perception of timbre include frequency spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques.

"The project," he wrote, "was to explore the tonal and modal behavior of all [of these] equal tunings..., devise a notation for each tuning, and write a composition in each tuning to illustrate good chord progressions and the practical application of the notation" . In 1986, Wendy Carlos experimented with many microtonal systems including just intonation, using alternate tuning scales she invented for the album Beauty In the Beast. "This whole formal discovery came a few weeks after I had completed the album, Beauty in the Beast, which is wholly in new tunings and timbres" . Aphex Twin has been making microtonal electronic music with software and various analog and digital synthesizers since his 1994 album, Selected Ambient Works Volume II .

" Stewart Smith of The List called the re-release "another gem" from the Awesome Tapes from Africa label, and complimented the album's dreamy, blessed-out sound. Chris Richards of The Washington Post recalled how the cassette "meshed the sound of a forgotten folk instrument with strange, futuristic timbres" and called it an album "that simultaneously pointed toward Ethiopia’s musical past and future." In 2015 The Irish Times named the album a "Sunken Treasure" and called it "a deeply progressive meditation on something historical and personal. The hypnotic tunes are soothed by occasional flourishes of gentle songcraft from a voice so warm it could have been stirred up on some savannah breeze aeons ago.

Serrane's masterwork was his Vade-Mecum du specialiste en timbres-poste, published in two volumes in 1927 and 1929. Not since Robert Brisco Earée produced his last edition of Album Weeds in 1906 had a worldwide survey of forgeries appeared and the two books are essential companions in the study of forgeries and fakes of the classic era. The later publication of The Serrane Guide, as it is known, is helpful to philatelists as it covers the heyday of some prolific stamp forgers not known to Earee, for instance, Francois Fournier, Angelo Panelli, Lucian Smeets, and N. Imperato.Tyler, Varro E. Introduction to The Serrane Guide: Stamp Forgeries of the World to 1926.

Twiddly.Bits is a brand of MIDI phrases developed in 1993 by Keyfax, a company co-founded by keyboardist Julian Colbeck and Dave Spiers; the name suggested by fellow British prog rock keyboardist, Dave Stewart. Twiddly.Bits MIDI phrases derive their name from the slang, as they are literally short, 1-to-2-measure, technically advanced performances from professional studio musicians recorded as MIDI.Twiddly.Bits The Twiddly.Bits MIDI library brand was originally conceived to make available to musicians and composers musical MIDI loops that could not be played on a standard MIDI keyboard controller due to the limitations of keyboards in duplicating instrument-specific nuances and timbres, such as a trill from a saxophone or a dynamic drum roll.

In a non-unified organ, voices are scaled for their intended job. As an example, the octave (4′) diapason is generally of a smaller scale and softer than the corresponding 8′ diapason rank, whereas in unification they would be of the same strength due to using the same set of pipes. Straight reed choruses (16′, 8′ and 4′) have the luxury of ranks with different timbres, whereas a unified reed chorus has voices that are identical. Playing with all stops out on a heavily unified/duplexed organ may result in chords that sound thinner or emphasize higher harmonics on some notes more than others, due to notes in different octaves using the same pipes instead of having their own.

In the 2010s, most modern drum machines are sequencers with a sample playback (rompler) or synthesizer component that specializes in the reproduction of drum timbres. Though features vary from model to model, many modern drum machines can also produce unique sounds, and allow the user to compose unique drum beats and patterns. Electro-mechanical drum machines were first developed in 1949, with the invention of the Chamberlin Rhythmate. Transistorized electronic drum machines later appeared in the 1960s. The Ace Tone Rhythm Ace, created by Ikutaro Kakehashi, began appearing in popular music from the late 1960s, followed by drum machines from Korg and Ikutaro's later Roland Corporation also appearing in popular music from the early 1970s.

Davis is a tenor with a vocal range of 4 octaves and 4 notes (from A1 to E6). Describing a live performance in Portland, Robert Ham of Billboard stated that "not enough can be said about the versatility of Davis' voice, as he explored all the different timbres at his disposal throughout the night. He growled, crooned and wailed with equal amounts of steady force". Davis is renowned for his guttural, scat singing breakdowns; author Christopher Krovatin said that "no aspect of Jonathan's vocals are more widely recognized that his babbled nonsense words reminiscent of the scat vocals used by classic jazz musicians like Duke Ellington, Ella Fitzgerald and Benjamin "Scatman" Crothers".

Cutler wanted it to question the nature of music and how listening to music has changed. He wanted to "pit acoustic sounds and the classical music tradition", two grand pianos, against "electronic timbres and the contemporary sound world", amplified turntables, electric guitar, computer generated sounds and real-time processing. He also wanted to contrast the difference between "early 20th century concert listening and the channel-hopping aesthetic of the fin de siecle '90's". The pianists were instructed to play "a few small sections from the classical repertoire", in any way and at any tempo, while the other musicians were free to, according to Rick Anderson of AllMusic, "romp around them wreaking gleeful havoc".

Accessed: February 26, 2017. Brün began programming in FORTRAN in the late 1960s as he pursued an interest in designing processes. This work resulted in Infraudibles (1968) and mutatis mutandis (1968). The latter was a series of computer graphics for interpretation by composer/performers. series: mutatis mutandis 242; random seed: 540802 From 1968–74, he co-taught courses at the Biological Computer Lab with Heinz von Foerster (Professor of Electrical Engineering, Physics, and Biology) on cybernetics, heuristics, composition, cognition, and social change. In 1974, the members of the class published the book The Cybernetics of Cybernetics.Chandra 2004. In 1972, Brün created a new synthesis technique which generated new timbres by linking and merging tiny portions of waveforms.

Playing both acoustic and electric guitars (although more usually the latter), Bailey extended the possibilities of the instrument in radical ways, obtaining wider array of sounds than are usually heard. He explored the full vocabulary of the instrument, producing timbres and tones ranging from the most delicate tinklings to fierce noise attacks. (The sounds he produced have been compared to those made by John Cage's prepared piano.) Typically, he played a conventional instrument, in standard tuning, but his use of amplification was often crucial. In the 1970 his standard set-up involved two independently controlled amplifiers to give a stereo effect onstage, and he often would use the swell pedal to counteract the normal attack and decay of notes.

Crumb attends a performance at Alice Tully Hall in honor of his 90th birthday George Henry CrumbRichard Steinits, "Crumb, George (Henry)", The New Grove Dictionary of Music and Musicians, secnd edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). or George Henry Jr. CrumbNicolas Slonimsky, Laura Kuhn, and Dennis McIntire, "Crumb, George (Henry Jr.)", Baker's Biographical Dictionary of Musicians, edited by Nicolas Slonimsky and Laura Kuhn (New York, NY: Schirmer, 2001): 2:765–66. (born October 24, 1929) is an American composer of modern classical and avant-garde music. He is known as an explorer of unusual timbres, alternative forms of notation, and extended instrumental and vocal techniques, which obtain vivid sonorities.

The movements Wood and Metal refer to pencils and metal rods placed in the piano strings that create distinct timbres. Fire, the last movement, is the longest and most energetic not because of the element fire's importance in mythology, but because compositionally its length allowed previous themes to return and bring the work to a close. The prepared piano shows influences of John Cage, the clusters of dissonant chords are suggestive of Henry Cowell, and repeated, stagnantly moving sections could be described stylistically as minimalist music. However, there are also fragmentary moments of pentatonic melodies as well as heterophonic passages which create the flavor of Chinese music, but in a more subtle manner than previous works.

Following in the footsteps of the Frankish school, opposed to the romantic spirit, Goué had a predilection for Bach and Renaissance musicians. He composed Pénombres (1931), an orchestra suite, a Poème Symphonique (1933) and in 1934 a first Symphony as well as a musical action in two acts Wanda, a drama of the sea whose action is located in Saint- Gilles-Croix-de-Vie and which will only be premiered in 1950 in Mulhouse. The colourful dough of his orchestra, as if carved with a chisel, skilfully mixes the instrumental timbres. Starting from ancient fashions, Goué considered it necessary for the French temperament, by tradition, to assert tonality, but an expanded tonality going without complex to polymodality.

The album received generally positive reviews upon release, earning a rating of 77 out of 100 on Metacritic. Filter said of the album "Beck is somehow more aware while puffing out his waves of broken poetry as opposed to the casual seed-spitting he has been known to turn to," and AllMusic said that it was "an effective dosage of 21st century paranoia." Some negative reviews, such as PopMatters, said that the album "lacks the unique resonating timbres one is accustomed to with Beck," and The Guardian called it "a vanity project". In December 2008, Modern Guilt was nominated for Best Alternative Album at the 51st Grammy Awards, but it later lost to In Rainbows by Radiohead.

The AllMusic review by Richard Mortifoglio stated "In retrospect, violinist Leroy Jenkins, bassist Sirone, and drummer Jerome Cooper's free-jazz trio, the Revolutionary Ensemble, stands as a gentler cousin to those original free-jazz collectives, Art Ensemble of Chicago and AACM, the latter of which introduced Jenkins's string playing to the scene. On this live 1977 date, each of the members doubles or triples up on other instruments so there is a variety of textures and timbres to be heard here, including kalimba, flute, and piano. Mostly it's Jenkin's fluent, fugal violin improvisations that predominate, however. At their most successful, these jams sound like a loosely strung Bach "Chaconne" accompanied by bass and drums".

It is one of the most successful Czech operas, and represents a cornerstone of the repertoire of Czech opera houses. Dvořák had played viola for many years in pit orchestras in Prague (Estates Theatre from 1857 until 1859 while a student, then from 1862 until 1871 at the Provisional Theatre). He thus had direct experience of a wide range of operas by Mozart, Weber, Rossini, Lortzing, Verdi, Wagner and Smetana. For many years unfamiliarity with Dvořák's operas outside the Czech lands helped reinforce a perception that composition of operas was a marginal activity, and that despite the beauty of its melodies and orchestral timbres Rusalka was not a central part of his output or of international lyric theatre.

Leaving aside the allusions to Florestan and Eusebius, all of Schumann's proposed titles show some of the essential character of Op. 13's conception. This was of 'studies' in the sense that the term had assumed in Frédéric Chopin's Op. 10, that is to say, concert pieces in which the investigation of possibilities of technique and timbre in writing for the piano is carried out; they are 'symphonic études' through the wealth and complexity of the colours evoked – the keyboard becomes an "orchestra" capable of blending, contrasting or superimposing different timbres. If etudes Nos. 3 and 9 are excluded, where the connection with the theme is tenuous, the etudes are in variation form.

A complete gamelan gambuh requires approximately 17 musicians to accompany the dance-drama. The main instruments in gambuh performances are very low bamboo flutes called suling gambuh, between 75 and 100 cm in length and 4 and 5 cm in diameter. There are usually four such flutes, but sometimes as few as two or as many as six. The suling gambuh play melodies along with a rebab while percussion instruments fill out the sound with a variety of timbres and rhythms: a medium-sized gong, a small gong called kajar, two kendang, a chime called klenang, a bell tree called gentorag, rincik (reminiscent of a ceng-ceng), a metallophone called kenyir, kangsi, and gumanak.

Because for all its natural lack of varnish, velvet and richness, this voice could acquire such distinctive colours and timbres as to be unforgettable." However, in his review of Callas's 1951 live recording of I vespri siciliani, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards—an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured.

Crossroads was so successful that it moved to a new building where it is located today, enduring for 35 years from its modest beginnings based on the foresight and vision of a small group of individuals. Crossroads' primary effort has been its four-play main stage season, where the many timbres of the African-American experience have been given voice in full productions. Since its founding, Crossroads has produced over 100 works, many of which were premiere productions by African and African-American artists. Crossroads' world premieres include The Colored Museum, which originated at Crossroads in 1986 and was then seen by millions on national public television when it was produced for WNETs "Great Performances," and Spunk, both by Tony Award winner George C. Wolfe.

He has earned several Grammy Nominations, the most recent in 2011 for Bulevard 2000 by Nortec Collective Presents Bostich+Fussible under the category of Best Latin Rock/Alternative Album. Amezcua is considered the Godfather of Nortec by producers and fans alike since Bostich's early Nortec music clearly established the characteristics of his style: an interest in the electronic exploration, fragmentation, and reconstitution of tarola (snare drum) rhythmic patterns and tuba sounds and timbres, and their combinatorial possibilities. His song “Polaris“ marks the genesis of the Nortec style of music with its sequenced burpy tubas and machinegun drum sprays. Amezcua began his career as a recording artist and performer in the early 1990s when electronic music began to gain prominence in Mexico.

The work is scored for a vocal soloist (the notes lie comfortably for a baritone or mezzo- soprano) and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais (English horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, timpani, glockenspiel, tam-tam, celesta, harp, and strings. There are no trumpets. Deployed at chamber-orchestra scale, this instrumentation permitted Mahler to explore a wide variety of timbres within a smaller-scale sound; Tunbridge sees this as a new precedent adopted by later composers, for example Schoenberg in Pierrot Lunaire. Concerning the performance of the work, the composer wrote "these five songs are intended as one inseparate unit, and in performing them their continuity should not be interfered with".

On the Corner was scorned by established jazz critics at the time of its release and was one of Davis' worst-selling recordings. Its critical standing has improved with the passage of time; today it is seen as a strong forerunner of the musical techniques of hip hop, drum and bass, and electronic music. Davis claimed that On the Corner was an attempt to connect with a young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed and the overall rhythms, the album was also a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero started using in the late 1960s.

Fantasia, 1940 Perhaps the most famous work which might be thought to evoke synesthesia-like experiences in a non-synesthete audience is the 1940 Disney film Fantasia, although it is unknown if this was intentional or not. Another classical example is the use of the color organ which would project colored lights along with the musical notes, to create a synesthetic experience in the audience (Campen 2007, Jewanski & Sidler 2006). Composition VI (1913) by alt=Rectangular, multicolored abstract painting Wassily Kandinsky working in the 1920s, may not have been a synesthete, despite his fame for his synesthetic artwork. Many of his paintings and stage pieces were based upon a set and established system of correspondences between colors and the timbres of specific musical instruments.

Keith Emerson was the first major rock musician to perform live with the Moog, and it became a trademark of his performances; according to Analog Days, the likes of Emerson "did for the keyboard what Jimi Hendrix did for the guitar". In later decades, hip hop groups such as the Beastie Boys and rock bands including They Might Be Giants and Wilco "have revived an interest in the early Moog synthesizer timbres". The Guardian wrote that the Moog synthesizer, with its dramatically new sounds, arrived at a time in American history when, in the wake of the Vietnam War, "nearly everything about the old order was up for revision". With its ability to imitate instruments such as strings and horns, synthesizers threatened the jobs of session musicians.

Not unlike such producers as George Martin, Phil Spector and Brian Wilson, the band used many techniques that are rarely used in recorded music. For example, many Motown recordings (including Marvin Gaye's "I Heard It Through the Grapevine" and "That's the Way Love Is") feature two drummers, playing together or overdubbing one another. A number of songs utilized unusual instrumentation. The Temptations' "It's Growing" features Earl Van Dyke playing a toy piano for the song's introduction, snow chains were used as percussion on Martha and the Vandellas' "Nowhere to Run", and a test oscillator was built to create the electronic timbres heard on many of the later records such as the Supremes' "Reflections" and "Forever Came Today", and the Temptations' "Runaway Child, Running Wild".

In the 1984 Talking Heads concert film Stop Making Sense, singer David Byrne performs "Psycho Killer" on acoustic guitar accompanied by an 808, stumbling against its "gunshot"-like sounds. Songwriter Phil Collins found the machine useful for looping rhythms for long periods, since human drummers would be tempted to add variations and fills. The New Yorker wrote that "the introduction of Roland's magic box was indisputably the big bang of pop's great age of disruption, from 1983 to 1986. The 808's defiantly inorganic timbres ... sketched out the domain of a new world of music." In the United Kingdom, the 808 was popularized by the electronic group 808 State, which took its name from the machine and used it extensively.

Sun Blindness Music, the set's centerpiece, is a nearly three-quarters of an hour of a single chord, which shifts gradually between tones and timbres over the expansive time allotted to it. Cale produced the otherworldly sound with his Vox organ. Reviewer Thom Jurek notes that "Sun Blindness Music is easily the most demanding and perhaps most rewarding piece on the disc... There are times when the full-bodied chord is so complete and forceful in its presence it is nearly unbearable..." Summer Heat is an extended, distorted solo for electric guitar. It is perhaps the rawest track on the album, indicating where the more avant- garde elements of the Velvet Underground's future songs (especially on White Light/White Heat) may have originated.

She showed an "increasing tendency to smooth away consonants in the interests of suave tone", and her recitatives suffered accordingly. As Emilia, Nucci Condò sang with a voice so like von Stade's that it was sometimes difficult to tell the maidservant from her mistress, though the similarity of their timbres made for an exquisite blending in their Act 1 duet. (Stendhal, Blyth noted, had thought the duet the best thing in the entire score.) In the opera's title role, José Carreras made "as much as he [could] of a part that [offered] little in the way of pathos". He was equally credible as a proud soldier, a tormented lover and a man agonizing on the brink of becoming a murderer.

"Combining Western and non-Western instruments Demirel explores a wide variety of timbres. He does this with a keen intellectual understanding of the various elements he works with, achieving an extraordinary freshness in his music." :Rene Van Peer - Critic Being acquainted with Turkish composers since forty years or so, it is extremely refreshing for me to experience a young highly talented Turkish composer like Evrim Demirel who is capable of exploiting his Turkish roots in music in a more abstract way than the use of folk melodies. Of course there is nothing against that, as we know from Bartók, but as Bartók has shown also, it is more valuable, though more difficult, to integrate elements of folk traditions or any other tradition into a personal idiom.

There was also an optical metronome incorporated into the discs which showed as a red flashing light for the downbeat and white for the upbeats inside the Optigan badge above the keyboard. The advantages of this unique optical playback system were that the Optigan's range of timbres was infinitely expandable and that there was no limit on the duration of a note as there was on the Optigan's professional-grade counterpart, the magnetic tape-based Chamberlin or its successor the Mellotron. The disadvantage was that notes could have neither attack nor decay, as the tracks had no specific beginning or end. The "Starter Set" sold with the Optigan contained discs with fairly self- explanatory titles: "Big Organ & Drums", "Pop Piano Plus Guitar", "Latin Fever", and "Guitar in 3/4 Time".

The Chicago Tribune writes of Ambient Metals: "Tone emphasizes widescreen melodies and ringing timbres, striking unison chords that radiate clouds of overtones over surging martial rhythms." Andrew Beaujon of the Washington Post writes of Ambient Metals, "the instrumental ensemble Tone has an uncanny ability to summon the wide-open spaces of the American Southwest. That can be credited partly to leader Norm Veenstra's love of '80s sonic boomers such as Savage Republic and Nice Strong Arm, but it's his other great influence, the guitar orchestras of New York avant-garde composers Rhys Chatham and Glenn Branca, that gives Tone the muscle to suggest not just the desert's beauty, but its menace as well." Solidarity was recorded by Robbins at Phase in College Park, MD, and mixed by Robbins at Inner Ear in 2004.

Pioneered by black-doom bands like Opthalamia, Katatonia, Bethlehem, Forgotten Tomb, and Shining, depressive suicidal black metal, also known as suicidal black metal, depressive black metal, or DSBM, is a style that melds the second wave-style of black metal with doom metal, with lyrics revolving around themes such as depression, self-harm, misanthrophy, suicide, and death. DSBM bands draw the lo-fi recording and highly distorted guitars of black metal, while employing the usage of acoustic instruments and non-distorted electric guitar's timbres present in doom metal, interchanging the slower, doom-like, sections with faster tremolo picking. Vocals are usually high-pitched like in black metal, but lacking of energy, simulating feelings like hopelessness, desperation, and plea. The presence of one-man bands is more proeminent in this genre compared to others.

On April 30, 2010, a new add-on for Miku, called Hatsune Miku Append, was released, consisting of six different timbres for her voice: Soft (gentle timbre), Sweet (young, chibi quality), Dark (mature and melancholic), Vivid (bright and cheerful), Solid (loud, clear voice), and Light (innocent and angelic). Miku Append was created to expand Miku's voice library, and as such requires the original program to be installed on the user's computer first. This was the first time a Vocaloid had such a release, and more Append versions were reported from Crypton Future Media at later dates. It was mentioned that a 7th Append voicebank, a falsetto voice, had been recorded; however, since the developers didn't think it would be useful on its own, no plans were made for an independent release.

Pioneered by black-doom bands like Ophthalamia, Katatonia, Bethlehem, Forgotten Tomb and Shining, depressive suicidal black metal, also known as suicidal black metal, depressive black metal or DSBM, is a style that melds the second wave-style of black metal with doom metal, with lyrics revolving around themes such as depression, self-harm, misanthropy, suicide and death. DSBM bands draws the lo-fi recording and highly distorted guitars of black metal, while employing the usage of acoustic instruments and non-distorted electric guitar's timbres present in doom metal, interchanging the slower, doom-like, sections with faster tremolo picking. Vocals are usually high-pitched like in black metal, but lacking of energy, simulating feelings like hopelessness, desperation and plea. The presence of one-man bands is more prominent in this genre compared to others.

The album received mixed to positive reviews in spite of the fact that Trevi's image had been heavily damaged by the media and the scandals in previous years. El Domador (The tamer) and Eres Un Santo (You're a saint) did not achieve the expected success due to the merger of BMG with Sony Music Entertainment, in which promotion was affected. The song "Timbres Postales Al Cielo" was composed by Trevi in Brazil's jail in 2000 was dedicated to her deceased first-born daughter Ana Dalay, who died being 33-days old and whose body was disposed of by Sergio Andrade in a river in Brazil. She sang snippets of the song in several TV interviews for different countries, including a British documentary about the "Trevi-Andrade clan", and she always ended up crying.

The Harp Consort is an international early music ensemble directed by Andrew Lawrence-King, specialising in Baroque opera, early dance-music, and historical World Music. The Harp Consort improvises within the distinct styles of baroque, renaissance and medieval music. The group takes its inspiration from the 17th-century harp consort formed in England at the court of Charles I: in contrast to the homogeneous string orchestra (also formed at this time), the Consorte brought together diverse types of solo instruments – harp, lutes, keyboards, strings – and voices, to create colourful new combinations in the fashion of the day. Like the 17th-century Consorte, The Harp Consort is formed around the accompanying instruments of the basso continuo and brings together an international team of musicians who create a rich variety of timbres.

Russell Reising and Jim LeBlanc credit the songs on Revolver with "set[ting] the stage for an important subgenre of psychedelic music, that of the messianic pronouncement". As with Rubber Soul, Walter Everett views the album's "experimental timbres, rhythms, tonal structures, and poetic texts" as the inspiration for many of the bands that formed the progressive rock genre in the early 1970s. He also considers Revolver to be "an innovative example of electronic music" as much as it broke new ground in pop by being "fundamentally unlike any rock album that had preceded it". Rolling Stone attributes the development of the Los Angeles and San Francisco music scenes, including subsequent releases by the Beach Boys, Love and the Grateful Dead, to the influence of Revolver, particularly "She Said She Said".

In April 2011 she participated in the International Festival of Folklore Buenos Aires (FIFBA) and later, in June, shortly after the US edition of her album Passionaria (Western Vinyl), she was selected to participate in the MICA showcases Of Cultural Industries of Argentina). In 2011 she released her second CD, Passionaria, produced jointly by multi-instrumentalist Jorge Sottile, who was in charge of the musical articulation of an album full of nuances where the variety and uniqueness of timbres abound and producer Juan Ignacio Serrano known as Juanito El Cantor. During 2012 she participated of the Argentine section Late Night Argentina in Brisbane Festival, Australia, next to 34 Puñaladas and Franco Luciani. Then in November she made her first performances in Chile where she shared concerts with Pascuala Ilabaca.

The form of Chôros No. 7 amounts to no more than a disconnected sequence of musical segments, but in some mysterious way manages to create a sense of unity . The busy textures are woven indiscriminately from a mixture of Amerindian primitivism and the polkas and waltzes of suburban dance halls . Villa-Lobos combines and contrasts the various materials in order to produce original instrumental effects and novel timbres, favouring these to such an extent that there is virtually no thematic development at all, and the harmonies are produced more or less accidentally from the conjunction of the linear parts . According to the composer, the opening theme's primitive, Amerindian character is gradually transformed over the course of the work into a more civilized style, eventually giving way to a slow waltz.

Micropolyphony is a kind of polyphonic musical texture developed by György Ligeti which consists of many lines of dense canons moving at different tempos or rhythms, thus resulting in tone clusters vertically. According to David Cope, "micropolyphony resembles cluster chords, but differs in its use of moving rather than static lines"; it is "a simultaneity of different lines, rhythms, and timbres" . Differences between micropolyphonic texture and conventional polyphonic texture can be explained by Ligeti's own description: The earliest example of micropolyphony in Ligeti's work occurs in the second movement (mm 25–37) of his orchestral composition Apparitions . His next work, Atmosphères for orchestra, the first movement of his later Requiem, for soprano, mezzo-soprano, mixed choir, and orchestra, the unaccompanied choral work Lux aeterna, and Lontano for orchestra, also use the technique.

For much of Stadium Arcadium, guitarist John Frusciante experiments with a vast array of synthesized effects, many of which are reminiscent of the idiosyncratic timbres found on 2004’s Shadows Collide With People. The ghostly outro of “Slow Cheetah” is a clear example of Frusciante’s affinity for psychedelia, and provides a stark contrast to the song’s acoustic beginning.New CDs. New York Times: May 8, 2006 The backwards guitar at the song’s outro is similar to 1991’s “Give It Away”, where Frusciante used the same technique. Both “Slow Cheetah” and “Give It Away” draw heavily from Jimi Hendrix’s guitar technique in “Castles Made of Sand,” as well as from the famous backmasking in the Beatles' song “Tomorrow Never Knows.” The song is in the key of B-flat minor.

In 1931, Artaud saw Balinese dance performed at the Paris Colonial Exposition. Although he did not fully understand the intentions and ideas behind traditional Balinese performance, it influenced many of his ideas for theatre. Scholar Adrian Curtin has noted the significance of the soundscape that accompanied the event, stating that Artaud was struck by 'the 'hypnotic' rhythms of the gamelan ensemble, its range of percussive effects, the variety of timbres that the musicians produced, and – most importantly, perhaps – the way in which the dancers' movements interacted dynamically with the musical elements instead of simply functioning as a type of background accompaniment.' Also during this year, Artaud's 'First Manifesto for a Theatre of Cruelty' was published in La Nouvelle Revue Française; it would later appear as a chapter in The Theatre and Its Double.

As the Dew Fairy, Ruth Welting was "as sparkling bright as dew itself". (The choice of two such radically different sopranos for the roles was among the album's points of distinction from Karajan's, which had employed the same singer for both.) As the children's parents, Siegmund Nimsgern was "jovial" and unusually youthful sounding, Christa Ludwig somewhat shrill in her portrayal of her character's weary irritation. Elisabeth Söderström was "the best interpreter of the [Witch that] I have ever heard", presenting a "picture of crazy malevolence" not by "the constant hamminess to which others resort" but by "touches of caricature allied to odious wheedling and horrid glee". The children's chorus had timbres sufficiently like von Stade's and Cotrubas's to help listeners suspend their disbelief that the soloists were children too.

Retrieved 1 August 2017. Each piece of Patience (After Sebald)'s score has audio samples and static sounds with different timbres and moods as well as varied amounts of processing, and the soundtrack balances between both calm pieces such as "Increasingly Absorbed in His Own World" and sinister cuts such as "No One Knows What Shadowy Memories Haunt Them to This Day" in a chiaroscuro-like technique. The most processing takes place on the second half of the original album release, where, in the words of Mark Richardson of Pitchfork, "transformation becomes the prevailing theme." Throughout the soundtrack, the tone of the hiss textures range from calm to harsh to the point where it "separat[es] the listener from the melody" on "Approaching the Outer Limits of Our Solar System," Phares analyzed.

One can use Dynamic Tonality to temper only the tuning of notes, without tempering timbres, thus embracing the Static Timbre Paradigm. Similarly, using a synthesizer control such as the Tone Diamond,Milne, A., The Tone Diamond, Technical report, The MARCS Institute for Brain, Behaviour and Development, University of Western Sydney, April 2002. a musician can opt to maximize regularity, harmonicity, or consonance—or trade off among them in real time (with some of the jammer's 10 degrees of freedom mapped to the Tone Diamond's variables), with consistent fingering. This enables musicians to choose tunings that are regular or irregular, equal or non-equal, major-biased or minor-biased—and enables the musician to slide smoothly among these tuning options in real time, exploring the emotional affect of each variation and the changes among them.

According to Vuillermoz, "Mr. Delage is a veritable child of the 20th century, with the instinctive ease of his delectable handling of dissonance, his curiosity with rare timbres, his desire to push back sonic boundaries, his skillful annexation of neighbouring lands in the unexplored domains of noise. His impatience with the yoke in the presence of the imperfections of our musical material is characteristic; he loosens the bow of his viola to B he invents a pizzicato-glissando which pulls from the string an almost human sob, he demands closed-mouth vocalizations from the female voice, and sometimes imposes on it a veiled nasal tone of an invisible mute, and all without a laborious strangeness, without bias, and virtually without searching." Delage learned music by playing and improvising on his viola.

The Greek god Hermes, messenger of the Gods in the Greek mythology, is the representation chosen, in 1860, by the Kingdom of Greece to illustrate its first postal stamps. The first type, the "large Hermes head", was issued in October 1861, and stayed in circulation up to 1886, it was then replaced by the second type, the "small Hermes head". The "large Hermes head" stamps, have been reissued, overprinted, in 1900 and 1901 in order to mitigate the delay of shipment of the stamps of the third type, the "flying Hermes" by the British printer J. P. Segg & C°.Tryphon Constantinidès, Etude sur les timbres-poste de la Grèce - 2ème partie, Hellenic Philotelic Society, Athens 1937, pp. 92–93 In 1902, a fourth type showing Hermes effigy was issued for international "metal payment".

In the score of Antigonae, six grand pianos and a group of xylophones, which were mostly given only marginal tasks in the traditional orchestra, take on the role that the group of strings had in the orchestration of Viennese classical music. Jürgen Maehder: Die Dramaturgie der Instrumente in den Antikenopern von Carl Orff. In: Thomas Rösch (ed.): Text, Musik, Szene – Das Musiktheater von Carl Orff. Schott, Mainz 2015, pp. 197–229. On the other hand, traditional instruments of the European orchestral tradition – such as flutes, oboes, trumpets and double basses – become entrusted in Antigonae and Oedipus der Tyrann with functions that had been reserved to rare percussion instruments in the orchestra of the 19th century: As special timbres with an almost exotic sound appeal, they appear reserved for the turning points of the work’s dramaturgical structure.

The school of Petros Peloponnesios was the most radical with respect to the creation of a rhythmic and abridged style of a certain chant book. Mediating between tradition and innovation, Chrysanthos had the characteristic Phanariot creativity. While he was writing about the metric feet (πώδαι) as rhythmic patterns or periods, mainly based on Aristides Quintilianus and Aristoxenos, he treated the arseis and theseis simultaneously with the Ottoman timbres düm and tek of the usulümler, and concluded, that only a very experienced musician can know, which are the rhythmic patterns that can be applied to a certain thesis of the melos. He analysed for instance the rhythmic periods as he transcribed them from Petros Peloponnesios' Heirmologion argon.In § 183 (1832, p. 81) he offers an example, how he used the pous daktylos in the transcription of the first ode of the Pentecost canon Θείῳ καλυφθείς.

The song became a Billboard Top Single Pick on 3 November 1979, whom the publication found the chorus catchy and also highlighted the orchestral instruments supporting the backing singers. Although there had been a mixed review of the single from Smash Hits, who found the song to be "too tidy, like vymura" (wallpaper), they listed it in a review of The Age of Plastic as one of the best tracks of the album, along with "Living in the Plastic Age". Timothy Warner wrote that, although several common pop elements were still present in the song, it included stronger originality for its own purpose than most other pop hits released at the time. These unusual pop music characteristics include the timbres of the male and female vocal parts, and the use of suspended fourth and ninths chords for enhancement in its progression.

Electroacoustic music is a genre of Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments . It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de Recherches Musicales at the ORTF in Paris, the home of musique concrète, the Nordwestdeutscher Rundfunk (NWDR) studio in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 1900s.

"Apologue: Of Rage and Remembrance" is the first of the four movements in Symphony No. 1 and written in a loose A-B-A form that "alternates between the tension of anger and the bittersweet nostalgia of remembering". The movement opens with "the nasal open A of the violins and violas" and explores the different timbres of that note by being played on different strings while varying the speed of vibrato as the note "grows in intensity and volume until it is answered by a burst of percussion". This then ushers in the entrance of the orchestra in cacophonous overlapping passages of various woodwind and brass instruments. The piece intensifies with increasing dynamic and tempo to a climax, from which the violins take over in the very upper range of their register, thus beginning the B section.

Already in 1973, he achieved acclaim as Pelléas in a new production by Jean-Pierre Ponnelle of Debussy's Pelléas et Mélisande. Sabine Tomzig wrote in the Hamburger Abendblatt: "A discovery: the 25-year-old Munich baritone as Pelleas, a Gallic figure with that lightness and brightness of timbre that predestines him for a part that is usually sung by tenors" ("Eine Entdeckung: der 25jährige Münchener Bariton Wolfgang Brendel als Pelleas, ein romanischer Typ mit jener Leichtigkeit und Helligkeit des Timbres, das ihn für diese meist von Tenören gesungene Partie prädestiniert"). Early on the conductor Carlos Kleiber selected him to sing Germont, conducting him also in other roles (for example, Falke in Die Fledermaus; in later years, Brendel would graduate to Eisenstein). In these early years he also sang a variety of other roles, including Silvio in Pagliacci.

Moler is a single-movement orchestral work with a duration of approximately nine minutes. The title is Spanish for “to grind,” and the piece was inspired by the composer’s habit of grinding her teeth while sleeping. Moler is a dance-infused piece that uses the “grinding” idea to suggest unusual combinations of instrumental timbres and textures. Its overall musical narrative was partly suggested by the varying tensions and relaxations of sleep and dreaming. The composer writes: Moler is the Spanish word for “grind,” and this work takes its compositional impulses from a particular form of grinding, bruxism, that is the involuntary phenomenon of teeth grinding that occurs during sleep. When reading about bruxism I came across medical research that revealed that a sleeper’s heart rate increases with the onset of bruxism and that fluctuations coincided with phases of dreaming.

She further compared the performance with the dream sequence from the 1945 film Spellbound but noted that it was "slightly weirder" Jim Farber of the Daily News commented that "her take on a song by her clear role model, Beyoncé, showed too much similarity in their timbres and phrasing, making Sanchez's voice seem redundant ... despite the fact she switched up the arrangement of the bootylicious song she chose, 'Sweet Dreams.'" Amy Reiter of the Los Angeles Times wrote, "Sanchez gave yet another perfectly calibrated performance with Beyoncé's 'Sweet Dreams,' balancing restraint and power. Everything from her voice to her dress to the red door she walked through seemed polished and tour-ready." The Arizona Republics Randy Cordova praised the performance, saying that the slow-tempo version allowed Sanchez "to really delve into the song's emotional core".

Julian Anderson considers Danish composer Per Nørgård's Voyage into the Golden Screen for chamber orchestra (1968) to be the first "properly instrumental piece of spectral composition". Spectralism as a recognizable and unified movement, however, arose during the early 1970s, in part as a reaction against and alternative to the primarily pitch focused aesthetics of the serialism and post-serialism which was ascendant at the time."... the question of timbre, though it is rigorously tackled by Schönberg (in his theory of the "melody of timbres") and above all by Webern, nevertheless has pre-serial origins, especially in Debussy—in this regard a "founding father" of the same rank as Schönberg. [...] Later, it also provided the grounds for the break with Boulez's "structural" orientations and the contestation of the legacy of serialism which was carried out by the French group L'Itinéraire (Gérard Grisey, Michaël Levinas, Tristan Murail ...)" .

In Fales' exploration of timbre, she discusses three broad categories of timbre manipulation in musical performance throughout the world. The first of these, timbral anomaly by extraction, involves the breaking of acoustic elements from the perceptual fusion of timbre of which they were part, leading to a splintering of the perceived acoustic signal (demonstrated in overtone singing and didjeridoo music). The second, timbral anomaly by redistribution, is a redistribution of gestalt components to new groups, creating a "chimeric" sound composed of precepts made up of components from several sources (as seen in Ghanaian balafon music or the bell tone in barbershop singing). Finally, timbral juxtaposition consists of juxtaposing sounds that fall on opposing ends of a continuum of timbral structure that extends from harmonically based to formant-structured timbres (as demonstrated again in overtone singing or the use of the "minde" ornament in Indian sitar music).

I Tell a Fly was well-received by contemporary music critics upon its initial release. At Metacritic, which assigns a normalised rating out of 100 to reviews from music critics, the album received a universal acclaim score of 81 based on 12 reviews. In the review for AllMusic, Timothy Monger described the album as being "Meticulously packed with lead and backing vocals in a variety of timbres, songs like the warbling harpsichord- ornamented "Better Sorry Than a Safe" and the sprawling and kooky refugee crisis commentary "Phantom of Aleppoville" show an intense artist operating at a full sprint down the crooked ginnels of his imagination." Andy Gill, writing a review for The Independent regarded the music as classical and avant-garde with operatic delivery, pointing out that, I Tell A Fly won’t be to everyone’s taste--which in this era of increasing conformity may be its most valuable asset.

In 1946, he was commissioned by the Julius Hartt Foundation to write an opera, The Princess and the Vagabond which was premiered at the Hartt School two years later. In 1944 he received prizes for two works: Triptych for violin, viola, violoncello and piano, and Postscripts, a choral work which won the Eurydice Choral Prize. His Rhapsody for Trombone and Orchestra, received a radio broadcast premiere in New York in 1951. After the composer's death, the National Jewish Music Council published a brief biography of Freed, A Jewish Composer by Choice: Isadore Freed, His Life and Work, which contains reminiscences of Freed's life and works by such luminaries as Pierre Monteux, who programmed Freed's Jeux de Timbres for concerts in San Francisco and Amsterdam in 1937, the same year in which Freed became the first American composer to be guest conductor for the NBC Symphony Orchestra.

In September 2009, Afterhours.FM hosted "Uplift Day" that was exclusively dedicated to uplifting trance. In recent years, a subgenre of uplifting trance—dubbed "orchestral uplifting" or "uplifting trance with symphonic orchestra" and pioneered by Andy Blueman, Ciro Visone, SoundLift, Arctic Moon, Ralph Barendse, Simon O'Shine, Ahmed Romel and others—has developed, wherein the timbres and instruments used in the track are those used in symphonic orchestras, including flutes, non-lyrical choral voices, violins, pianos, horns, orchestral drums, and others, and often includes even-longer-than-usual emotional orchestral breakdowns, while still preserving the other aspects of uplifting trance, therefore differing from the subgenre that was called "orchestral trance" a decade earlier. This new style has noticeably influenced the work of many artists outside the uplifting scene, including the Black Pearl project of Ralph Fritsch and Roger Shah, who ordinarily identifies with Balearic trance rather than uplifting.

Praised by the Guardian as "So ultra-smooth it achieves something like a state of grace". “This is a record I wanted to make before I leave the planet” Mr Ogerman. In the Year 2010 Perez released Providencia, which was also nominated for a Grammy® Award in the category of “Best Instrumental Jazz Album”. Regarding Pérez's 2014 release Panama 500, Harvard Professor David Carrasco remarked “Danilo’s musical vision says ‘PRESENTE’ to the musical tones, timbres, lips and dedos who discovered what only this year we learn while listening to Panama 500, the truth that what we think of as modest, little Panamá, IS also the center of the world,’ our becoming world of music, human dialogue, human possibility and pleasure.” Pérez has received commissions from many chamber groups and his work often finds inspiration in the people, journeys and events that shaped the origins of the Americas.

The first song of the album Hypocrisy is the Greatest Luxury is 'Satanic Reverses', a song which criticizes the oil and fossil fuel industry and speaks directly to the company Exxon. Another notable work of rebel art in Hypocrisy is the Greatest Luxury is 'Television The Drug of The Nation' which as the title implies, blame television for a political numbing of the people of the United States and this point becomes explicit in the lyrics: "T.V., it satellite links, our United States of unconsciousness, apathetic therapeutic and extremely addictive". This track consists of spoken word type lyrics backed up by heavy, bright and strong percussive timbres, which express the upfront exclamation that urges one to wake up from the trance set upon by T.V. The song had been previously recorded by Franti's former project, The Beatnigs and received wide airplay on alternative and college radio stations.

SRX-07 Ultimate Keys board. The SRX are a series of expansion boards produced by Roland Corporation. First introduced in 2000, they are small boards of electronic circuitry with 64MB ROMs containing patches (timbres) and rhythm sets (drum kits). They are used to expand certain models of Roland synthesizers, music workstations, keyboards, and sound modules. Predecessor formats include the 15 SN-U110 PCM cards (U-110, U-20, U-220, D-70, CM-64 and CM-32P), 8 SL-JD80 PCM card/preset RAM card (JD-only) sets and 8 SO-PCM1 1-2 MB cards (both JD-800, JD-990, JV-80, JV-880, JV-90, JV-1000 and JV-1080), 22 SR-JV80 expansion boards (JD-990, JV-880, JV-1010, JV-1080, JV-2080, XV-3080, XV-5080, JV-80, JV-90, JV-1000, XP-30, XP-50, XP-60, XP-80, Fantom FA76, XV-88) and others.

Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of funk, soul, and R&B; music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs and jazz solos, and sometimes soul vocals. Early examples are Herbie Hancock's Headhunters band and Miles Davis' On the Corner album, which, in 1972, began Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape.

In general, techno is very DJ-friendly, being mainly instrumental (commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous DJ set, wherein the DJ progresses from one record to the next via a synchronized segue or "mix."Butler 2006:12–13,94 Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters, but the design of synthetic timbres, and the creative use of music production technology in general, are important aspects of the overall aesthetic practice. Unlike other forms of electronic dance music that tend to be produced with synthesizer keyboards, techno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.Fikentscher, K. (1991), The Decline of Functional Harmony in Contemporary Dance Music, Paper presented at the 6th International Conference On Popular Music Studies, Berlin, Germany, July 15–20, 1991.

Since 2000, Michael Blake's work has taken something of a new direction and revealed a postmodern sensibility. This watershed in Blake's life is exemplified in two works: String Quartet No 1, written for his long-standing friends and collaborators the Fitzwilliam String Quartet in 2001 and premiered in Cambridge for Blake's 50th birthday celebrations, and Ways to put in the salt, an uncompromisingly stark interpretation of musical bow harmonics written in 2002 for John Tilbury. In these and other works that followed, an African sensibility is subsumed into the fractured narratives that have become a feature of his recent work, such as the Piano Concerto (2007), Piano Sonata ‘Choral’ (2008), and Postcolonial Song (2009). A passion for unusual timbres and instrumental combinations saw the realisation of two more commissioned works in 2007: Shoowa Panel for vibraphone and marimba (premiered in South Africa) and Rural Arias for singing saw and eleven players (premiered in Vienna).

Richard Osborne catalogues its excellencies: > Beyond the physical impact of ... Figaro's "Largo al factotum", there is > Rossini's ear for vocal and instrumental timbres of a peculiar astringency > and brilliance, his quick-witted word-setting, and his mastery of large > musical forms with their often brilliant and explosive internal variations. > Add to that what Verdi called the opera's "abundance of true musical ideas", > and the reasons for the work's longer-term emergence as Rossini's most > popular opera buffa are not hard to find. Apart from La Cenerentola (Rome, 1817), and the "pen-and-ink sketch" farsa Adina (1818, not performed until 1826), Rossini's other works during his contract with Naples were all in the opera seria tradition. Amongst the most notable of these, all containing virtuoso singing roles, were Mosè in Egitto (1818), La donna del lago (1819), Maometto II (1820) all staged in Naples, and Semiramide, his last opera written for Italy, staged at La Fenice in Venice in 1823.

Andrew Farach-Colton of Gramophone praised the Concerto for Orchestra, saying, "One expects a concerto to be virtuosic, and Higdon peppers this one with solos for the first-desk players, while also offering plenty of opportunity for more general orchestral muscle flexing." Reviewing a performance by the Mannes College The New School for Music Orchestra, Allan Kozinn of The New York Times lauded the piece as "accessible but technically demanding" and wrote, "Like the concertos for orchestra by Bartok and Lutoslawski, this is a showpiece that makes demands on every section and often calls for unusual timbres: the quickly descending violin glissandos, which create an almost electronic effect in the third movement, for example, or the eerie bowed percussion sounds that open the fourth." Kozinn further remarked: Conversely, Andrew Clements of The Guardian called the piece "supremely forgettable" and "an example of American contemporary music at its most vacuous, a noisy mishmash of early 20th-century styles".

Similarly to Tubular Bells, the album is divided into two movements, although Hergest Ridge makes more economical use of its various themes and has more sophisticated musical development than its multi-themed and rapidly changing predecessor. Oldfield is innovative on Hergest Ridge in the novel way in which he builds up complex textures; he frequently superimposes layers of electric guitar recorded by first amplifying heavily (to achieve a sustained organ-like quality) and then reducing the volume greatly via use of the Glorfindel Box (a custom guitar effects unit housed in plywood and "extremely unreliable in its operation"Tubular.net - Tubular Bells Retrieved 19 November 2019) and the compression channel from the Manor Mixing Console, as he did on the "Guitars Sounding Like Bagpipes" section from Tubular Bells Part 2. Textures are extended further using various organ timbres and the use of voice as an instrument (the voice is never treated prominently and is deliberately reduced as much as possible and thus permitted largely for textural effect).

The impetus was as the title suggests, a chain of islands, an idea which Reynolds elaborated on with a simultaneous theme and variations process. With fifteen themes and their own variations, distributed unevenly over a thirty-two member chamber orchestra, Reynolds needed technology to transform both the timbres and the order of the sounds in ways that live performers could not. This was the first time that Reynolds spent a great deal of time working with computers to transform musical material, along with spatialization, he used a process "in which [he] was trying to take recognizable kernels and weave them into a mosaic of interacting transformations." IRCAM was an extremely fertile environment for composition, allowing the Archipelago project to thrive: > ...[T]he process [of composing the piece] was interactive because I was at > IRCAM and had the privilege of working with a very smart young composer, > Thierry Lancino, who was my musical assistant, and also consulting with > people like David Wessel and Stephen McAdams and so on.

Mallets with felt or fleece heads, drum sticks, drum brushes, and other implements are occasionally used to achieve different timbres. The playing technique used for multi-tenors is somewhat different from that of a snare drum, and more like that of a timpani because the drumhead is struck closer to the edge instead of in the center. This creates a sound with more overtones, as opposed to striking the drumhead in the center, which produces a very short, dull sound with few overtones that is considered undesirable for multi- tenors. A full-size set of tenors consists of 10, 12, 13, and toms arranged in an arc, often with an additional one or two smaller (6 or 8-inch) toms called "gock", "shot", or "spock" drums inside of the arc. Because a full-sized set of tenors with a carrier can exceed 55 pounds (recently the Dynasty Quints, thought of as one of the heaviest sets, weighed in at 32 lbs.

According to The Quietus, The Spoils "unfurled an epic sort of gloom-pop deliberately tarnished with lo-fidelity scuzz, but songs like "Clay Bodies" rose above the rubble thanks to Nika's huge delivery, full-hearted and powerful in a way that that melds a familiar diva dynamic to an abrasiveness practiced by scream queens like Diamanda Galas and Lydia Lunch. The Spoils (quoting The Fact magazine) "saw her master a unique vocabulary of drones, cavernous acoustics and rich, anachronistic vocal timbres buried within a dense layer of lo-fi grain that suggested that Zola Jesus had very much found her voice." A Boomkat reviewer pointed to "doom ridden, barely decipherable lyrics and emaciated drum machines somewhere between Siouxsie Sioux and Cold Cave" as the album's sound main feature. "The effect is a windswept and romantic scene of pop emotions wrung with blood curdling howls, bristling with synth electrics and booming with Robin Guthrie-esque drums.

The Allmusic review by Brian Olewnick stated "They're wonderful works, exploring a terrain similar to that being investigated by the Art Ensemble of Chicago around the same time: barebones themes allowing for substantial free improvisation that dealt as much with sonic space and the generation of unusual textures as anything else. "Silence," as the title implies, is largely concerned with the disposition of sounds in space and shows the strong influence that the contemporary classical world, particularly John Cage, had on these musicians in their early years". In JazzTimes Bill Shoemaker wrote "Silence is the only album Braxton recorded featuring the ostensibly co-op trio with violinist Leroy Jenkins and trumpeter Leo Smith that did not feature Braxton's compositions. Jenkins' "Off The Top Of My Head" is thematically well-grounded, allowing the trio to peel off layers of the lyrical materials in a loose counterpoint, and to propel the piece with the shifting timbres afforded by their arsenal of "little instruments.

Having worked on Pocahontas for a year, Alan Menken and Stephen Schwartz were offered multiple film projects to work on when they more or less chose to work on Hunchback being attracted to underlying themes of social outcast and Quasimodo's struggle to break free of the psychological dominance of Frollo, according to Schwartz. The film has many musical motifs that carry throughout the film, weaving their way in and out of various pieces of music, and having varying timbres depending on the action in the story at that point. The film's soundtrack includes a musical score written by Alan Menken and songs written by Menken and Stephen Schwartz. Songs include "The Bells of Notre Dame" for Clopin, Frollo and the Archdeacon, "Out There" for Quasimodo and Frollo, "Topsy Turvy" for Clopin, "God Help the Outcasts" for Esmeralda, "Heaven's Light" for Quasimodo, "Hellfire" for the Archdeacon and Frollo, "A Guy Like You" for the gargoyles and "The Court of Miracles" for Clopin and the gypsies.

Singing in broken English, which helped create passionate effects, a heavy expressive bluesy sound emerged with blistering Les Paul solos and slabs of Hammond organ backdrops, that was consolidated by Peter Panka's almost hypnotic oscillating drum beats, that would characterize Jane's music for almost 40 years. Together was warmly received by the German music press including Sounds magazine, who had declared Pulst its vocalist of the year for 1971. The first of an almost continual succession of lineup changes occurred later that year with Pulst departing and Maucher bowing out for health reasons. Former Justice Of Peace guitarist Wolfgang Krantz joined on bass and guitar with Panka and Hess sharing the vocals, which displayed even more lethargic and stoned out sonic timbres. Applying their proven formula, their 1973 follow up album Here We Are was somewhat more harmonious with the addition of synthesizers, that provided spacier atmospheres and produced a fan favourite in the form of the sombre rock ballad "Out in the Rain".

Mixed reactions within the German music press did not prevent the album from being embraced by fans, that was at times similar to Pink Floyd's capacious stylings. By this time Jane had become one of the top draws in the German music scene as well as attracting followings in Switzerland and Austria even though they continued to sing in English. Recorded in the band's personal 24 track studio, 1978's Age of Madness rocked it out a little harder maintaining emotional spacey timbres and was released internationally, being presented in clear and red vinyl formats on the now defunct Canadian label Bomb Records. A successful European tour ensued but Wieczorke departed in early 1979. Jane's following album Sign No. 9 (1979) was a near disaster with Jane being reduced to a trio forcing Hess to double on keyboards and the album inevitably had a guitar dominated sound, which was devoid of the spacious moods created by lush keyboards on earlier Jane recordings.

In 1979 Coello wrote his first book of poems entitled Dunes, Oysters and Doorbells (De dunas, ostras y timbres) was published with a foreword by Washington Delgado Tresierra. His second poetry collection, Sky of this World (Cielo de este mundo), was published in 1980 with a foreword by Manuel Pantigoso. In the field of literary studies his works include: Peru in Literature (El Perú en su Literatura), 1983; Beginnings of Spanish Poetry in Peru (Los inicios de la poesía castellana en el Perú), 2001; Origins of the Spanish Novel in Peru: The capture of Cuzco (Los orígenes de la novela castellana en el Perú: La toma del Cuzco 1539), First Edition 2008. Aside from his published books he is also the author of numerous academic texts, among which are: Our Castilian (Nuestro Castellano), 1994; Art and Grammar of Our Castilian (Arte y gramática de nuestro castellano), 1995; and Classical Semiotics Manual (Manual de semiótica clásica), 2007.

Howard Brown, while acknowledging the importance of vocal transcriptions in Renaissance instrumental repertoire, has identified six categories of specifically instrumental music in the sixteenth century: # vocal music played on instruments # settings of preexisting melodies, such as plainchant or popular songs # variation sets # ricercars, fantasias, and canzonas # preludes, preambles, and toccatas # music for solo voice and lute While the first three could easily be performed vocally, the last three are clearly instrumental in nature, suggesting that even in the sixteenth century, composers were writing with specifically instrumental capabilities in mind, as opposed to vocal. In contention of composers' supposed indifference to instrumental timbres, Brown has also pointed out that as early as 1533, Pierre Attaignant was already marking some vocal arrangements as more suitable for certain groups of like instruments than for others. Furthermore, Count Giovanni de' Bardi, host of a gathering of prominent 1580s scholars and artists known as the Florentine Camerata, was demonstrably aware of the timbral effects of different instruments and regarded different instruments as being suited to expressing particular moods.

Loom shuttles, source of the form-marking sounds in Trans The overall course of the entire piece came to Stockhausen in a dream during the night of 9–10 December 1970. In the morning, he had an early appointment, but took the time to jot down briefly in words what he had heard and seen: "Dreamt orchestral work … orchestra sits in series … sound wall opens with different intervals at periods of about twenty seconds, allowing music behind this wall to come through—brass and woodwinds mixed—and I hear low instruments that are the fundamentals; in timbres they're colored like organ mixtures. With each low melodic line of one of the lower instruments there are several instruments in parallel, playing softer and coloring this low sound … at the same time I hear the sound of a weaving chair" . When he was asked by Otto Tomek to compose a piece for the Donaueschingen Festival the next October, Stockhausen first arranged to make some experiments for staging, lighting, and performing action in the hall there.

Finnadar Records (1974) LP notes by Karen Phillips from Viola Today LP by Karen Phillips, SR 9007 In general, Bedford's music has a tendency to harmonic stasis, the main interest instead being created by shifting timbres and textures. The score to The Song of the White Horse (1978), posted by family of David BedfordDavid Bedford's The Song of the White Horse BBC Radio 3 instructs the choir to inhale helium gas to be able to reach the highest notes near the end of the piece.Oldfield Music Records (1983) LP notes from Star Clusters, Nebulae and Places in Devon / The Song of the White Horse LP, OM 1 In his music for voice, he set many texts by the poet Kenneth Patchen, especially on Music for Albion Moonlight which set four Patchen poems to music, and Instructions for Angels (1978), an album which uses Patchen's poems for inspiration and song titles, although Patchen's poems are not sung or recited in the music, but are printed on an insert. Science fiction was a repeated area of interest for Bedford.

Writing soon after Debussy's death, Newman found them laboured – "a strange last chapter in a great artist's life"; Lesure, writing eighty years later, rates them among Debussy's greatest late works: "Behind a pedagogic exterior, these 12 pieces explore abstract intervals, or – in the last five – the sonorities and timbres peculiar to the piano." In 1914 Debussy started work on a planned set of six sonatas for various instruments. His fatal illness prevented him from completing the set, but those for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1917 – his last completed work) are all concise, three-movement pieces, more diatonic in nature than some of his other late works. Le Martyre de saint Sébastien (1911), originally a five-act musical play to a text by Gabriele D'Annunzio that took nearly five hours in performance, was not a success, and the music is now more often heard in a concert (or studio) adaptation with narrator, or as an orchestral suite of "Fragments symphoniques".

Stockhausen called both of these possibilities "polyvalent form", which may be either open form (essentially incomplete, pointing beyond its frame), as with Klavierstück XI (1956), or "closed form" (complete and self-contained) as with Momente (1962–64/69). In many of his works, elements are played off against one another, simultaneously and successively: in Kontra-Punkte ("Against Points", 1952–53), which, in its revised form became his official "opus 1", a process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations). In Gruppen (1955–57), fanfares and passages of varying speed (superimposed durations based on the harmonic series) are occasionally flung between three full orchestras, giving the impression of movement in space. In his Kontakte for electronic sounds (optionally with piano and percussion) (1958–60), he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre.

Norbakken is a graduate of the Jazz program at Trondheim Musikkonservatorium (1985–88), and is one of the most renowned Scandinavian percussionists. He started going on international venues within Mari Boine Band, and recorded Goaskjinvellja, Lehakastin, Ballvvoslatina, and live Eallin (1997) with her, then continued with Maria Joao, Jon Balke, Kari Brenmes, Ayub Ogada and an impressive list of Norwegian and international musicians. After working with arvmusic on Mari Boine's tours, he recorded and played live with Ayub Ogada (in trio with Giovanni Amighetti and with a full big band including sound engineer Geir Ostensio, Gjermund Silset, Giovanni Amighetti and Roger Ludvigsen), Vladimir Denissenkov, Tiziana Ghiglioni in "La voce del Mondo" and Guo Yue with Shan Qi. Norbakken developed a very original percussions style, based on sound research, hand-made instruments and original timbres merge. Everything go into strict multirythmical patterns those remember at the same moment Steve Reich, Philip Glass and Doudou N'Dyae Rose works... In studio he is a master in creating particular structures using (many) tracks and percussions over recordings.

Moderator DJ Nihal introduces members of the Elysian Quartet (Laura Moody, cello, Vincent Sipprell, viola) before a performance on 23 August 2012, as part of the Birmingham Opera production of Mittwoch aus Licht at the Argyle Works, Digbeth, Birmingham A performance requires: four helicopters, each equipped with a pilot and sound technician, television transmitter and three-channel sound transmitter, and an auditorium with four columns of televisions and loudspeakers, a sound projectionist with mixing desk, and a moderator (optional), as well as the members of the string quartet. The piece focuses on Stockhausen's dreamed idea of a string quartet playing tremolos which blend so well with the timbres and the rhythms of the rotor blades that the helicopters sound like musical instruments. This is accomplished by using microphones placed so the helicopters may blend with the stringed instruments, with the instruments being heard as slightly louder than the blades. The piece is played as follows: A moderator, who may be the sound projectionist, introduces the quartet, and then explains the technical aspects of the piece.

"A 'punctual' ensemble style using ten soloists divided into six sound groups ((1) flute-bassoon, (2) clarinet–bass clarinet, (3) trumpet-trombone, (4) piano, (5) harp, (6) violin- violoncello) is transformed irregularly but steadily into a soloistic style articulated by 'groups', gradually focussing on the piano part" . This version adds progressively longer insertions of denser note groups, often in single instruments, while at the same time gradually replacing more and more long notes with groups of rapid, shorter ones in a technique called Ausmultiplikation . This gradual erosion of the originally sparse texture, reflected in the hyphenated title (meaning "Against Points"), complements three parallel processes already present in the first version: (1) the heterogeneous timbres of the full ensemble are gradually reduced to the "monochrome" of the solo piano; (2) widely fluctuating durations reduce to similar values; (3) wide-ranging dynamics reduce to a generally soft level. This unidirectional process has been compared on the one hand to that of Maurice Ravel's Boléro , and on the other to Haydn's "Farewell" Symphony .

We had the real McCoy in Stepan Rostomyan’s utterly transcendent Third Symphony, which began deep in contemplation and built to an instrumental and electronic heavenly choir like what you have not heard, See ecstasy in music? It brought the house down. Definitely the smash hit of “New Beginnings” festival. Michael Timelty (“Glasgow Herald”, November 27, 1989) Atmospheric sounds of the Armenian Church music mingled with electronic strings and piano timbres and the acoustic instruments in a slow and solemn movement that reached a searingly intense climax. Those two pieces rate as the best and the most sincere works so far played in the “New Beginnings” Festival. Janet Beat (“Scotsman”, November 28, 1989) Rostomyan’s Third Symphony-the great popular success of “New Beginnings”- carried its listeners inexorably from its wonderfully atmospheric opening, to the voluptuous, Holywoodish glamour of its heavenly chorus. Jings, I was nearly greetin’ at it, transfixed by the sheer sonic splendor. It had a soul like a calculation. Michael Timelty (“Glasgow Herald”, November 29, 1989) I was most intrigued by the Third Symphony.

Many of his vocal works were written for the virtuoso mezzo-soprano singer Jan DeGaetani. Black Angels (1970) is another piece which displays Crumb's interest in exploring a wide range of timbres. The piece is written for electric string quartet and its players are required to play various percussion instruments and to bow small goblets as well as to play their instruments in both conventional and unconventional ways. It is one of Crumb's best known pieces, and has been recorded by several groups, including the Kronos Quartet.Elektra Nonesuch CD 7559-79242-2 Crumb's most ambitious work, and among his more famous, is the 24-piece collection Makrokosmos, published in four books.Kennedy, Michael (2006), The Oxford Dictionary of Music, 985 pages, The first two books (1972, 1973), for solo piano, make extensive use of string piano techniques and require amplification, as dynamics range from pppp to ffff; the third, known as Music for a Summer Evening (1974), is for two pianos and percussion; the fourth, Celestial Mechanics (1979), is for piano four-hands.

With the timbre-to-shape variant that, differing sonic timbres give rise to a visual language of sound. Notable events in the group's history include a 2020 performance at the Tate Britain where their Come Hell Or High Water LP was on display, a 2019 performance for an audience of synesthetes at the Moscow Conservatory, NASA's mission control staff declaring their fandom and synchronizing The Flowers of Hell song Sympathy For Vengeance with fresh Discovery shuttle footage, Lou Reed highly praising the group and starting his final radio show with three of their recordings,, My Bloody Valentine's Kevin Shields inviting the group to open for one of the eight dates on their 2008 reunion tour, and closing the Intersection Festival of experimental classical music on Toronto's main square in 2011 and 2015. In 2010 Greg Jarvis made headlines after being detained in Sentani, West Papua by rebel soldiers from the Organisasi Papua Merdeka - Jarvis was mistaken for a spy and used a ukulele to prove he was a musician.

In The Tempest, a ballet based on Shakespeare's play, electronics and orchestral sounds are again mixed, while the focus is more strongly on vocal music (e.g. the 'double voice' of Caliban), while Nordheim's continued use of historical elements is shown by the incorporation of Leonardo da Vinci's musical rebus, which solved reads Amore sol la mi fa remirare, la sol mi fa sollecita. 1968 saw Arne Nordheim being bestowed with the Nordic Council Music Prize for his Eco for soprano, two choirs and orchestra. The work marks the start of a new development phase, in which Nordheim proved that he could create electrophonic-sounding timbres from conventional instruments. Throughout his career, Nordheim would receive a number of commissions which would result in such works as Greening (1973) written for Zubin Mehta and Los Angeles Symphony Orchestra; the ballet Stormen (1979) for Schwezinger Festival in Germany; the cello concerto Tenebrae (1980) for Mstislav Rostropovitch; Aurora (1983) for vocal ensemble Electric Phoenix and the orchestral work Magma (1988) for the Concertgebouw Orchestra in Amsterdam.

Webern's compositions are concise, distilled, and select; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez later oversaw a project to record all of his compositions, including some of those without opus numbers, the results fit on just six CDs. Although Webern's music changed over time, as is often the case over a long career, it is typified by very spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often with leaps greater than an octave; and brevity: the Six Bagatelles for string quartet (1913), for instance, last about three minutes in total. Webern's music does not fall into clearly demarcated periods of division because the concerns and techniques of his music were cohesive, interrelated, and only very gradually transformed with the overlap of old and new, particularly in the case of his middle-period lieder. For example, his first use of twelve-tone technique was not especially stylistically significant and only eventually became realized as otherwise so in later works.

The function of these parentheses is to recall material that has already been heard and to introduce fragments that will be fully developed later.Simon Marin's liner notes (Erato CD 0630-14068-2) It is based on a hexachord (C-G-F-G-C-D) which highlights the intervals of fifth and major second. Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics…) resulting in a difficult and elaborate work. He also published various works for piano (3 Préludes, Figures de résonances) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter work was originally composed on the occasion of Paul Sacher's 70th birthday in 1976, on a request by the Russian cellist Mstislav Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re (Es is E in German, H is B in German, and Re is D in French; see Sacher hexachord). He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit etoilée, inspired by Vincent van Gogh's The Starry Night.