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Despite its importance as a central feature of musical sounds, timbre has rarely stood in the limelight. First defined in the eighteenth century, denigrated during the nineteenth, the concept of timbre came into its own during the twentieth century and its fascination with synthesizers and electronic music-or so the story goes. But in fact, timbre cuts across all the boundaries that make up musical thought-combining scientific and artistic approaches to music, material and philosophical aspects, and historical and theoretical perspectives. Timbre challenges us to fundamentally reorganize the way we think about music.The twenty-five essays that make up this collection offer a variety of engagements with music from the perspective of timbre. The boundaries are set as broad as possible: from ancient Homeric sounds to contemporary sound installations, from birdsong to cochlear implants, from Tuvan overtone singing to the tv show The Voice, from violin mutes to Moog synthesizers. What unifies the essays across this vast diversity is the material starting point of the sounding object. This focus on the listening experience is radical departure from the musical work that has traditionally dominated musical discourse since its academic inception in late-nineteenth-century Europe.Timbre remains a slippery concept that has continuously demanded more, be it more precise vocabulary, a more systematic theory, or more rigorous analysis. Rooted in the psychology of listening, timbre consistently resists pinning complete down. This collection of essays provides an invitation for further engagement with the range of fascinating questions that timbre opens up.

Tone color (Music) --- Sound

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Keyboard instruments --- Piano --- Electronic piano --- Tone color (Music) --- Musical temperament --- Tuning. --- Tuning --- Tuning. --- History.

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Composition (Music). --- Music --- Sound. --- Tone color (Music). --- Acoustics and physics. --- Psychological aspects. --- 78.82 --- 78.65 --- 78.86.1

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"From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are analyzed in detail, from Debussy to contemporary music in the early 1st century; from rock to electronics; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts"--

Music --- Music --- Sound (Philosophy) --- Noise (Philosophy) --- Listening (Philosophy) --- Tone color (Music) --- Philosophy and aesthetics --- Philosophy and aesthetics

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Musical intervals and scales --- Music --- Tone color (Music) --- Musique --- Timbre --- Acoustics and physics --- Intervalles et gammes --- Acoustique et physique --- 78.62 --- 78.86.1