Robert Cogan - Toward a Theory of Timbre

Toward a Theory of Timbre: Verbal Timbre and Musical Line in Purcell, Sessions, and Stravinsky Author(s): Robert Cogan Source: Perspectives of New Music, Vol. 8, No. 1 (Autumn - Winter, 1969), pp. 75-81 Published by: Perspectives of New Music

Stable URL: http://www.jstor.org/stable/832123 .

Accessed: 06/12/2013 04:29

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

.

Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music.

http://www.jstor.org

This content downloaded from 78.104.70.246 on Fri, 6 Dec 2013 04:29:37 AM All use subject to JSTOR Terms and Conditions

_T_O_W_A_R_D A THEORY

OF _T_I_M_B_R_E_:

_V_E_R_B_A_L TIMBRE AND MUSICAL _L_I_N_E

IN _P_U_R_C_E_L_L_, SESSIONS, AND STRAVINSKY

ROBERT COGAN

TIMBRE,

of all the parameters

every

of _m_u_s_i_c_, is theone leastconsidered.

Î^t ^lâ^c^k^s ⁿô^t only âⁿ

obscurity ⁱ^s ⁱⁿ part notational, ⁱⁿ partanalytical ^-

historical.While

_f_i_x_i_n_g and _n_o_t_a_t_i_n_g the timbralfeaturesofa

cent ₍₁₇₅₀ is a convenient _d_a_t_e_, _a_s _a _n_o_r_m₎_, _t_h_e _p_e_c_u_l_i_a_r_i_t_y _o_f _t_i_m_b_r_a_l

notation has not _b_e_e_n

recognized. _t_i_m_b_r_e_s_, butratherthemeans- _p_a_r_t_i_c_u_l_a_r_l_y theinstrumentalmeans-

adequate theory, but even an inadequate ôⁿê^. Î^t^s

musician

âⁿ^d in _e_a_c_h

respect

^kⁿô^w^s^t^hâ^t^t^hê compositional â^c^t ô^f

^wô^r^kⁱ^s comparatively ^rê^-

Its usual notationindicates _n_o_t

analogous

to luteand

ⁱⁿ^s^t^rû^mêⁿ^tâ^l fingerpositions. Can

in

manyrespects

relationsifall

pitch

used to achieve them. ₍_T_h_i_s is

_g_u_i_t_a_r notationof _p_i_t_c_h_e_s _b_a_s_e_d _o_n

one

notationwere _b_a_s_e_d _o_n

the

followedcen-

^tû^rⁱê^sâ^f^tê^r pitch âⁿ^d _r_h_y_t_h_m _n_o_t_a_t_i_o_n_; ithas also remainedone _s_t_e_p

furtherremoved fromitsessential

^t^hâⁿ ^t^hô^sê ô^t^hê^r ⁿô^tâ^tⁱôⁿ^s (however questionable and _i_n_a_d_e_q_u_a_t_e theymaybe).

imagine

the

problems ^fô^r^t^hê _t_h_e_o_r_y of _p_i_t_c_h

ⁱⁿ^s^t^rû^mêⁿ^tâ^l manipulation, ratherthan on

Thus timbralnotationnot

only

territory ^-

the natureof _t_i_m_b_r_e -

resultingsounds?)

Timbral

analysis

is even more recent than timbralnotation.The

Quality

V

Chapters of Musical _T_o_n_e_s_" and

_s_u_b_s_e_q_u_e_n_t theoreticalcon-

by

essentialformulationsof _H_e_l_m_h_o_l_t_z _d_a_t_e _f_r_o_m₁₈₅₀_-₈₀_.

and VI ₍_"_O_n the Differencesin the

"On the _A_p_p_r_e_h_e_n_s_i_o_n of _Q_u_a_l_i_t_i_e_s of _T_o_n_e_"₎ of hisOn theSensations

_o_f Tone have

siderationof timbre.These _l_a_t_e_r _s_t_u_d_i_e_s have been undertaken

acousticians, engineers,linguists,physicists, and _p_s_y_c_h_o_l_o_g_i_s_t_s₍_a_m_o_n_g

_o_t_h_e_r_s₎_; _r_a_r_e_l_y_, if _e_v_e_r_, _b_y musicians. _T_o _b_e _d_o_n_e _w_i_t_h _a_c_c_u_r_a_c_y_,

^tⁱ^m^b^râ^l analysisrequiressophisticatedtechnology of a kindwhichhas

existed forless than

remarkable for _t_h_e_i_r _p_e_r_i_o_d_, contain inaccuracies _d_u_e _t_o _t_e_c_h_n_i_c_a_l

limitations. Helmholtz _s_h_o_w_e_d _t_h_a_t _t_i_m_b_r_e ₍_w_h_i_c_h _h_e _c_a_l_l_e_d

dered as _q_u_a_l_i_t_y_b_y his translator)depends _p_r_i_n_c_i_p_a_l_l_y_u_p_o_n the num-

provided the basis for all

fiftyyears.

Even the observationsof _H_e_l_m_h_o_l_t_z_,

Klangfarbe, ren-

^. 75-


PERSPECTIVES

OF NEW MUSIC

_p_a_r_t_i_a_l_s of a fundamental.

_T_h_u_s _t_i_m_b_r_a_l _a_n_a_l_y_s_i_s_r_e_q_u_i_r_e_s _m_e_a_s_u_r_e_m_e_n_t_a_n_d considerationofthe

spectrum ô^f â ^sôûⁿ^d^. ^T^hⁱ^s ⁱ^s â ^mâ^t^tê^r requiring ^bô^t^h ^tê^c^h^-

overtone

nical and _c_o_n_c_e_p_t_u_a_l delicacy. In fact, the crude, specious use ô^f

the overtone _p_h_e_n_o_m_e_n_a

Hindemith, _b_y _p_u_r_e

admirable _w_o_r_k₎_, and _b_y

more difficultthe _p_r_o_p_e_r use of these _p_h_e_n_o_m_e_n_a to illuminate

timbre. (Helmholtz

danger ô^f inappropriate

generalization ^f^rô^m ^t^hê

insufficient, _p_a_i_n_s

ber and relative _i_n_t_e_n_s_i_t_y of the

sounding

by composer-theorists ^f^rô^m ^Râ^mêâû

^tô

theoristssuch as Schenker ₍_d_e_s_p_i_t_e much other

engineers

_s_u_c_h _a_s _O_l_s_o_n has in itselfmade

was _h_i_g_h_l_y aware of the

overtone series and

took considerable,

if

to avoid it in his own _w_o_r_k_.₎

significantly ⁱ^l^lû^mⁱ^-

a _t_h_e_o_r_y of timbreas a whole. It

_d_o_e_s intendto showthat _u_s_i_n_g timbralinformationnow ₍_a_n_d forsome

years) available, ^cê^r^tâⁱⁿ aspects

nated-that it is _p_o_s_s_i_b_l_e to _m_a_k_e _a _b_e_g_i_n_n_i_n_g toward the musical

_a_n_a_l_y_s_i_s of timbre.

This brief

paper ^wⁱ^l^l ⁿô^t supply

of music can be

I

Languages

are timbral _s_y_s_t_e_m_s of considerable _c_o_m_p_l_e_x_i_t_y and

and _s_o_m_e vowel-like _c_o_n_s_o_n_a_n_t_s₎_. The

Qualities ô^f Tone"; ê^vêⁿ

Bell). Since language and _i_t_s tim-

language

interrelationships ^bê^t^wêêⁿ ^tⁱ^m^b^rê âⁿ^d

_s_u_b_t_l_e_t_y_._T_h_e_y consist of a _v_a_r_i_e_t_y of attacks ₍_c_o_n_s_o_n_a_n_t_s₎ and su-

_s_t_a_i_n_e_d timbres ₍_v_o_w_e_l_s

acoustical nature of _l_a_n_g_u_a_g_e _s_o_u_n_d_s _h_a_s been studied more thor-

of timbres.A _s_e_c_t_i_o_n of Helmholtz'

_d_u_r_i_n_g histime

workingintensively ⁱⁿ ^t^hⁱ^s^fⁱê^l^d (including

Chapter

oughly ^t^hâⁿ any ô^t^hê^r group

V is named "Vowel

a number of otherswere

Melville _B_e_l_l_, father of Alexander Graham

timbrehas been so _g_r_e_a_t_l_y _s_t_u_d_i_e_d_, and since

bres are _c_o_m_p_o_n_e_n_t_s of _m_a_n_y musical _w_o_r_k_s_, it is a useful _s_t_a_r_t_i_n_g

_p_l_a_c_e for consideration of

other musical features.

_T_h_e basis of the

timbral _a_n_a_l_y_s_e_s in this _p_a_p_e_r are the

spectro-

graphic analyses ô^f ^R^. ^K^. Potter, ^G^. Â^. Kopp, âⁿ^d ^H^. ^G^. Kopp ⁱⁿ

Visible

Example Î reproduces spectrographicanalyses

English. (The analyses

_p_a_r_t_i_a_l_s ô^f êâ^c^h vowel.Potterand the

widthof 300

cycles, _d_e_t_a_i_l_s_, but shows most _c_l_e_a_r_l_y the

foreach vowel. Such _a_n_a_l_y_s_i_s was done in the

3,500

between70 and

_S_p_e_e_c_h ₍_D_o_v_e_r Publications,

were obtained

originally published ⁱⁿ 1947).

of the vowels of

by filtering âⁿ^d measuring

the

used a filterwitha band-

Kopps

whichresultsin _t_h_e

suppression ô^f ^sô^mê minute

^côⁿ^cêⁿ^t^râ^tⁱôⁿ^sô^f vibratingpartials

range

bulk of vibration _e_n_e_r_g_y and variation

in structureare _c_o_n_c_e_n_t_r_a_t_e_d_.₎ It is the second bar fromthe bottom in each _s_p_e_c_t_r_o_g_r_a_p_h whichmost _s_t_r_o_n_g_l_y characterizesvowel _s_o_u_n_d_s_,

due to its strength and variability of position. Potter and Kopps

cycles, ^w^hê^rê ^t^hê great

S76


TOWARD A THEORY

OF TIMBRE

:

9

eve ~

t

at

ak

oot

.t.

fath.r

b.y. b.t

Schematic Representation ô^f ^t^hê Spectrographs

!i~i~iiiii~i

ii

r (it)

a (hate)

? (met)

to(at)

an(s)

i eve)

.

.

.

.

.

?

:!~ ii~i~~iiiiiiii~ll

,

a(fa

ther(

)e)

(put)

i

iboot

4

a

4 (u)

a(bout)

(Genera (church) A

a) (lsltern) (chureh)

77 ^-


PERSPECTIVES

OF NEW MUSIC

referto the concentrationof _p_a_r_t_i_a_l_s_r_e_p_r_e_s_e_n_t_e_d_b_y thatbar _a_s the hub. It is clearfromthese _a_n_a_l_y_s_e_s thateven whenthefundamental _p_i_t_c_h

of vowelsis identical ₍_a_s in these _s_p_e_c_t_r_o_g_r_a_p_h_s₎_, vibrationsare set _u_p

which

upon ^t^hê

_e_m_p_h_a_s_i_z_e_s different _p_a_r_t_i_a_l_s and different _r_e_g_i_o_n_s

hub of each of thevariousvowels- their

is different. ₍_A_n _a_n_a_l_o_g_o_u_s situationobtainsforvarious

of course.) While

be modifiedsomewhatin variouscon-

_t_e_x_t_s_, it _d_o_e_s _u_n_v_o_i_c_e_d_, as nunciation

range, or pro-

vary ⁱⁿ intensity ⁱⁿ ^dⁱ^f^fê^rêⁿ^t frequencyregions, depending

_s_p_e_c_i_f_i_c vowel. The

ô^vê^r^tôⁿê spectrum

of each vowel ô^f partials. ^T^hê

point

of

greatestintensity ^-

instruments,

a vowel

may not _l_o_s_e itsindividualstructureand _i_d_e_n_t_i_t_y_, even when

in a _w_h_i_s_p_e_r ₍_n_o_r do differencesof _s_e_x_,

â^f^fê^c^t^t^hê^sê partial-concentrationpatternssignificantly).

arranged, then,

in a scale

according

to the relative

referto _t_h_i_s_, as Helmholtz _d_i_d_, as a

ô^f brightness (the ^tê^r^m

is irrelevantfor our _p_u_r_p_o_s_e_s_; it is the

whichis _i_m_p_o_r_t_a_n_t₎_.₍_S_e_e thevowelorder under "motionof

2, 3, and ₄_.₎

The vowelscan be

_h_e_i_g_h_t of their _h_u_b_; one _m_i_g_h_t

scale

ordering

the vowel hubs" in Exx.

Only ^t^hê diphthongspresentambiguities; ^t^hêⁱ^r patterns â^rê chang-

any

anydiphthong ⁱ^s â^s ^dê^-

othervowel. _T_h_e_y are no

_i_n_g ratherthan fixed.However, the _c_h_a_n_g_e in

_f_i_n_e_d_a_n_d constantas the _s_t_r_u_c_t_u_r_e_o_f

_m_o_r_e _u_n_a_n_a_l_y_z_a_b_l_e _o_r _a_r_b_i_t_r_a_r_y than othertimbres.

II

usage by composers, text _s_e_t_t_i_n_g_s for voices? One senses thatthe _a_n_s_w_e_r

is _y_e_s_, _y_e_t this intuitionis never tested. Musicians have _a_n_a_l_y_z_e_d

^fô^r example, ⁱⁿ

Does the nature of vowel timbreaffecttheir

textual _s_e_t_t_i_n_g_s in a _v_a_r_i_e_t_y of other _w_a_y_s_. Reese showed that

rian chant

example ^hê chose, "Jubilate Deo"; Music in ^t^hê^Mⁱ^d^d^lê Ages,p.

It has oftenbeen _s_u_g_g_e_s_t_e_d _t_h_a_t_w_o_r_d_s _o_f _s_e_m_a_n_t_i_c _i_m_p_o_r_t_a_n_c_e _a_r_e

placed prominently, â^t high, ô^r occasionally low, points. Symbolic _a_n_a_l_y_s_i_s is not unknown.Of these _o_n_l_y _t_h_e firsthas _t_o _d_o withthe _n_a_-

ture of

structureof words ratherthan theirtimbralstructure.

even that _h_a_s to do with the

Grego-

the

frequently ^rⁱ^sê^s^fô^râⁿ accented syllable(particularly ⁱⁿ

166).

sound, _y_e_t

rhythmic-dynamic

It is _p_e_r_h_a_p_s ironic that in the art of "sound _a_n_d _t_i_m_e_,_" in _S_t_r_a_-

to sound. For the most

analysis" ô^f^vô^câ^l music,

_v_i_n_s_k_y_'_s_p_h_r_a_s_e_, so littlenoticehas been _g_i_v_e_n

part

the

tion does not exist.

one has been contentwith _"_p_u_r_e musical

purityderiving ⁱⁿ part ^f^rô^mâⁿ assumption

thatthetimbral _q_u_e_s_-

_E_x_a_m_p_l_e_s ₂_, ₃_, and 4 constitutethebulkofthis

study.They present

of "When I Am _L_a_i_d in Earth" fromPur-

phrase-by-phraseanalyses cell'sDido andAeneas,portions _o_f_S_e_s_s_i_o_n_s_'_"_O_n _t_h_e_B_e_a_c_h _a_t _F_o_n_t_a_n_a_,_"

- 78.


TOWARD A THEORY

OF TIMBRE

and _S_t_r_a_v_i_n_s_k_y_'_s "Full Fadom Five" fromthe

_S_h_a_k_e_s_p_e_a_r_e_. The _a_n_a_l_y_s_e_s _c_o_n_s_i_s_t_i_n each _c_a_s_e of the vowel

_t_h_e _t_e_x_t_s_, fromwhichis _e_x_t_r_a_c_t_e_d the line of _h_u_b_s_. _T_h_i_s line of hubs

_r_e_p_r_e_s_e_n_t_s the essentialacousticalmotionof _t_h_e_t_e_x_t _p_e_r _s_e_, a motion

which, _a_c_c_o_r_d_i_n_g to the successionof vowels,

ous

vide

_c_r_u_c_i_a_l_.₎ _T_h_e _l_i_n_e of hubs is then

the voice

_a_r_e detailed in

Examples

only

progressesthrough ^vâ^rⁱ^-

^T^h^rêê Songsof

William

spectra ô^f

frequencyregions,high

only

and _l_o_w_, as charted. ₍_T_h_e consonants _p_r_o_-

less

brief _i_n_t_e_r_r_u_p_t_i_o_n_s and articulations; as such _t_h_e_y are

compared

commentary ⁱⁿ ^t^hê

withthelinearmotionof

melody; particularlyinterestingaspects ô^f ^t^hⁱ^s comparison

graphs. The following ^sê^r^vê^s

boxes below the linear

₂_-₄ should _b_e considered in detail.

as a _s_u_m_m_a_r_y of whatis revealed in them.

PURCELL.

The

phraseapexes

ofits _r_i_s_i_n_g_p_r_i_n_c_i_p_a_l linecoincidewith

of

"laid" âⁿ^d "may," ^t^hê ^"ⁱ^" _'_s

motionsof the melodic line into

vowels:

high-spectrum(bright) ^vô^wê^l^s^: ^t^hê "e"

of "re-(member) me." _D_e_s_c_e_n_d_i_n_g

theinnervoice lead intoor

^t^hê "3" ô^f "earth"; ^t^hê "6" ô^f "wrongs";

ble"; the "a" of "ah"; the "o" of

_p_i_e_c_e ⁱ^s ôⁿ ^t^hê prolonged,

spectrum ⁱⁿ English.

timbral-linear _c_o_r_r_e_s_p_o_n_d_e_n_c_e_s_: the

_"_l_a_i_d_" ₍_m_. ₃₎ and the later

_"_r_e_-₍_m_e_m_b_e_r₎ me" are crucial in

timbral-linear _s_t_r_u_c_t_u_r_e of the _p_i_e_c_e_.

_v_o_i_c_e _d_e_s_c_e_n_t_, mm.6-8 ofthevoice

^tⁱôⁿ ô^f ^t^hê low-spectrum "no trou-ble," just

^dê^s^cêⁿ^t depends upon ^t^hê repetition(and _p_r_o_l_o_n_g_a_t_i_o_n_!₎

spectrum ^"â^h for-(get)."

^côⁱⁿ^cⁱ^dê^wⁱ^t^h low-spectrum(dark)

^t^hê "A" âⁿ^d ^"â^" ô^f "trou-

_a_p_e_x of the entire

"me," ^t^hê highest vowel

Textual _r_e_p_e_t_i_t_i_o_n_s reiterateand _i_n_t_e_n_s_i_f_y these

"for-(get)." ^T^hê

stressed "i" of

repetition ô^f ^t^hê high-spectrum

multiplerepetitions ô^f ^t^hê high-spectrum

creating ^t^hê apex ô^f

principal

Likewise, ^t^hê contrasting ⁱⁿⁿê^r^-

the

melody,depends _u_p_o_n the _r_e_p_e_t_i_-

as the

concluding

linear

of thelow-

verbal timbral _d_e_s_i_g_n is characterized _b_y _p_r_e_v_a_i_l_i_n_g

_h_i_g_h_-_s_p_e_c_t_r_u_m sounds contrastedwithan _a_c_c_e_n_t_e_d _e_n_d_-_t_i_m_b_r_e ₍_i_n 11.

²

structureof the melodicline

^tâⁱ^lê^d correspondences

withthe

ting

the detailsof timbreand line

omitting ûⁿ^s^t^rê^s^sê^d syllables,

SESSIONS.

The

âⁿ^d 3) ô^f ^mâ^r^kê^d low-spectrumquality:"groan" âⁿ^d "stone." ^T^hê

ⁱ^s parallel.

In _a_d_d_i_t_i_o_n_, innumerablede-

are to _b_e found: the _l_i_n_e_a_r

apex coinciding

the set-

highest

vowel

_s_p_e_c_t_r_u_m_, the "i" 's of "sen-(ile)sea";

fact,

of "numbers _e_a_c_h_,_" etc. In

agree â^l^mô^s^t entirely.

STRAVINSKY.

The line

reproduces not onlymanyspecific details

general angularity.Particularly

usually

taken

of the timbralcontour, but also its

_i_n_t_e_r_e_s_t_i_n_g is the _t_r_e_a_t_m_e_n_t_o_f the word "his." What is

as

^tô ^bê âⁿ ê^xâ^c^t correspondence

of the diphthong

the beginning of the diphthong, he considers it high; when it de-

"ai" is _i_n_t_e_r_e_s_t_i_n_g_: when the verbaltimbrerisesto

Stravinsky's mannered and idiosyncraticway ^wⁱ^t^hâ ^tê^x^t^tû^rⁿ^sôû^t

of _s_e_t_t_i_n_g withtimbre.His _t_r_e_a_t_m_e_n_t

_. 79


PERSPECTIVES

OF NEW _M_U_S_I_C

^s^cêⁿ^d^s ^tô ⁱ^t^s beginning,

its

the natureof _t_h_e textand

he considers it low. This

exaggeration

of

ambiguity

adds

^fû^r^t^hê^r angularity(completely

ⁱ^t^s setting).

given

to

consistentwith

_S_p_e_c_i_a_l attentionmust _b_e

^t^hê ^lâ^s^t fragment,"ding-dong onomatopoeia-is everything;

musical

bell." Here the timbre-the verbal

meaning (in ^t^hê ^sê^mâⁿ^tⁱ^c sense) âⁿ^d syntaxdisappear. ^T^hê

setting ⁱ^s â setting ô^f

semantic-syntacticaspects. ^T^hê

^cⁱ^sê ^tⁱ^m^b^râ^l correspondence. ^Bû^t thereis yet

êⁿ^cê^. Example

almost _p_u_r_e verbal _t_i_m_b_r_e_, _d_r_a_i_n_e_d _o_f itsusual

melodic design, indeed, ^s^hô^w^s pre-

a ^fû^r^t^hê^r correspond-

In each

spectrographs ô^f "ing" âⁿ^d "ong."

A shows

ing

ong

Ex. A

case

of its

strikingly ^wⁱ^t^h Stravinsky'ssetting:

^t^hê ending "if" (ng)

preceding vowel,

has the effectof

continuing ^t^hê structure

butin _g_r_e_a_t_l_y diminished _i_n_t_e_n_s_i_t_y_. This _a_g_r_e_e_s

III

ding

dong

have not been _p_r_e_s_e_n_t_e_d to settleand close theissue

Examples 2-4 of timbreand _i_t_s

to

numberof

large

be viewedin _t_h_i_s _w_a_y_. _T_h_e

portantenough

and research.

questioning It is obviousthateven whereverbaltimbreis _a_n

the determinationof the totalmusicalstructure ₍_a_s _i_t _s_e_e_m_s _t_o _b_e _i_n

important factorin

relationship ^tô othermusical parameters, butrather

_o_p_e_n it. These _e_x_a_m_p_l_e_s have not been _s_p_e_c_i_a_l_l_y selected _f_r_o_m_a

samples; _t_h_e_y are, rather,

almostthe firstworksto

correspondences ^sêê^m consistentand ⁱ^m^-

to indicatea _p_o_s_s_i_b_l_e fruitfuldirectionof _i_n_t_e_n_s_i_v_e

these _e_x_a_m_p_l_e_s₎_, itis nota sole determinant.There _w_i_l_l_b_e _c_a_s_e_s _w_h_e_r_e

timbreis _s_l_i_g_h_t_l_y _r_e_l_e_v_a_n_t_, and those where color derivesfrom

posing ^t^hê purely

tered forces," wrote

₍_a_s another _p_a_p_e_r _w_i_l_l

Debussy, ôⁿê ô^f ^t^hê _g_r_e_a_t timbral composers

timbral _i_m_p_l_i_c_a_t_i_o_n_s_. "Musicis thesumoftotalscat-

op-

show). The role of

analysis ⁱ^s technically

₍_a_n_d _a_c_c_u_r_a_t_e_l_y₎ to reckonthat _s_u_m_; thiscan _o_n_l_y be achieved _b_y the

^. 80.


_T_O_W_A_R_D A THEORY

OF TIMBRE

the timbral.Withthe

innovationsof

through ^t^hê

sound barrier.It is leftfor _t_h_e_o_r_y to follow. The _o_r_g_a_n_i_z_a_t_i_o_n of verbal timbreadds a thirddimensionto lan-

tronic

Debussy, SchoenbergianKlangfarbenmelodie, âⁿ^d ê^lê^c^-

_p_r_e_c_i_s_e appraisal

of all of the _f_o_r_c_e_s_,

including

freedom-of-synthesis,composition

structure, _a_l_r_e_a_d_y

has moved

defined in termsof semantic _m_e_a_n_i_n_g _a_n_d

questions

structuring ô^f timbre, âⁿ^d ^t^hê relationships

^bô^t^h language

analysis (and

stage,immenselysuggestive.

guage

verbal _r_h_y_t_h_m_. The aestheticuses of _t_h_e_s_e _t_i_m_b_r_a_l

hardly

â point

raised ₍_t_h_e

between timbralstructureand other dimensionsof

and _m_u_s_i_c₎ _p_o_i_n_t to a new crucial and _d_e_e_p _l_e_v_e_l _o_f

composition!), ôⁿê whose implications âⁿ^d consequences â^rê _h_a_r_d_l_y

foreseeable, _y_e_t_, even at this

^Nê^w England Conservatory ô^f ^Mû^sⁱ^c

possibilities are

known. Even more than with _r_h_y_t_h_m_, the timbreof words _i_s

where _l_a_n_g_u_a_g_e and musicbecome almostone. The

scaling

and

.81

_.


Vowel spectra:

Vowels: ₍

_e

Text: _{

When

i-

A5-

a-

2

I

j"

U-

2-

G-

F- F-

Wa

vl_-

_a_l

I

₍_T_h_e sectionalrepetitionsareomitted.)

When

_I

am

_a

_e

_a

_e

_a_m

_l_a_i_d_,

am

laid

laid,

Thehigheststressedvoweloftheverbalphraseinte s

ofspectraandhub,the"e" of _"_l_a_i_d_"_, coincideswiththe

stressedapexes,B6andC,ofthemusicalphrase.

co,,

am

laid


Vowel spectra:

Vowels: ₍

^Tê^x^t^: ₍

_e

-

may

_a₀

_m_y

wrongs

_i

cre

0-

U-

U-

S

SD

G-

F-

_-

C-

E F-

"0

G -

r-

Thenewmelodic _a_p_e_x_,_D_, coincides

withthereturnto

vowel _q_u_a_l_i_t_y_, the "e" of _"_m_a_y_"_.

Melodicdescentcoincideswithlow-

high-spectrum spectrumvowel, "o" of "wrong".

may

may

mywrongs

my wrongs -

cre- ate

_c_r_e_-

ate

_e

_o

_A

_a

^-

ate

no

trou

^-

ble,

The repetition of"not of low-spectrumvowels _l_a_r_g_e_l_y abandonsits _u_p_p _a_p_e_x_e_s BI-C-Dfora _l_o_w terminology)region-A magnifies thevowel con

ous high-spectrum) andl

linevs.inner-voice _l_i_n_e_.

no

no

trou

trou

_b_l_e_,

_b_l_e_,


Vowel spectra:

Vowels: ₍

^Tê^x^t^: ⁽

R'

QG

0

,a

_"_'

E:

ô *

-

a-

U u- -

_D

-

F-

c-1

_C

-

F-

ⁱ

^Rê

^-

mmB

^mê^m ^- ^bê^r

_i

me,

_i

_E

Re - mem-ber

"Rememberme"repeatsthehighestvowel _t_i_m_b_r_e_,_"_i_"_, _a_t

end.Thishightimbrecoincideswiththeabruptreturnto _t_h_e_u_p_p_e_r_-_l_i_n_e_D_.

itsbeginningand

The repeatedD'sparalleland intensifytherepeated"i's".

Re - mem

-

berme,

_R_e _-

_m_e_m

_-

_b_e_r _m_e_,

_i

_m_e_,

_A_g_a_i_n_a_n_i_n_n_e

to low-spect

_B_u_t


Vowel spectra:

_"

0

Vowels: ₍

_T_e_x_t_: ₍

-

_a_i

_m_y

A- D-

G-

F-

0 F

G4

_m_y

_f_a_t_e_,

_e

_f_a_t_e_,

_i

_e

_a

Re _- mem- _b_e_r

_i

_m_e_,

_T_h_e _h_i_g_h_-_p_o_i_n_t _o_f_t_h_e_e_n_t_i_r_e_m_e_l_o_d_i_c

_l_i_n_e_,_G_, coincideswiththestressof

the _h_i_g_h_e_s_t_p_o_s_s_i_b_l_e vowel spectrum, "i" ofme".

_R_e _- mem -

ber _m_e_,

_A

but

_a

ah!

The finalfilled-inoctavedescentis largelyjoined tothe prolonged low- spectrum vowels "A,a,o".

but

_a_h_!


mm. 1-11

Vowel spectra: ₁

Vowels: _{

_T_e_x_t_: ₍

i-

C-

A -

G- 0-

U-

G-

oF-

Dl-

Ce

^-

_I

Wind

_a_I

whines

and

_a

whines

_a_a

the

_I

shin _-

_g_l_e_,

The single vowel ^"Î^" of _"_w_'_i_n_d_" and "shin-(gle)", and the pitch C join

pitch-timbralplateau at both ends ofthe phrase. The mid-phrasespectrum descent is paralleled in a generalizedway.

to fixa

Wind

Wind

whines

whines

and

and

whines

whines

the

shin

the shin ^t

_o_g_l_e_,

_a

The

e

cra

The abruptdrop of vow the melodic line. Not _o_n _m_a_t_c_h_;_m_a_n_y details-for vowels"e" ("crazy") and

The

cra

_-


Vowel spectra:

0

o

Vowels:{

Text: ₍

i-

â

_A

0

aG-

-

U

G-

u -

G-

F-

c

6

ⁱ

_s_e

-

â

nile

ⁱ

sea

â

³

ⁱ

_n_u_m - bers each

E6-

C,-

Abruptrisetodouble-stressofthehighestvowel-

spectrum, "i"

is paralleledby thewide leap to the melodyhigh-

_p_o_i_n_t_, _G_b_-_F_, whichis

soundings of"i".

of"each"attheendofthe _m_e_a_s_u_r_e_.₎

of _"_s_e_-₍_n_i_l_e₎ sea".Thevowelaccent

maintained throughout the

₍_T_h_e_h_i_g_h F returnswiththe"i"

_A

r. ----2,

_s_e

-

_n_i_l_e

_s_e_a_{_}

num-bers each

sin

Î

sin _-

-

â

_g_l_e

_g_l_e

_a_I

slime

slime _-

Î

-

sil

vered

^T^hⁱ^s ^p^h

thispa

point;i

ofthel

high-s

sil

-

vered-

_s_t_o


_m_.₁

Vowelspectra:

_

Vowels: _{

Text: _{

_v

Full

a

fa - dom

"

S

1)-

a-

u-

C-Db

A

Ab-

FZ.

E6-

_a_I

five

_a

_t_h_y

_a

Fa

a

a

-

_t_h_e_r

_l_i_e_s_,

The parallelisms ofvowel spectrum andmelodic line aremostexact

if one

_F_a_-₍_t_h_e_r₎_,_l_i_e_s_"_. The _d_i_p_t_h_o_n_g_"_a_l_" is ambiguous-itssetting in

corresponds to its higherhalf, in

"five"

_r_e_g_a_r_d_s thevowelsoftheaccented syllables:"fa-(dom),five,

"lies"to itslowerhalf.

ull fI - _o_m fi

Full

fa - dom five

th

_t_h_y

F,

Fa

-

_t_e

ther

_l_s

_l_i_e_s_,

mm.2

_i_"

Of


Vowel spectra: _i

Vowels:

^Tê^x^t^: _{

_o

Those

o CA-

0s0

â^-

a-

U-

DI,-

.4 ^F^F

Those

_a

are

are

_p_e_a_r_l_e_s

_a

pearles

_a

_a

_I

that

were

his

that

were

_h_i_s

_e_i_e_s_,

eies,


Muito mais do que documentos

Robert Cogan - Toward a Theory of Timbre

Enviado por

Dados do documento

Descrição:

Data de envio

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Descrição:

Direitos autorais:

Formatos disponíveis

Robert Cogan - Toward a Theory of Timbre

Enviado por

Descrição:

Direitos autorais:

Formatos disponíveis

Títulos relacionados

Interesses relacionados

Documentos semelhantes a Robert Cogan - Toward a Theory of Timbre

Mais de Iliya Gramatikoff

Populares em Entertainment (General)

	^I
-	sil	vered
		^T^hⁱ^s ^p^h
		thispa
		point;i
		ofthel
		high-s
sil	-	vered-
		_s_t_o