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  • Marcin Strzelecki: Timbre As A Harmonic Factor in Modern Music

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    1. The document proposes a method for analyzing the relationship between timbre and harmony in modern music. It suggests taking a cognitive approach using psychoacoustic factors to measure how timbre influences the perceptual qualities of harmony. 2. Examples are provided of how timbre affects the perception of harmony, including from the experience of electric guitarists and analyses of musical works. An analytical method is proposed using multidimensional scaling to map relationships between timbres, harmonies, and psychoacoustic factors. 3. The method is applied in preliminary analyses of triads and excerpts of modern compositions. The concept of "non-transcribability" is introduced to describe how certain musical passages are highly

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    Strzelecki(2015)TimbreAsHarmonyFactor(MACKeele)

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    1. The document proposes a method for analyzing the relationship between timbre and harmony in modern music. It suggests taking a cognitive approach using psychoacoustic factors to measure how timbre influences the perceptual qualities of harmony. 2. Examples are provided of how timbre affects the perception of harmony, including from the experience of electric guitarists and analyses of musical works. An analytical method is proposed using multidimensional scaling to map relationships between timbres, harmonies, and psychoacoustic factors. 3. The method is applied in preliminary analyses of triads and excerpts of modern compositions. The concept of "non-transcribability" is introduced to describe how certain musical passages are highly

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    © All Rights Reserved
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    60 views40 pages

    Marcin Strzelecki: Timbre As A Harmonic Factor in Modern Music

    Uploaded by

    erbarium
    1. The document proposes a method for analyzing the relationship between timbre and harmony in modern music. It suggests taking a cognitive approach using psychoacoustic factors to measure how timbre influences the perceptual qualities of harmony. 2. Examples are provided of how timbre affects the perception of harmony, including from the experience of electric guitarists and analyses of musical works. An analytical method is proposed using multidimensional scaling to map relationships between timbres, harmonies, and psychoacoustic factors. 3. The method is applied in preliminary analyses of triads and excerpts of modern compositions. The concept of "non-transcribability" is introduced to describe how certain musical passages are highly

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    of 40

    Marcin Strzelecki

    Academy of Music, Krakw, Poland

    Timbre as a harmonic factor in modern music

    MAC Keele, July 2015

    1.harmonic-timbre relationship
    2.examples
    3.analytical method proposition
    4.critical notes and further studies

    1. harmonic-timbre relationship

    distinction between harmony and timbre

    acoustic
    complexity

    reduction

    musical
    notes

    practice

    theory

    reality

    ideal model

    1. harmonic-timbre relationship

    harmony-timbre relation

    Chopin
    Berlioz

    noticeable

    Debussy
    Messiaen

    Scelsi
    Grisey

    important

    essential

    1. harmonic-timbre relationship

    the question:
    does timbre influence harmonic qualities?
    pitch-sets

    instrumentation

    instrumentation

    instrumentation

    harmony

    harmony

    harmony

    2. examples

    electric guitarists experience

    chord

    overdrive

    flanger

    chorus

    harmony

    harmony

    harmony

    2. examples

    from Functional harmony by Jacek Targosz

    2. examples

    harmonic qualities
    result from the spectral content

    2. examples

    if obvious in practice
    why difficult in theory?

    western piece of music = configuration of notes

    2. examples

    academic transcription problem

    piano

    2. examples

    academic transcription problem

    piano

    string
    quartet

    2. examples

    the question
    of great importance
    in modern music

    3. analytical method proposition

    cognitive approach
    higher cognitive
    processes

    lower cognitive
    processes

    cognition

    perception

    harmonic qualia

    psychoacoustics

    3. analytical method proposition

    psychoacoustic factors
    of harmonic qualities

    sensory dissonance as example


    of harmony factor

    spectrum

    intervals

    the primary analytical concept

    timbre 1

    factor 2
    timbre 2
    timbre 3

    factor 1

    MDS
    multidimensional scaling

    factor 2

    distance 2

    distance 1

    distance 3

    factor 1

    which factors?

    Hermann von Helholtz


    Ernst Terhardt
    Richard Parncutt
    Tod Maschinter
    Norman D. Cook
    William Sethares

    factors:
    pitch salience
    root salience
    tonalness
    inharmonicity
    spectral antropy
    sensory dissonance
    modality
    instability
    tension

    3. analytical method proposition

    example analysis
    1. preliminary analysis of triads
    2. proper analysis of music fragments

    3. analytical method proposition

    four basic triads:


    major, minor, augumented, diminished
    five basic timbres
    strings, woodwinds, brass, piano, sinus
    three dynamics
    piano, mezzoforte, forte
    six registers
    MIDI 24-96

    modality
    vs.
    register

    brass
    wood.
    piano
    sinus
    strg.

    vs.
    instrument

    vs.
    dynamics

    dispersion in MDS model

    chord type 2

    chord type 1

    3. analytical method proposition

    realitive
    dispersion

    the non-transcribability concept

    non-transcribable

    transcribable

    3. analytical method proposition

    the non-transcribability concept

    non-transcribable

    transcribable

    analysis of music fragments


    Schnberg, Arnold
    (1909) "Fnf Orchesterstcke", Op. 16, cz. III "Farben"
    Messiaen, Olivier
    (1932-33) LAscension
    Schaeffer, Bogusaw
    (1960) "Maa symfonia - Scultura", cz. II
    Ligeti, Gyrgy
    (1961) "Atmosphres"
    Panufnik, Andrzej
    (1962, rew. 1965) "Muzyka jesieni"
    Grecki, Henryk Mikoaj
    (1965) "Refren", op. 21
    Lutosawski, Witold
    (1968) "Livre pour orchestre"
    Grisey, Grard
    (1978) "Modulations"
    Feldman, Morton
    (1985) "Piano and String Quartet"

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)

    time (s)
    wood.

    brass

    strings

    4. critical notes and further studies

    General conclusions

    timbre influences
    psychoacoustic factors of harmonic qualities
    but
    different scale of variability

    4. critical notes and further studies

    General rule

    the more complex (entropic) pitch structures


    the higher non-transcribability
    harmonic qualities of complex pitch-sets
    depend on timbre

    4. critical notes and further studies

    Application possibilities

    theory
    education

    4. critical notes and further studies

    Application possibilities

    theory
    education
    composition

    4. critical notes and further studies

    Critical notes

    need for more contextual


    harmony description

    4. critical notes and further studies

    Critical notes

    need for higher level cognitive analysis


    eg. cultural factors

    4. critical notes and further studies

    Critical notes
    psychometric question:
    relation between model and listeners experience

    sensation

    ?
    model

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