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Minding the Gap: Conceptualizing “Perceptualized” Timbre in Music Analysis

Minding the Gap: Conceptualizing “Perceptualized” Timbre in Music Analysis In the past decade, a growing music-analytic practice has emerged around timbre, a parameter long considered either irrelevant to musical structure or too unwieldy to tackle. This new practice centers on an understanding of timbre as a perceptual rather than physical (acoustical) attribute and privileges timbre as a bearer of musical meaning. Through a focused survey of scholarship on timbre from the 1980s to present, this article considers theoretical commitments and challenges that have attended the shift toward this subjective, “perceptualized” conception of timbre, particularly in light of music theory's objectivist and structuralist disciplinary leanings. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Minding the Gap: Conceptualizing “Perceptualized” Timbre in Music Analysis

Leonardo Music Journal , Volume 30: 4 – Dec 1, 2020

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/lmj_a_01088
Publisher site
See Article on Publisher Site

Abstract

In the past decade, a growing music-analytic practice has emerged around timbre, a parameter long considered either irrelevant to musical structure or too unwieldy to tackle. This new practice centers on an understanding of timbre as a perceptual rather than physical (acoustical) attribute and privileges timbre as a bearer of musical meaning. Through a focused survey of scholarship on timbre from the 1980s to present, this article considers theoretical commitments and challenges that have attended the shift toward this subjective, “perceptualized” conception of timbre, particularly in light of music theory's objectivist and structuralist disciplinary leanings.

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2020

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