Timbre composition

Abstract: This article outlines a particular mode of composition wherein timbre emerges from micro-level processes of sonic design, on the basis of discrete-time microstructural representations of sound. This approach is characterised in terms of models of detailed sonic design and is described as a unique instance of an indeterministic style of creative thinking in electroacoustic music composition. The discussion includes examples drawn from early electroacoustic music works (Pousseur, Xenakis, Brun, Stockhausen) and more recent work in computer music, including the author's own experience with methods of granular synthesis. Finally, we examine the notion of timbre as conceived in the approach under observation, and suggest that timbre composition fosters a profound changes of compositional paradigm; indeed, it can challenge a clear-cut dualism between materials and form, and transform the conception itself of musical form into one of processes of timbre formation through time.

Abstract: Attempts to achieve a continuous change of timbre can be found all over the landscape of electronic composing. In as much as timbre is a complex parameter that fuses together all the different properties of sound into its “character”, the Klangfarbenkontinuum figures not only as an exotic effect in the universe of electronic sounds but links a musical utopia with an acoustic premise and electrotechnical reality. This can be shown in the works of Karlheinz Stockhausen and Gottfried Michael Koenig of the 1950s that were created in the course of an intensive interchange. Serial compositional methods — developed dialectically in the search for continual transitions with the help of distinct musical elements — are enriched by the scientific model of the unity of the acoustic world as it was formulated by Werner Meyer-Eppler. Electrotechnical transformations articulate the continuum of musical derivation.

Abstract: This paper presents a model to adjust timbre of software musical instrument by changing timbre parameters. The model is based on sine interpolation. It includes two sub models, vibration and amplitude envelope. To reflect the frequency spectrum, the model provides several parameters: offset coefficient, amplitude coefficient and frequency coefficient. The corresponding frequency spectrum of each parameter combination is obtained using DCT in VC++ environment. The relationship between parameters and timbres is found, by analyzing how parameters affect frequency spectrums. The results show that increasing offset coefficient and amplitude coefficient or reducing frequency coefficient can enhance the high frequency sections; thus instrument timbre is bright while contrarily timbre is faint. Compared with the technology of hardware-oriented timbre composition, this software method is flexible, revisable, and its cost is low.

Abstract: In this article, we present and discuss timbre and sound morphology in live electroacoustic and instrumental music from a compositional standpoint. We approach interaction and convergence issues in live electroacoustic music, related to the idea of sound morphology, based on the undulatory and granular sound paradigms. In instrumental composition, we analyze instrumental synthesis based on frequency modulation so as to generate pitches and enable timbre interpolation. Timbre fusion is also addressed, based on concepts of jitter, permeability and timbre of movement (Bewegungsfarbe). For these purposes, some examples of our compositions are addressed to illustrate these sound properties. In order to analyze the generated timbres, we apply time-varying audio descriptors to reveal some characteristics of the generated timbres. We conclude by comparing the analyzed operations with the emerging form of these works considering both the micro and macro temporal aspects. This article is an extended version of the paper “Interaction, Convergence and Instrumental Synthesis in Live Electronic Music”, presented on the 12th CMMR.