The potential for gradual timbral
transformation is considerably enhanced thereby.
body endings I heterogeneous homogeneous II homogeneous heterogeneous III heterogeneous heterogeneous IV homogeneous homogeneous In order that this timbral
structure may be really effective as a guide to perception, Stockhausen increases its obviousness by interrupting the course of sonorities on various occasions, entrusting to the silences thus created some revealing functions of various orders.
The resulting decrease of overall vocal fold adduction could be counteracted by a slight increase of cartilaginous adduction via the LCA and IA muscles, in order to keep the timbral
change at a minimum.
In that context it is easy to change the time-scale of the model, moving from the time domain to the frequency domain, and so explore the timbral
implications of complex rhythmic structures, and go beyond what could be achieved with analog tape loops.
There is some degree of timbral
closure whenever a harmonic rises through a formant.
The quick changes of filter settings used to distinguish the various rhythmic lines of the array are responsible for the local timbral
flux, sometimes heard as octave or register changes of a filtered pitch.
Since the publication of the first composition for soprano and marimba in 1976, there has been an increasing interest among composers, as well as percussionists and singers, in compositions for this timbral
Piano, cello and guitar introduced us to Bjornstad's pretty music, classical way of melodic development and timbral
sensitivity' the more conventional piano trio, later with added saxophone, leant towards the jazz end of what the remarkably eclectic leader does.
One might make a case for accuracy being further divided into timbral
and tonal accuracy, but I believe the two are interdependent and you can't talk about one without talking about the other.
This is particularly apparent in Occasional Variations, where, as Robert Morris points out, global tempo transformations still maintain intervallic invariance in the pitch dimension, relative durational invariance in the temporal dimension, and ordinal dynamic relations, which the changes that are induced necessarily in other dimensions, particularly the timbral
, delineate immediately the parallelisms of the total composition.
In Loriod's defense, it should be remembered that, especially by the time he composed Saint Francois, some of Messiaen's gestures were conceived in timbral
or coloristic terms.
With movements entitled "Bell," "Mute," and "Slide," this composition explores the timbral
elements of the brass quintet in an astonishing variety of combinations.