Composers' Thoughts on Timbre

McGill UniversityMusic Perception and Cognition LabComposers' Thoughts

Mar 28

MPCL Bibliographies: Composers' Thoughts on Timbre

Compiled at the Music Perception and Cognition Laboratory (MPCL) — McGill University.
Updated March 28, 2022.

Bibliography

Eckardt, J. (2005). Surface Elaboration of Pitch-Class Sets Using Nonpitched Musical Dimensions. Perspectives of New Music, 43(1), 120–140.

Emmerson, S. (1994). “Live” versus “real-time.” Contemporary Music Review, 10(2), 95–101. https://doi.org/10.1080/07494469400640331

Grisey, G. (1991). Structuration des timbres dans la musique instrumentale. In J.-B. Barrière (Ed.), Le timbre, métaphore pour la composition (pp. 352–384).

Hummel, T. (2005). Simulation of Human voice Timbre by Orchestration of acoustic Music Instruments. ICMC.

Landy, L. (1994). The “something to hold on to factor” in timbral composition. Contemporary Music Review, 10(2), 49–60. https://doi.org/10.1080/07494469400640291

Vaggione, H. (1994). Timbre as syntax: A spectral modeling approach. Contemporary Music Review, 10(2), 73–83. https://doi.org/10.1080/07494469400640311

Vandenheede, J., & Harvey, J. (1985). Identity and ambiguity: The construction and use of timbral transitions and hybrids (B. Truax, Ed.; pp. 97–102). Computer Music Association, San Francisco.

Waters, S. (1994). Timbre composition: Ideology, metaphor and social process. Contemporary Music Review, 10(2), 129–134. https://doi.org/10.1080/07494469400640361

Young, J. (2005). Sound In structure: Applying spectromorphological concepts. Electroacoustic Music Studies Network, Montreal.