General (Timbre)
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MPCL Bibliographies: General (Timbre)
Compiled at the Music Perception and Cognition Laboratory (MPCL) — McGill University.
Updated March 28, 2022.
Attneave, F. A., & Olson, R. K. (1971). Pitch as a medium: A new approach to psychophysical scaling. The American Journal of Psychology, 84(2), 147–166.
Balzano, G. J. (1986). What are musical pitch and timbre? Music Perception: An Interdisciplinary Journal, 3(3), 297–314. https://doi.org/10.2307/40285339
Battier, M. (2007). La réinvention du son: De la lutherie électrique à la pensée du timbre des sons artficiels. Cahiers de La Société Québécoise de Recherche En Musique, 9(1–2), 93–104. https://doi.org/10.1121/1.4942628
Blake, D. K. (2012). Timbre as differentiation in Indie music. MTO Journal of the Society for Music Theory, 18(2), 1–18.
Boulez, P. (1987). Timbre and composition ‐ timbre and language. Contemporary Music Review, 2(1), 161–171. https://doi.org/10.1080/07494468708567057
Brattico, P., Brattico, E., & Vuust, P. (2017). Global sensory qualities and aesthetic experience in music. Frontiers in Neuroscience, 11. https://doi.org/10.3389/fnins.2017.00159
Castellengo, M. (1994). La perception auditive des sons musicaux. . Psychologie de La Musique, 55–86.
Castellengo, M., & Dubois, D. (2007). Timbre ou timbres? Propriété du signal, de l’instrument, ou construction(s) cognitive(s)? Cahiers de La Société Québécoise de Recherche En Musique, 9(1–2), 25–38.
Cogan, R. (1969). Toward a theory of timbre: Verbal timbre and musical line in Purcell, Sessions, and Stravinsky. Perspectives of New Music, 8(1), 75–81. https://doi.org/10.2307/832123
de Buzon, F. (2013). L’émergence du timbre dans la pensée musicale. Musimédiane, 7.
Dodd, J. (2010). Confessions of an unrepentant timbral sonicist. British Journal of Aesthetics, 50(1), 33–52. https://doi.org/10.1093/aesthj/ayp044
Dolan, E. I. (2006). The idean of timbre in the age of Haydn [Dissertation]. Cornell University.
Dolan, E. I. (2008). E. T. A. Hoffmann and the ethernal technologies of “Nature Music.” Eighteenth-Century Music, 5(1), 7–26. https://doi.org/10.1017/S1478570608001176
Donnadieu, S. (2007). Mental representation of the timbre of complex sounds. In J. Beauchamp (Ed.), Analysis, synthesis, and perception of musical sounds: The sound of music (pp. 272–319). Springer-Verlag New York. https://doi.org/10.1007/978-0-387-32576-7_8
Dufourt, H. (2007). De la dimension productive de l’intensité et du timbre et leur intégration au système des ‘éléments porteurs de forme.’ Composer au XXIe Siècle – Processus et Philosophies, Montreal, Quebec.
Emmerson, S. (1994). “Live” versus “real-time.” Contemporary Music Review, 10(2), 95–101. https://doi.org/10.1080/07494469400640331
Fales, C. (2002). The paradox of timbre. Ethnomusicology, 46(1), 56–95. https://doi.org/10.2307/852808
Ferrer, R. (2011). Timbral environments: An ecological approach to the cognition of timbre. Empirical Musicology Review, 6(2), 64–74.
Goodchild, M., & McAdams, S. (2018). Perceptual processes in orchestration. In E. Dolan & A. Rehding (Eds.), The Oxford handbook of timbre. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190637224.013.10
Gritten, A. (2018). Depending on timbre. Contemporary Music Review, 1–14. https://doi.org/10.1080/07494467.2018.1426905
Hajda, J. M., Kendall, R. A., Carterette, E. C., & Harshberger, M. L. (1997). Methodological issues in timbre research. In I. Deliège & J. Sloboda (Eds.), The perception and cognition of music (pp. 253–306). Psychology Press.
Houtsma, A. J. M. (1997). Pitch and timbre: Definition, meaning and use. Journal of New Music Research, 26(2), 104–115. https://doi.org/10.1080/09298219708570720
Huron, D. (2001, April 21). Toward a theory of timbre. Society for Music Theory -- MidWest 2001, Cincinnati, Ohio.
Isaac, A. M. C. (2017). Prospects for timbre physicalism. Philosophical Studies. https://doi.org/10.1007/s11098-017-0880-y
Kreitner, K., Térey-Smith, M., Westrup, J., Holoman, D. K., W., H. G., Griffiths, P., & Conrad, J. A. (2007). Instrumentation and orchestration. In D. Root (Ed.), Grove Music Online. Oxford University Press. http://www.oxfordmusiconline.com
Krumhansl, C. L. (1989). Why is musical timbre so hard to understand? In S. Nielzén & O. Olsson (Eds.), Structure and perception of electroacoustic sound and music (pp. 43–53). Excerpta Medica.
McAdams, S. (1988). Review of Sound Color by Wayne Slawson. Journal of the Acoustical Society of America, 84, 1957-1958(B).
McAdams, S. (1989). Psychological constraints on form-bearing dimensions in music. Contemporary Music Review, 4(1), 181–198. https://doi.org/10.1080/07494468900640281
McAdams, S. (2013). Musical timbre perception. In D. Deutsch (Ed.), The Psychology of Music (3rd Edition) (3rd ed., pp. 35–67). New York: Academic Press. https://doi.org/10.1016/B978-0-12-381460-9.00002-X
McAdams, S., & Goodchild, M. (2017). Musical structure: Sound and timbre. In R. Ashley & R. Timmers (Eds.), The Routledge companion to music cognition (pp. 129–139). Routledge.
McAdams, S., & Siedenburg, K. (2019). Perception and cognition of musical timbre. In P. J. Rentfrow & D. J. Levitin (Eds.), Foundations of Music Psychology: Theory and Research (pp. 71–120). MIT Press.
McCarthy, D. M. (2018). Lachenmann’s Complex Musical Aspects: Timbre as Interiority or Utopia of Communication? Contemporary Music Review, 1–10. https://doi.org/10.1080/07494467.2018.1427196
Murail, T. (2005). The revolution of complex sounds. Contemporary Music Review, 24(2–3), 121–135. https://doi.org/10.1080/07494460500154780
Muzzulini, D. (2006). Genealogie der Klangfarbe (Vol. 5). Peter Lang AG, Internationaler Verlag der Wissenschaften.
Nattiez, J.-J. (2007). Le timbre est-il un paramétre secondaire ? Cahiers de La Société Québécoise de Recherche En Musique, 9(1–2), 13–24.
Nunes, J. C., & Ordanini, A. (2014). I like the way it sounds: The influence of instrumentation on a pop song’s place in the charts. Musicae Scientiae, 18(4), 392–409. https://doi.org/10.1177/1029864914548528
Osaka, N. (2004). Toward construction of a timbre theory for music composition. International Computer Music Conference.
Patterson, R. D., Walters, T. C., Monaghan, J. J., & Gaudrain, E. (2010). Reviewing the definition of timbre as it pertains to the perception of speech and musical sounds. In A. R. Palmer & R. Meddis (Eds.), The Neurophysiological Bases of Auditory Perception (pp. 223–233). Springer. https://doi.org/10.1007/978-1-4419-5686-6_21
Pressnitzer, D., & McAdams, S. (2000). Acoustics, psychoacoustics and spectral music. Contemporary Music Review, 19(2), 33–59. https://doi.org/10.1080/07494460000640251
Rehding, A. (2016). Instruments of Music Theory. Music Theory Online, 22(4), 1–22. a9h.
Risset, J. C. (1994). Quelques aspects du timbre dans la musique contemporaine. In A. Zenatti (Ed.), Psychologie de la musique (pp. 87–114). Presses Universitaires de France.
Risset, J.-C. (2004). Le timbre. In J.-J. Nattiez (Ed.), Musiques, une encyclopédie pour le XXIe siècle. Tome 2: Les savoirs musicaux (pp. 134–161). Actes Sud/Cité de la Musique.
Risset, J.-C., & Wessel, D. L. (1999). Exploration of timbre by analysis and synthesis. In D. Deutsch (Ed.), The Psychology of Music (pp. 113–169). Academic Press.
Rudy, P. (2007). Timbral praxis: When a tree falls in the forest is it music? Organised Sound, 12(1), 5–13. https://doi.org/10.1017/S1355771807001641
Sandell, G. (n.d.). Definitions of Timbre (compiled by G. Sandell). Retrieved June 28, 2017, from http://acousticslab.org/psychoacoustics/PMFiles/Timbre.htm
Sandell, G. J. (1990). Reviewed works: Sound color by Wayne Slawson; New images of musical sound by Robert Cogan. Music Theory Spectrum, 12(2), 255–261. https://doi.org/10.2307/746172
Schneider, A. (2018). Perception of timbre and sound color. In R. Bader (Ed.), Springer Handbook of Systematic Musicology (pp. 687–725). Springer Berlin Heidelberg. https://doi.org/10.1007/978-3-662-55004-5_32
Schoenberg, A. (1911). Theory of Harmony (R. E. Carter, Trans.; Original German publication, 1911). University of California Press.
Siedenburg, K., & McAdams, S. (2017). Four distinctions for the auditory “wastebasket” of timbre. Frontiers in Psychology, 8, 1747. https://doi.org/10.3389/fpsyg.2017.01747
Smalley, D. (1994). Defining Timbre- Refining Timbre. Contemporary Music Review, 10(2), 35–48.
Solomos, M. (2013). De la musique au son. L’émergence du son dans la musique des XXe-XXIe siècles. Presses Universitaires de Rennes.
Tsang, L. (2002). Towards a theory of timbre for music analysis. Musicae Scientiae, 6(1), 23–52. https://doi.org/10.1177/102986490200600102
van Elferen, I. (2017). Agency, Aporia, Approaches: How Does Musicology Solve a Problem Like Timbre? Contemporary Music Review, 36(6), 483–487. https://doi.org/10.1080/07494467.2017.1452685