Timbre in the Musical Performance as a Result of Audio-Mental Operations
DOI:
https://doi.org/10.34257/GJHSSAVOL21IS13PG15Keywords:
Abstract
The aim of this paper is to reveal the relationship between the timbre i e sound quality obtained by an instrumentalist when playing a music piece and the role of the hearing listening and other musical specific mental operations that take place in the brain of the instrumentalist during the performance with the focus on the classical music which depends in the most cases on the score The timbre is a characteristic of every instrument or voice that makes their tone unique It is given by the different sound components partials with different frequencies and amplitudes The number and the amplitude of the partials are different from instrument to instrument they depend on the construction of the instrument and on the art of playing the last being the point in this article It is known that timbre has an emotional impact on the perception Its semantic features are represented through descriptors as dark bright round dull dry harsh etc that have to be created by the performers in order to affect the auditory Thus they have to possess a good technique able to get different timbres Although the technique has to be subordinated to the capacity of hearing in advance the sound with all its features pitch duration intensity and timbre The excessive attention of the performers from the pitch and duration that are exactly notated in the score has to be turned to the intensity and timbre that are less notated Therefore the audio-mental operations the term belongs to piano teachers Ana Piti and Ioana Minei both of the performers and listeners as part of music cognition are discussed here The decoding of the music information from the score and the sending of it to the auditory together with the regarding of the music as a language were be also approached
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2021-10-15
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