Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Apr. 22, 2007, Nov. 11, 2007, and Apr. 6, 2008. Includes bibliographical references (p. 48-50).

Treatise (D.M.A.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Timbre is an important aspect of music, particularly in the twentieth century. Relatively little serious work on this subject has been published, however, either from a historical standpoint or from an analytical view. The purpose of this present study was to clarify the nature of timbre and to demonstrate the structural role it can have in music. The development of the timbre concept was traced from as early as the fifteenth century to present. From a very simple idea, timbre evolved into a complex phenomenon involving scientific, acoustical analysis and subjective, perceptual evaluation. It was found that currently timbre is not merely a physical manifestation, but also a function of aesthetic judgment and human response to stimuli. A brief historical survey was made of the importance of timbre in music. It was shown that timbre emerged as a significant musical element, forming the characteristic sound structure of a composition and (by extension) the distinctive sonorous style (Klangstil) of a composer. In developing to this point, the idea of timbre metamorphosed into a particular concept of "sound," a term that includes any sound quality that contributes to the character and structure of a composition. A process of analysis was developed to determine musical sound structure. It was shown that the sound-related aspects of the parameters of pitch, dynamics, time, texture, and timbre can act and interact to construct formal shape through cohesion and differentiation. It was established that the music of George Crumb shows a high regard for sound as a structural element. His Night of the Four Moons was analyzed, demonstrating the process of sound analysis. The analysis also showed that various qualities of sound itself are used as compositional material as well as for cohesion and differentiation. This aurally perceived, characteristic structure formed by or related to the action of sound was termed the "audiogenic image."

One of the main responsibilities of a sound engineer is to control the quality of the sound during the recording process. An important qualitative aspect of a recording, besides the musicality of the performance, is its timbral content. Proper level and spectral balance between the mixed elements of the recording and the absence of extraneous noises and distortion are key elements. Therefore, timbre perception acuity is an essential skill for sound engineers. / This thesis proposes a computer-assisted system as a training tool for developing and maintaining aural skills related to timbre perception. A set of criteria for the design of such a system based on current knowledge in timbre perception is presented and an exploratory implementation is described. Limits of the current system are discussed and areas that need further investigation are identified.

Thesis (M. S.)--Music Technology, Georgia Institute of Technology, 2008. / Committee Chair: Chordia, Parag; Committee Member: Freeman, Jason; Committee Member: Weinberg, Gil.

Thesis (DMus.)--University of Alberta, 1998. / Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jun. 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 92-98.

No description available.

The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.

The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.