timbre

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timbre

Music tone colour or quality of sound, esp a specific type of tone colour

Timbre

 

the quality of sound (its “color”) that makes it possible to distinguish between sounds of the same pitch when made on different instruments or by different voices.

Timbre is associated with the complex nature of sound vibrations and depends on such factors as the overtones or partial tones that accompany the fundamental tone and the regions of the sound spectrum in which they are particularly intense. These factors are determined by the material and shape of the body emitting the sound, the resonators that help form the sound, and the means of producing the sound. The times of sound production and decay also have a large effect on timbre.

In speech, timbre makes it possible to distinguish between vowels and other sonorants; here, the first and second formants play the main role. Speech sounds of the same timbre may be of any pitch and intensity. At the same time, the relationship between the frequency of the fundamental tone and the formants and overtones determines the individual characteristics of a given person’s speech; here, the third and higher formants play the leading role. In intonation in running speech, timbre makes it possible to distinguish between shades of emotion, such as joy, displeasure, and hostility.

timbre

[′tam·bər]
(acoustics)
That attribute of auditory sensation in terms of which a listener can judge that two sounds similarly presented and having the same loudness and pitch are dissimilar. Also known as musical quality; quality of sound.

timbre

A quality of sound that distinguishes one voice or musical instrument from another. For example, MIDI synthesizers are multi-timbral, meaning that they can play multiple instruments simultaneously.
References in periodicals archive ?
Furthermore, as harmonics rise with ascending pitch, their individual tone color contributions migrate as well according to the innate spectral tone colors of their rising frequencies, and the intensity of their contributions varies depending upon their locations relative to vocal tract resonance peaks.
That said, it is impressive that well produced high treble voices in textual context can often persuade us of the identity and "purity" of those vowels at pitches that cannot contain any of their actual speech level tone color.
Absolute spectral tone color theory, in combination with the effects of acoustic registration phenomena (open, close, and whoop timbres) offer the possibility of great specificity of understanding of tone and vowel quality and strategy in training the singing voice.
Parsing the Spectral Envelope: Toward a General Theory of Vocal Tone Color.
The overall tone quality percept is then a blend of the spectral tone colors of harmonics being featured by at least these three vocal tract resonances.
IDENTIFYING AND EXPLORING OVER VOWEL AND UNDER VOWEL TONE COLORS AND FREQUENCIES