Examples
- Traditional music in Tuva and other Turkic cultures of inner Asia
The composition of timbre-centered music in the nomadic communities of Tuva involves mimicry of sounds heard in the environment. Timbral listening is a fundamental component of listening to, understanding and being able to correctly perform this music using vocal techniques such as throat singing "khoomei" and harmonic producing instruments such as the jaw harp, bzaanchy, shoor, qyl qiyak, qyl-gobyz,ku-rai and igil.
- Barundi whispered Inanga or Inanga Chucotée in Africa
This music employs a fundamental drone and overtone harmonics. It consists of "a whispered text, accompanied by the inanga, a trough zither of eight strings. To listen correctly (using timbral listening), one must consider "the effect of the combined timbres of the noisy whisper and the inanga" as a whole sound.
- Some forms of contemporary electronic music
More recently, computers and synthesizers are being used by contemporary composers to produce timbral-centered music. Contemporary composers state timbral listening as the correct technique to adopt in listening to and analysing their timbre (as opposed to pitch) based compositions. 'Pure timbres' are explored using methods such as granular synthesis in works such as 'Dragon of the Nebula' by Mara Helmuth.
- Shakuhachi music in Japan
The music produced by the Shakuhachi end blown flute such as honkyoku, contains timbral variations that are of equal importance to pitch variations. These timbral variations are indicated in Shakuhachi musical notation.
Read more about this topic: Timbral Listening
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