Voice Leading: The Science behind a Musical Art (MIT Press) by Huron David

Voice Leading: The Science behind a Musical Art (MIT Press) by Huron David

Author:Huron, David [Huron, David]
Language: eng
Format: azw3
Publisher: The MIT Press
Published: 2016-08-25T16:00:00+00:00


If timbre-based streaming takes precedence over pitch-based streaming, then listeners ought to hear two distinct descending pitch sequences rather than a single ascending pitch sequence. Wessel found that as the speed of repetition increases, there is a greater tendency for listeners to hear descending pitch sequences. Also, Wessel found that the effect is most pronounced when the two timbres used are most contrasting. The tendency for different timbres to form separate streams is related to listener judgments of similarity. Listeners tend to segregate sonic events whose tone colors are judged most dissimilar; conversely, listeners tend to link together sonic events whose timbres are judged most alike.27

Drawing on this research, we might formulate the following principle:

9. Timbral Differentiation Principle

Differences of timbre contribute to the perceptual independence of concurrent voices or parts.

Again, the question that immediately arises regarding this principle is, Why do composers routinely ignore it? Polyphonic vocal and keyboard works, string quartets, and brass ensembles maintain remarkably homogeneous timbres. Of course, some types of music do seem to be consistent with this principle.28 The woodwind quintet is a common genre based on heterogeneous instrumentation, and many modern works for small ensembles call for an eclectic mix of instrumental timbres. Nevertheless, tonal composers have not commonly assigned different timbres to each of the various voices. A number of reasons might be cited for this practice. Common keyboard instruments are limited in their capacity to assign different timbres to the different parts. Dual-manual harpsichords and pipe organs do allow some timbral differentiation. In the case of organ music, for example, a common Baroque genre was the trio sonata in which two treble voices are assigned to independent manuals and a third bass voice is assigned to the pedal division. Organists use different stops for each of the three polyphonic voices. The dual manual harpsichord can also provide contrasting registrations, although only two voices can be distinguished in this manner. The piano, however, provides little opportunity to distinguish voices by different timbres. Like the piano, vocal ensembles also have a limited capacity to produce different timbres for each musical part.

Another reason composers might favor homogeneous timbres arises from practical difficulties recruiting a specified assortment of instrumentalists. Suppose that a composer creates a duet specifically for flute and oboe. The flute tends to be very quiet in the low register but brighter in the middle register. The oboe, by contrast, can be quite loud in the low register and produces a softer tone in the middle register. Given such differences, the composer may need to tailor the arrangement in light of the specific instruments used. Now suppose we have difficulty recruiting a flute and oboe player. Can we substitute a clarinet for the oboe? How about using two trumpets? Now consider a work written for two flutes. Since the timbres are matched, the composer does not need to pay as much attention to tailoring the arrangement. Moreover, we could easily substitute two violins or two oboes for the two flutes. In general, creating works for matched timbres makes it easier to substitute different instruments.



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