Timbral listening

Timbral listening is the process of actively listening to the timbral characteristics of sound.

In timbral listening, 'pitch is subordinate to timbre'. Instead, the specific quality of a musical tone is determined by considering 'the presence, distribution and relative amplitude of overtones.'

When using this listening technique/ method of perception / interpretation there is 'a relation between timbre and spectral content which is analogous to that between pitch and frequency in that one is the prevalent cultural construct of the other'

The most common form of timbral listening is listening to speech. This is demonstrated by listening to, for example, the vowels /a/ and /i/ spoken at the same pitch and intensity. The difference between the two sounds is entirely one of spectrum, or as the term is used in this article, timbre.

It has been suggested that "timbral listening is an ideal sonic mirror of the natural world". It is often (but not always) used in association with musics that are based in mimicry of sounds in the natural environment. Valentina Suzukei suggests that 'it was the nomadic way of life and its focus on the timbral qualities of natural sounds that created this kind of musicality'. This is especially prevalent in Canada where composers such as Hildegard Westerkamp apply the thinking of R. Murray Schafer's World Soundscape Project to their compositions.

As timbre has 'no domain-specific adjectives' it 'must be described in metaphor or by analogy to other senses', This method also has limitations.

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.

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