There are many great articles and videos discussing the technical side of timbre (pronounced “tam” + “bur”), so I wanted to address timbre from a different angle. I was reading The Musical Human by Michael Spitzer and found a section that brought up the issue of timbre to be interesting.

Spitzer pointed out that a change in timbre completely changes the meaning of a word. Nothing real novel except that he was referencing apes, not humans. He argues that timbre above melody, grammar, or syntax is what drives the meaning in communication. What I take from that is, timbre is the prime mover of meaning and emotions in music.

What is Timbre?

Before diving into this topic, I want to quickly go over what timbre is. Timbre is what makes each sound have a unique and identifiable sound. It’s how we can tell our mom’s voice from our sister’s voice. Or how we can tell the difference between a piano playing the pitch A and an oboe playing the same note. It’s the physical differences of the instrument or object and how vibrations interact with that object that gives everything a different timbre. A vibrating string versus vibrating vocal cords will sound very different even if they are creating the same pitch.

Timbre is related to words we use to describe sounds like bright, dark, round, tinny, warm, etc. Each of those words is describing the frequencies that are produced by that particular instrument. Timbre can be very apparent and very subtle. It’s obvious to hear the difference between the sound striking a rock makes versus a gong. But it can be extremely difficult to hear the difference between a $40,000 brand new cello and an $800,000 cello made 200 years ago. The difference is there but more difficult to articulate.

Why is timbre so important?

Back to why timbre is perhaps the most important part of music. I say this because it may be the most ancient part of music that came to modern humans via apes. Spitzer points out that humans don’t come from a long line of music-making ancestors. Primates don’t have a sense of rhythm like insects, melodies like birds, or a repertoire of songs that adapt and are passed down like whales. Primates, aside from humans, don’t use vocalization as their primary way of communication – they use body language. But if we look at what does matter to our primate cousins it’s timbre or “tone of voice.”

Spitzer’s example is of a species of Old World monkey from Ethiopia called geladas. Geladas have a wide range of calls that are typically used to “keep the peace within their harems.” Here is a short clip showing the sounds the geladas make.

According to research by Bruce Richman, the geladas can have multiple meanings for the same series of sounds (word). One example he gave was of the sound that meant “a male’s friendly approach.” But he also witnessed this same series of sounds that were made with a tight voice that expressed the male had just engaged in a bout of threats with competing bachelor males. Richman says the gelada is expressing two emotional states at the same time by changing the tone of voice. Spitzer claims this is evidence that the emotional tone, contour, rhythm, and pace of voice are more important to the origin of language than previously thought. I think this also shows that the parameters that music manipulates (tone, contour, rhythm, etc.) have deep communicative power stemming from our evolutionary roots.

I have truly enjoyed reading Spitzer’s book, The Musical Human, and highly recommend those interested in music to give it a read.

The difference between calls and music

Spitzer discusses the difference between a call and music. Some primates sound like they sing songs, but some key features make these calls and not music.

“Male and female gibbons sing love duets, intricate and beautiful, sometimes lasting an hour. We also know of song in tarsiers, indri and langurs. The point is, however, that gibbons, tarsiers, indri and langurs are born knowing these sounds, they are the same across the habitat, and they never change. They are calls, not music.”

Spitzer, michael. the musical human. 2021. pg 305

My thoughts on this are that humans have hung on to this ear for timbre and rely on it heavily in speech as well as music. Composers think long and hard about what instruments they want playing which parts. But perhaps renewed emphasis on timbre will emerge with the knowledge that different timbres communicate at a deeper level. Timbre speaks to our emotions more readily than even rhythm, harmony, or melody.

Examples of timbre

Many pieces of music explore timbre and many traditions of music value timbre above other aspects of the music – particularly vocal music. Listen to these Tuvan throat singers and how they exploit a very specific timbre the voice can produce.

Now compare that timbre to this Native American pow wow music. It’s more than a difference in style or pitch, it’s a difference in timbre choice.

The examples could go on and on because there are virtually an infinite number of distinct timbres. Here is an example from Indian music. The singer’s timbre is more nasal and “pinched” than is typical in Western music.

Concluding thoughts on timbre

Timbre communicates before melody, rhythm, or any other musical factor. Think of how parents can tell the differences between cries of pain, hunger, fear, and frustration, that come from their children. The “words” are the same. There is no melody or rhythm to speak of. It is the timbre of the cry that conveys so much meaning.

When listening to or writing your own music, consider the extreme power of timbre and how it can enhance your work and experience.