Timbre Space: On the Flat History of a Multidimensional Metaphor

This article reflects on the “flat” history of timbre space , tracking its emergence as a technical inscription in psychoacoustic experiments and its rise to become a dominant conceptual metaphor in timbre studies. Drawing on Bruno Latour's notion of “immutable mobiles,” the author shows how th...

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Main Author: Landon Morrison
Format: Article
Language:English
Published: SAGE Publishing 2024-09-01
Series:Music & Science
Online Access:https://doi.org/10.1177/20592043241268720
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author Landon Morrison
author_facet Landon Morrison
author_sort Landon Morrison
collection DOAJ
description This article reflects on the “flat” history of timbre space , tracking its emergence as a technical inscription in psychoacoustic experiments and its rise to become a dominant conceptual metaphor in timbre studies. Drawing on Bruno Latour's notion of “immutable mobiles,” the author shows how the idea of a multidimensional timbre space has been propagated through the circulation of diagrams, which make perceptual data on listeners accessible to remote viewers. After surveying laboratory tools and techniques required for the production of these diagrams, the article considers how models of timbre space have been built into new technologies for music composition, performance, and listening, as well as into audio classification schemes and metadata formatting standards like MPEG-7. Mapping connections between psychoacoustic discourses and design practices, the article sheds light on the technoscientific origins of timbre space, examining its articulation to research labs at Bell, CCRMA, and IRCAM, and interrogating its role in determining what counts as sound knowledge.
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spelling doaj-art-baabec724adc498b9a9f7c8ff63c69672025-08-20T01:54:27ZengSAGE PublishingMusic & Science2059-20432024-09-01710.1177/20592043241268720Timbre Space: On the Flat History of a Multidimensional MetaphorLandon Morrison0 Eastman School of Music, University of Rochester, Rochester, NY, USAThis article reflects on the “flat” history of timbre space , tracking its emergence as a technical inscription in psychoacoustic experiments and its rise to become a dominant conceptual metaphor in timbre studies. Drawing on Bruno Latour's notion of “immutable mobiles,” the author shows how the idea of a multidimensional timbre space has been propagated through the circulation of diagrams, which make perceptual data on listeners accessible to remote viewers. After surveying laboratory tools and techniques required for the production of these diagrams, the article considers how models of timbre space have been built into new technologies for music composition, performance, and listening, as well as into audio classification schemes and metadata formatting standards like MPEG-7. Mapping connections between psychoacoustic discourses and design practices, the article sheds light on the technoscientific origins of timbre space, examining its articulation to research labs at Bell, CCRMA, and IRCAM, and interrogating its role in determining what counts as sound knowledge.https://doi.org/10.1177/20592043241268720
spellingShingle Landon Morrison
Timbre Space: On the Flat History of a Multidimensional Metaphor
Music & Science
title Timbre Space: On the Flat History of a Multidimensional Metaphor
title_full Timbre Space: On the Flat History of a Multidimensional Metaphor
title_fullStr Timbre Space: On the Flat History of a Multidimensional Metaphor
title_full_unstemmed Timbre Space: On the Flat History of a Multidimensional Metaphor
title_short Timbre Space: On the Flat History of a Multidimensional Metaphor
title_sort timbre space on the flat history of a multidimensional metaphor
url https://doi.org/10.1177/20592043241268720
work_keys_str_mv AT landonmorrison timbrespaceontheflathistoryofamultidimensionalmetaphor