Haut and Bas; The Grouping of Musical Instruments in the Middle Ages

Bowles, Edmund A.

doi:10.4324/9781315092645-2

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Speaking About Sounds: Discourse Strategies1

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2019

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“…Based on an inverse relationship between volume and intensity, Koechlin (cited in Chiasson et al 2017) further proposed a third attribute of density versus transparency: a musical sound is dense when it is loud but with a small volume, and it is transparent when it has a large volume but low intensity. There is evidence that in the later Middle Ages it was typical to think of musical instruments in terms of volume of sound (Bowles 1954). In orchestras, and for other musical events, instruments with a big, loud sound (haut in French) would be grouped together against those with a small, soft sound (bas).…”

Section: Speaking About Sounds: Discourse Strategiesmentioning

confidence: 99%

The Semantics of Timbre

Saitis

Weinzierl

2019

Springer Handbook of Auditory Research

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After consultations with his teacher and with the great violinist and collector Efrem Zimbalist … Yehudi [Menuhin] played on all three [Stradivari violins] and opted for the "Khevenhüller." (As a test piece he played "The Prayer" from Handel's Dettingen Te Deum.). It was to be his principal instrument for over 20 years. He described it as "ample and round, varnished in a deep, glowing red, its grand proportions … matched by a soundThe Semantics of Timbre hara am os Saitis Stefan ein ier

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Section: Speaking About Sounds: Discourse Strategiesmentioning

confidence: 99%