A hierarchy of instruments, the timbral spectrum, etc.

Additional lay observations upon further reflection (not an expert, just a witness):

  • The original post should have been titled “A hierarchy of instruments” instead of timbres. More anon.
  • The instrumental hierarchy should be modified to exclude the human voice. As speech is comprised of atonal timbres (ch, f, h, k, p, s, t, whispers, and in some African languages, clicks) and tonal timbres, the human voice used in speech and song runs the gamut of the timbral spectrum and in that way transcends it.
  • The timbral spectrum perhaps should have tonal timbre at one end and atonal timbre at the other, recognizing that most tonal sounds contain some degree of atonality. For example: sing this sentence on a single tone, then speak it, then whisper it. The first employs the focused tonal qualities of the voice, the second employs unfocused tonality, and the last employs very little tonality, if any.
  • Winds, brass and strings all can played percussively (staccato). Played such, their timbre would approach tuned percussion in the instrumental hierarchy. And yet, all instruments fall short of the human voice in that words are lost.
  • The Western Church, I believe, had an instrumental hierarchy that cited specific instruments before Vatican II. Regardless of how closely it was followed, the human voice was still the exalted instrument for obvious reasons.
  • Bernard Brandt writes (my emphasis added): “I suggest, however, that a different rationale would give primacy to the human voice, not because of the purity of the tone of the instrument, but because it is the only one which can praise God in both word and song.”
  • It would be an interesting exercise to attempt to notate everyday speech, whether it be your own voice or someone else’s. Have certain syllabic chant patterns, like formulas for readings, originated from such a practice?

I’m not particularly interested in getting into a scientifically detailed discussion/justification for approving certain instruments in favor of others for the liturgy, although you may want to continue it here. (I’m sure my usage of terms in this post probably muddles the situation even more—corrections welcome.) I suspect that the alternative rationale suggested by Mr. Brandt transcends any such discussion.

Leave a Reply




*Required. E-Mail will not be published.


*
To prove you're a person (not a spam script), type the security word shown in the picture. Click on the picture to hear an audio file of the word.
Click to hear an audio file of the anti-spam word

One Comment

Have certain syllabic chant patterns, like formulas for readings, originated from such a practice?

Surely although naturally and not necessarily notated from the beginning. (How else could the gospel be proclaimed into the ecclesia without sound systems?) And this is the reason that Latin psalm tones have to be adapted for many vernacular texts, especially in English.

Beginning English students benefit from practicing placing proper stress within the English sentence. The rhythm of English is irregular but quite logical, as it depends entirely on the accented syllables of significant words (verbs, nouns, negation). The last significant word is most stressed, like spoken Latin (Spanish, etc.), but then that word of course does not necessarily have an accent on the ultimate or penultimate syllable in English.

Some English students, especially those from tonal languages such as Mandarin, Cantonese, and Vietnamese (whose intonation the missionaries specifically notated), must learn that intonation changes the overall meaning of the sentence, not the meaning of the individual word. Variations in intonation indicate statements, various types of questions (yes/no, informational, choice), or disbelief. Like chanted readings in Latin and English.

There is a simple notation that is used to demonstrate the nexus of stress and intonation: an arrow the length of the sentence above, just over, and below it to show three pitches. In a statement, for example, we begin at medium pitch, peak (high pitch) at the accented syllable of the last significant word, and drop to low pitch for a smooth landing at the period.


A Musical Journey through GIRM