There is no one part of the brain which recognizes or responds emotionally to music. Instead, there are many different parts responding to different aspects of music: to pitch, to frequency, to timbre, to tonal intervals, to consonance, to dissonance, to rhythm, to melodic contour, to harmony.
Let me guess," Eli said, his voice that low, even timbre, as always. "Drinking from kegs also falls under outdoor activity." I just looked at him, standing there in jeans and the same blue hoodie he'd had on the first time I met him. Maybe it was the embarrassment, which had been bad enough before I had an audience, but I was instantly annoyed. I said, "Are we outside?" He glanced round, as if needing to confirm this. "Nope." "Then no." I turned my attention back to the keg.
There are things about how a note sounds on a violin that are really analogous to the human voice - you have a frequency and the air, and then you have a timbre which really is overtones - and making those things work together is one thing. The other thing is mechanical: If you can use your hands and arms to create sound on a fiddle, then learning to sing with it is like adding a third body part. And it's all training.
The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.
The force of what was called Panther rhetoric or word mongering resided not in elegant discourse but in strength of affirmation (or denial), in anger of tone and timbre. When the anger led to action there was no turgidity or over-emphasis. Anyone who has witnessed political rows among the Whites will have to admit that the Whites aren't overburdened with poetic imagination.
I knew I had to have a hit. I would get no more chances. Analyzing what they had in common I discovered they had many similar elements: harmonic rhythm, placement of the chord changes, choice of harmonic progressions, similar instrumentation, vocal phrases, drum fills, content, even the timbre of the lead solo voice. I decided to write a song that incorporated all these elements in one record.
Lennon's was one of the first voices I emulated when I began to sing. When we held tryouts in my pal's dad's living room for the singer in our band, I sang a Beatles song that Lennon sang. There is something about the timbre of his voice, something that it conveys, that still gets to me. The quality and the poetry of his lyrics. The wry sense of humor. And the boyishness, in the beginning. There are a great many things that touch me about him... Lennon was, to put it in his own words, a 'working-class hero.'
Some things cannot be spoken or discovered until we have been stuck, incapacitated, or blown off course for a while. Plain sailing is pleasant, but you are not going to explore many unknown realms that way. We articulate the truth of a situation by carrying the whole experience in the voice and allowing the process to blossom of its own accord. Out of the cross-grain of experience appears a voice that not only sums up the process we have gone through, but allows the soul to recognize in its timbre, the color, texture, and complicated entanglements of being alive.
Every widow wakes one morning, perhaps after years of pure and unwavering grieving, to realize she slept a good night's sleep, and will be able to eat breakfast, and doesn't hear her husband's ghost all the time, but only some of the time. Her grief is replaced with a useful sadness. Every parent who loses a child finds a way to laugh again. The timbre begins to fade. The edge dulls. The hurt lessens. Every love is carved from loss. Mine was. Yours is. Your great-great-great-grandchildren's will be. But we learn to live in that love.
Jonathan Safran Foer
And this is what living next to a waterfall is like, Safran. Every widow wakes one morning, perhaps after years of pure and unwavering grieving, to realize she slept a good night's sleep, and will be able to eat breakfast, and doesn't hear her husband's ghost all the time, but only some of the time. Her grief is replaced with useful sadness. Every parent who loses a child finds a way to laugh again. The timbre begins to fade. The edge dulls. The hurt lessens. Every love is carved from loss. Mine was. Yours is. Yor great-great-great-grandchildren's will be. But we learn to live in that love
Jonathan Safran Foer
The voice welling up out of this little man is terrific, Harry had noticed it at the house, but here, in the nearly empty church, echoing off the walnut knobs and memorial plaques and high arched rafters, beneath the tall central window of Jesus taking off into the sky with a pack of pastel apostles for a launching pad, the timbre is doubled, richer, with a rounded sorrowful something Rabbit hadn't noticed hitherto, gathering and pressing the straggle of guests into a congregation, subduing any fear that this ceremony might be a farce. Laugh at ministers all you want, they have the words we need to hear, the ones the dead have spoken.
She remained in this attitude, clearly inviting him to touch her. Taking a position of advantage, he rested his right hand on her buttock. He considered a moment then raised his arm and brought his palm upon her, delivering a sharp spank. He felt the acuteness of it on his own skin. He gave her another, watching his hand in the mirror opposite, as it made contact. The slap caused her to flinch, but her heard her sigh also: the timbre of which was now familiar to him. He paused, allowing the sensation of the sting to sink in before giving her more. She remained folded over for him, eager for more of his burning smacks upon her flesh. The peach of her cheeks rippled each time under the impact of his blows.
Emmanuelle de Maupassant
I'd pulled my unruly blond hair out of its usual ponytail for the occasion, loaded on some makeup to play up my teal eyes, and poured myself into a little black skirt, short enough to show off my legs while not offending Lafitte's nineteenth-century sensibilities. It must have worked, because the pirate was giving me that head-to-toe appraisal guys do on instinct, like they're assessing a juicy slab of beef and deciding whether they want it rare, medium, or well-done. 'You really are lovely, Drusilla.' The timbre of Lafitte's voice shivered down my spine, and I fought the urge to check out the biceps underneath that linen shirt. Holy crap. This was just wrong. I should not be absorbing his lust.
A real man-real in all the ways that we recognize as real-finds himself suddenly abstracted from the world and deposited in a physical situation which could not possibly exist: sounds have aroma, smells have color and depth, sights have texture, touches have pitch and timbre. There he is informed by a disembodied voice that he has been brought to that place as a champion for his world. He must fight to the death in single combat against a champion from another world. If he is defeated, he will die, and his world-the real world-will be destroyed because it lacks the inner strength to survive. The man refuses to believe that what he is told is true. He asserts that he is either dreaming or hallucinating, and declines to be put in the false position of fighting to the death where no "real" danger exists. He is implacable in his determination to disbelieve his apparent situation, and does not defend himself when he is attacked by the champion of the other world. Question: Is the man's behavior courageous or cowardly? This is the fundamental question of ethics.
Stephen R. Donaldson
If you'll kiss me back, " he whispered huskily, brushing his lips along the curve of her jaw, "I'll make it six million. If you'll go to bed with me tonight, " he continued, losing himself in the scent of her perfume and the softness of her skin, "I'll give you the world. But if you'll move in with me, " he continued, dragging his mouth across her cheek to the corner of her lips, "I'll do much better than that." Unable to turn her face farther because his arm was in the way, and unable to turn her body because his body was in the way, Meredith tried to infuse disdain in her voice and simultaneously ignore the arousing touch of his tongue against her ear. "Six million dollars and the whole world!" she said in a slightly shaky voice. "What else could you possibly give me if I move in with you?" "Paradise." Lifting his head, Matt took her chin between his thumb and forefinger and forced her to meet his gaze. In an aching, solemn voice he said, "I'll give you paradise on a gold platter. Anything you want- everything you want. I come with it, of course. It's a package deal." Meredith wallowed audibly, mesmerized by the melting look in his silver eyes and the rich timbre of his deep voice. "We'll be a family, " he continued, describing the paradise he was offering while he bent his head to her again. "We'll have children... I'd like six, " he teased, his lips against her temple. "But I'll settle for one. You don't have to decide now." She drew in a ragged breath and Matt decided he'd pushed matters as far as he dared for one night. Straightening abruptly, he chucked her under her chin. "Think about it, " he suggested with a grin.
Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly's acute sense of smell-it is a little known fact that the Mole Fly's auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly's brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly's behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly's olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time-for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception-they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions-that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose-with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance-a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees-yes, Mole Flies do, in fact, have knees!-before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.