In the past decade, a growing music-analytic practice has emerged around timbre, a parameter long considered either irrelevant to musical structure or too unwieldy to tackle. This new practice centers on an understanding of timbre as a perceptual rather than physical (acoustical) attribute and privileges timbre as a bearer of musical meaning. Through a focused survey of scholarship on timbre from the 1980s to present, this article considers theoretical commitments and challenges that have attended the shift toward this subjective, “perceptualized” conception of timbre, particularly in light of music theory's objectivist and structuralist disciplinary leanings.

中文翻译：

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注意差距：在音乐分析中概念化“感知”音色

在过去的十年中，围绕音色出现了越来越多的音乐分析实践，这个参数长期以来被认为要么与音乐结构无关，要么过于笨拙而无法解决。这种新做法的核心是将音色理解为一种感知而不是物理（声学）属性，并将音色作为音乐意义的承载者。通过对 1980 年代至今的音色学术研究的集中调查，本文考虑了伴随着向这种主观的、“感性的”音色概念转变的理论承诺和挑战，特别是考虑到音乐理论的客观主义和结构主义学科倾向。