“Timbre could be safely claimed to be an inherent condition of music existence. However, it has stood beyond the theoretical musical discourse for a long time. It is evident not only in the analytical tradition of music, where tonal and rhythmic aspects have always dominated as the main focus of study, but in the compositional field as well (principally apparent regarding the accuracy of pitch and rhythmic structures compared to the obscurity of timbre specifications in written musical texts). Nevertheless, we can trace a notable turn towards more specific articulation of timbre in the 20th century, what urges to integrate it into a theoretical field as a significant factor of music expression and form.
A growing interest in timbre has been obvious in numerous acoustic studies from the 19th up to the 21st century. Eminent factors regarding the perception of timbre has been revealed employing the most progressive technologies of sound research. Although these acoustic facts contribute significantly to the knowledge of timbre specifics, they do not fully disclose the role of timbre on compositional operations. The present artistic research project aims to reveal the compositional perspectives of timbre expression as well as to identify, substantiate and systematize its function in contemporary music.”