Abstract
My presentation is an attempt to introduce and clarify an original concept which I called Hypertimbralism, that refers to music based on Hypertimbre as the foundation for musical composition. It points to either orchestral, chamber or solo instruments music which relies on unusual timbre involving polyspectral energy. In contemporary music, two factors led to the arousal of Timbre-based aesthetics: sound mass (very dense textures) and extended instrumental techniques. Hypertimbralism embraces already written music and at the same time opens imagination for new insights in this matter. A poetics of hypertimbralism would provide a musicological background for composition based on an enhanced vocabulary of timbre and on a higher understanding of timbre perception.
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