SARI KITAP

Texture:
Texture refers to the relationships between the parts (or voices) at any moment in a composition: it especially
concerns the relationships between rhythms and contours, but it is also concerned with aspects such as spacing and
dynamics.

Timbre:
Timbre means tone color and it can refer to the tone color of an individual instrument or of an ensemble.

In a number of twentieth-century compositions, the primary form-determining element is texture, usually with a
good deal of assistance from dynamics, timbre and register.

MAVI KITAP
Texture:
We have seen the increasingly important role played by texture in the evolution of twentieth-century musical
thought. One reason for this lies in its capability to provide a convincing means of musical organization free from
the traditional conventions of key and chord.

Non-pitched sonorities

WIKI
In music, texture is how the tempo, melodic, and harmonic materials are combined in a composition, thus determining
the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range,
or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to
the number of voices, or parts, and the relationship between these voices (see Common typesbelow). For example, a
thick texture contains many 'layers' of instruments. One of these layers could be a string section, or another brass. The
thickness also is changed by the amount and the richness of the instruments playing the piece. The thickness varies
from light to thick. A piece's texture may be changed by the number and character of parts playing at once,
the timbre of the instruments or voices playing these parts and the harmony, tempo, and rhythms used (Benward &
Saker 2003,[page needed]).

NEW WORLD ENCYCLOPEDIA

In music, texture is the overall quality of sound of a piece, most often indicated by the number of voices in the
music and by the relationship between these voices.
A piece's texture may be further described using terms such as "thick" and "light," "rough" or "smooth." The
perceived texture of a piece can be affected by the number and character of parts playing at once, the timbre of
the instruments or voices playing these parts and the harmony, tempo, and rhythms used.
The possibilities of hearing a solo melody, a few simultaneous melodies, or chords supporting a melody create a
musical texture which acts as a partnership in a harmonious and cooperative accord within a musical
composition. No entity has a purpose of existing in isolation; each entity has a give and take with other entities
and contributes towards an overall harmony and cooperation.
BENWARD AND SAKER
The term texture refers to the way the melodic, rhythmic, and harmonic materials are woven together in a composition. It is a general
term that is often used rather loosely to describe the vertical aspects of music. Since changes of texture often mark formal divisions in
music and textural matters often complicate harmonic analysis, it is important that we deal with texture in a more specifi c way. Texture
is often described in terms of density and range. Although these are good descriptive terms, they are less useful analytically than the more
precise description of texture types that you will learn in this chapter. The density of texture is often described as “thick,” consisting of
many voices or parts, and “thin,” consisting of few voices. An example of thin texture is shown in Figure 7.1, and you will fi nd an
example of thick texture in Figure 7.2.