# Timbre

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Quality of a musical note or sound or tone

For other uses, see [Timbre (disambiguation)](/source/Timbre_(disambiguation)).

Not to be confused with [Timber](/source/Timber).

[Spectrogram](/source/Spectrogram) of the first second of an E9 [suspended chord](/source/Suspended_chord) played on a [Fender Stratocaster](/source/Fender_Stratocaster) guitar. Below is the E9 suspended chord audio:

In music, **timbre** ([/ˈtæmbər, ˈtɪm-, ˈtæ̃-/](https://en.wikipedia.org/wiki/Help:IPA/English)), also known as **tone color** or **tone quality** (from [psychoacoustics](/source/Psychoacoustics)), is the perceived sound of a [musical note](/source/Musical_note), sound or [tone](/source/Musical_tone). Timbre distinguishes sounds according to their source, such as choir voices and musical instruments. It also enables listeners to distinguish instruments in the same category (e.g., an [oboe](/source/Oboe) and a [clarinet](/source/Clarinet), both [woodwind instruments](/source/Woodwind_instruments)).

In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctive with its own unique tone color. Musicians distinguish instruments based on their varied timbres, even instruments playing notes at the same [pitch](/source/Pitch_(music)) and volume.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

The physical characteristics that govern timbre include [frequency spectrum](/source/Frequency_spectrum) and [envelope](/source/Envelope_(music)).

Musicians can change timbre by modifying their singing or playing techniques. For example, a violinist can use different bowing styles or bow on different parts of the string. E.g., playing *[sul tasto](/source/Sul_tasto)* produces a light, airy timbre, whereas *[sul ponticello](/source/Sul_ponticello)* produces a harsh, even, aggressive timbre. On electric guitar and electric piano, performers can change timbre using [effects units](/source/Effects_unit) and [graphic equalizers](/source/Graphic_equalizer).

## Synonyms

*Tone quality* and *tone color* are synonyms for *timbre*, as well as the "*texture* attributed to a single instrument". However, the word [texture](/source/Musical_texture) can also refer to the [arrangement](/source/Arrangement) or composition, such as [multiple, interweaving melody lines](/source/Polyphony) versus [a singable melody accompanied by subordinate chords](/source/Homophony). [Hermann von Helmholtz](/source/Hermann_von_Helmholtz) used the German *Klangfarbe* (*tone color*), and [John Tyndall](/source/John_Tyndall) proposed an English translation, *clangtint*, but both terms were disapproved of by [Alexander Ellis](/source/Alexander_John_Ellis), who also discredits *register* and *color* for their pre-existing English meanings.[1] Determined by its frequency composition, the sound of a musical instrument may be described with words such as *bright*, *dark*, *warm*, *harsh*, and other terms. There are also [colors of noise](/source/Colors_of_noise), such as [pink](/source/Pink_noise) and [white](/source/White_noise). In visual representations of sound, timbre corresponds to the shape of the image,[2] while loudness corresponds to brightness; pitch corresponds to the y-shift of the spectrogram.

## ASA definition

The [Acoustical Society of America](/source/Acoustical_Society_of_America) (ASA) Acoustical Terminology definition 12.09 of timbre describes it as "that attribute of auditory sensation which enables a listener to judge that two nonidentical sounds, similarly presented and having the same loudness and [pitch](/source/Pitch_(music)), are dissimilar", adding, "Timbre depends primarily upon the [frequency spectrum](/source/Spectral_density), although it also depends upon the sound pressure and the temporal characteristics of the sound".[3]

## Attributes

Many commentators have decomposed timbre into component attributes. For example, Schouten described the "elusive attributes of timbre" as "determined by at least five major acoustic parameters", which [Robert Erickson](/source/Robert_Erickson) found encompassed much contemporary music:[4]

- Range between [tonal](/source/Tonality) and noiselike character

- [Spectral envelope](/source/Spectral_envelope)

- [Time envelope](/source/ADSR_envelope) in terms of rise, duration, and decay (ADSR, which stands for "attack, decay, sustain, release")

- Changes both of [spectral envelope](/source/Spectral_envelope) (formant-glide) and [fundamental frequency](/source/Fundamental_frequency) ([micro-intonation](/source/Microtonal_music))

- [Prefix](/source/Prefix_(acoustics)), or [onset](/source/Onset_(audio)) of a sound, quite dissimilar to the ensuing lasting vibration

An example of a tonal sound is a musical sound that has a definite pitch, such as pressing a key on a piano; one sound with a noiselike character is [white noise](/source/White_noise).

Erickson offered a table of subjective experiences and related physical phenomena based on the attributes:[5]

- Subjective Objective Tonal character, usually pitched Periodic sound Noisy, with or without some tonal character, including rustle noise Noise, including random pulses characterized by the rustle time (the mean interval between pulses) Coloration Spectral envelope Beginning/ending Physical rise and decay time Coloration glide or formant glide Change of spectral envelope Microintonation Small change (one up and down) in frequency Vibrato Frequency modulation Tremolo Amplitude modulation Attack Prefix Final sound Suffix

*See also [Psychoacoustic evidence](#Psychoacoustic_evidence), below.*

### Harmonics

Further information: [Fourier transform](/source/Fourier_transform)

[Harmonic spectrum](/source/Harmonic_spectrum)

The richness of a sound or note a musical instrument produces is sometimes described in terms of the sum of a number of distinct [frequencies](/source/Frequencies). The lowest frequency is called the *[fundamental frequency](/source/Fundamental_frequency)*, and the pitch it produces is used to name the note, but the fundamental frequency is not always the dominant frequency. The dominant frequency is the frequency that is most heard, and it is always a multiple of the fundamental frequency. For example, the dominant frequency for the [transverse flute](/source/Transverse_flute) is double the fundamental frequency. Other significant frequencies are called [overtones](/source/Overtone) of the fundamental frequency, which may include [harmonics](/source/Harmonic) and [partials](/source/Harmonic_series_(music)#Partial). Harmonics are [whole-number](/source/Natural_number) multiples of the fundamental frequency, such as ×2, ×3, ×4, etc. Partials are other overtones. There are also sometimes [subharmonics](/source/Subharmonic) at whole number *divisions* of the fundamental frequency. Most instruments produce harmonic sounds, but many instruments produce partials and [inharmonic](/source/Inharmonic) tones, such as cymbals and other [indefinite-pitched](/source/Percussion_instrument#Indefinite_pitch) instruments.

When the [tuning note](/source/A440_(pitch_standard)) in an [orchestra](/source/Orchestra) or [concert band](/source/Concert_band) is played, the sound is a combination of 440 Hz, 880 Hz, 1320 Hz, 1760 Hz, and so on. Each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, and the balance of these amplitudes is a major factor in the characteristic sound of each instrument.

[William Sethares](/source/William_Sethares) wrote that [just intonation](/source/Just_intonation) and the western [equal-tempered](/source/Equal-tempered) scale are related to the harmonic [spectra](/source/Spectrum) or timbres of many western instruments in an analogous way that the inharmonic timbre of the [Thai](/source/Music_of_Thailand) renat (a xylophone-like instrument) is related to the seven-tone near-equal tempered [pelog](/source/Pelog) scale in which they are tuned. Similarly, the inharmonic spectra of [Balinese](/source/Bali) metallophones combined with harmonic instruments such as the stringed [rebab](/source/Rebab) or the voice, are related to the five-note near-equal tempered [slendro](/source/Slendro) scale commonly found in Indonesian [gamelan](/source/Gamelan) music.[6]

### Envelope

A signal and its envelope marked with red

The timbre of a sound is also greatly affected by the following aspects of its *envelope*: attack time and characteristics, decay, sustain, release ([ADSR envelope](/source/ADSR_envelope)), and [transients](/source/Transient_(acoustics)). Thus, these are all common controls on professional [synthesizers](/source/Synthesizer). For instance, if one takes away the attack from the sound of a piano or trumpet, it becomes more difficult to identify the sound correctly, since the sound of the hammer hitting the strings or the first blast of the player's lips on the trumpet mouthpiece is highly characteristic of those instruments. The envelope is the overall amplitude structure of a sound.

## In music history

Instrumental timbre played an increasing role in the practice of [orchestration](/source/Orchestration) during the eighteenth and nineteenth centuries. [Berlioz](/source/Berlioz)[7] and [Wagner](/source/Wagner)[8] made significant contributions to its development during the nineteenth century. For example, Wagner's "Sleep motif" from Act 3 of his opera *[Die Walküre](/source/Die_Walk%C3%BCre)*, features a descending [chromatic scale](/source/Chromatic_scale) that passes through a gamut of orchestral timbres. First the woodwind (flute, followed by oboe), then the massed sound of strings with the violins carrying the melody, and finally the brass (French horns).

Wagner Sleep music from Act 3 of *Die Walküre*

Wagner Sleep music from Act 3 of *Die Walküre*

[Debussy](/source/Debussy), who composed during the last decades of the nineteenth and the first decades of the twentieth centuries, has been credited with elevating further the role of timbre: "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in *[Prélude à l'après-midi d'un faune](/source/Pr%C3%A9lude_%C3%A0_l'apr%C3%A8s-midi_d'un_faune)* the *color* of [flute](/source/Flute) and [harp](/source/Harp) functions referentially".[9] [Mahler](/source/Mahler)'s approach to [orchestration](/source/Orchestration) illustrates the increasing role of differentiated timbres in music of the early twentieth century. [Norman Del Mar](/source/Norman_Del_Mar) describes the following passage from the [Scherzo](/source/Scherzo) movement of his [Sixth Symphony](/source/Symphony_No._6_(Mahler)), as

- "a seven-bar link to the trio consisting of an extension in diminuendo of the repeated As ... though now rising in a succession of piled octaves which moreover leap-frog with Cs added to the As.[10] The lower octaves then drop away and only the Cs remain so as to dovetail with the first oboe phrase of the trio."

During these bars, Mahler passes the repeated notes through a gamut of instrumental colors, mixed and single: starting with horns and pizzicato strings, progressing through trumpet, clarinet, flute, piccolo, and finally, oboe:

Mahler, Symphony No. 6, Scherzo, Figure 55, bars 5–12

Mahler, Symphony No. 6, Scherzo, Figure 55, bars 5–12

(See also *[Klangfarbenmelodie](/source/Klangfarbenmelodie)*.)

In [rock music](/source/Rock_music) from the late 1960s to the 2000s, the timbre of specific sounds is important to a song. For example, in [heavy metal music](/source/Heavy_metal_music), the sonic impact of the heavily amplified, heavily distorted [power chord](/source/Power_chord) played on electric guitar through very loud guitar amplifiers and rows of [speaker cabinets](/source/Speaker_cabinet) is an essential part of the style's musical identity.

## Psychoacoustic evidence

Often, listeners can identify an instrument, even at different pitches and loudness, in different environments, and with different players. In the case of the [clarinet](/source/Clarinet), acoustic analysis shows waveforms irregular enough to suggest three instruments rather than one. David Luce suggests that this implies that

- "[C]ertain strong regularities in the acoustic waveform of the above instruments must exist which are invariant with respect to the above variables".[11]

However, Robert Erickson argues that there are few regularities and they do not explain our "...powers of recognition and identification." He suggests borrowing the concept of [subjective constancy](/source/Subjective_constancy) from studies of vision and [visual perception](/source/Visual_perception).[12]

Psychoacoustic experiments from the 1960s onwards tried to elucidate the nature of timbre. One method involves playing pairs of sounds to listeners, then using a [multidimensional scaling](/source/Multidimensional_scaling) algorithm to aggregate their dissimilarity judgments into a timbre space. The most consistent outcomes from such experiments are that [brightness](#Brightness) or spectral energy distribution,[13] and the *bite*, or rate and synchronicity[14] and rise time,[15] of the attack are important factors.

## Tristimulus timbre model

The concept of [tristimulus](/source/Tristimulus) originates in the world of color, describing the way three primary colors can be mixed together to create a given color. By analogy, the musical tristimulus measures the mixture of [harmonics](/source/Harmonic) in a given sound, grouped into three sections. It is basically a proposal of reducing a huge number of sound partials, which can amount to dozens or hundreds in some cases, down to only three values. The first tristimulus measures the relative weight of the first harmonic; the second tristimulus measures the relative weight of the second, third, and fourth harmonics taken together; and the third tristimulus measures the relative weight of all the remaining harmonics:[16][17][*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

- T 1 = a 1 ∑ h = 1 H a h , T 2 = a 2 + a 3 + a 4 ∑ h = 1 H a h , T 3 = ∑ h = 5 H a h ∑ h = 1 H a h . {\displaystyle T_{1}={\frac {a_{1}}{\sum _{h=1}^{H}a_{h}}},\quad T_{2}={\frac {a_{2}+a_{3}+a_{4}}{\sum _{h=1}^{H}a_{h}}},\quad T_{3}={\frac {\sum _{h=5}^{H}{a_{h}}}{\sum _{h=1}^{H}a_{h}}}.}

However, more evidence, studies and applications would be needed regarding this type of representation, in order to validate it.

## Brightness

The term "brightness" is also used in discussions of sound timbres, in a rough analogy with [visual brightness](/source/Visual_brightness). Timbre researchers consider brightness to be one of the perceptually strongest distinctions between sounds[14] and formalize it acoustically as an indication of the amount of high-frequency content in a sound, using a measure such as the [spectral centroid](/source/Spectral_centroid).

## See also

- [Music portal](https://en.wikipedia.org/wiki/Portal:Music)

- [Formant](/source/Formant)

## Footnotes

1. **[^](#cite_ref-FOOTNOTEErickson19757_1-0)** [Erickson 1975](#CITEREFErickson1975), p. 7.

1. **[^](#cite_ref-Abbado1988_3_2-0)** Abbado, Adriano (1988). "Perceptual Correspondences: Animation and Sound". MS Thesis. Cambridge: Massachusetts Institute of Technology. p. 3.

1. **[^](#cite_ref-ASASS1994_3-0)** Acoustical Society of America Standards Secretariat (1994). "Acoustical Terminology ANSI S1.1–1994 (ASA 111-1994)". American National Standard. ANSI / Acoustical Society of America.

1. **[^](#cite_ref-FOOTNOTEErickson19755_4-0)** [Erickson 1975](#CITEREFErickson1975), p. 5.

1. **[^](#cite_ref-FOOTNOTEErickson19756_5-0)** [Erickson 1975](#CITEREFErickson1975), p. 6.

1. **[^](#cite_ref-Sethares1998_6211318_6-0)** Sethares, William (1998). *Tuning, Timbre, Spectrum, Scale*]. Berlin, London, and New York: [Springer](/source/Springer_Publishing). pp. [6](https://books.google.com/books?id=KChoKKhjOb0C&pg=PA6), [211](https://books.google.com/books?id=KChoKKhjOb0C&pg=PA211), [318](https://books.google.com/books?id=KChoKKhjOb0C&pg=PA318). [ISBN](/source/ISBN_(identifier)) [3-540-76173-X](https://en.wikipedia.org/wiki/Special:BookSources/3-540-76173-X).

1. **[^](#cite_ref-Macdonald1969_51_7-0)** Macdonald, Hugh. (1969). *Berlioz Orchestral Music*. BBC Music Guides. London: British Broadcasting Corporation. p. 51. [ISBN](/source/ISBN_(identifier)) [9780563084556](https://en.wikipedia.org/wiki/Special:BookSources/9780563084556).

1. **[^](#cite_ref-Latham1926_8-0)** Latham, Peter. (1926) "Wagner: Aesthetics and Orchestration". *Gramophone* (June): [*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*].

1. **[^](#cite_ref-Samson1977_195_9-0)** Samson, Jim (1977). *Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920*. New York City: W. W. Norton & Company. [ISBN](/source/ISBN_(identifier)) [0-393-02193-9](https://en.wikipedia.org/wiki/Special:BookSources/0-393-02193-9).

1. **[^](#cite_ref-DelMar1980_48_10-0)** Del Mar, Norman (1980). *Mahler’s Sixth Symphony: A Study*. London: Eulenburg.

1. **[^](#cite_ref-Luce1963_16_11-0)** Luce, David A. (1963). "Physical Correlates of Nonpercussive Musical Instrument Tones", Ph.D. dissertation. Cambridge: Massachusetts Institute of Technology.

1. **[^](#cite_ref-FOOTNOTEErickson197511_12-0)** [Erickson 1975](#CITEREFErickson1975), p. 11.

1. **[^](#cite_ref-Grey1977_13-0)** Grey, John M. (1977). "Multidimensional perceptual scaling of musical timbres". *The Journal of the Acoustical Society of America*. **61** (5). Acoustical Society of America (ASA): 1270–1277. [Bibcode](/source/Bibcode_(identifier)):[1977ASAJ...61.1270G](https://ui.adsabs.harvard.edu/abs/1977ASAJ...61.1270G). [doi](/source/Doi_(identifier)):[10.1121/1.381428](https://doi.org/10.1121%2F1.381428). [ISSN](/source/ISSN_(identifier)) [0001-4966](https://search.worldcat.org/issn/0001-4966). [PMID](/source/PMID_(identifier)) [560400](https://pubmed.ncbi.nlm.nih.gov/560400).

1. ^ [***a***](#cite_ref-Wessel1979_14-0) [***b***](#cite_ref-Wessel1979_14-1) Wessel, David (1979). "Low Dimensional Control of Musical Timbre". *Computer Music Journal* 3:45–52. Rewritten version, 1999, as "[Timbre Space as a Musical Control Structure](http://articles.ircam.fr/textes/Wessel78a/)".

1. **[^](#cite_ref-Lakatos2000_15-0)** Lakatos, Stephen (2000). ["A common perceptual space for harmonic and percussive timbres"](https://doi.org/10.3758%2Fbf03212144). *Perception & Psychophysics*. **62** (7). Springer Science and Business Media LLC: 1426–1439. [doi](/source/Doi_(identifier)):[10.3758/bf03212144](https://doi.org/10.3758%2Fbf03212144). [ISSN](/source/ISSN_(identifier)) [0031-5117](https://search.worldcat.org/issn/0031-5117). [PMID](/source/PMID_(identifier)) [11143454](https://pubmed.ncbi.nlm.nih.gov/11143454). [S2CID](/source/S2CID_(identifier)) [44778763](https://api.semanticscholar.org/CorpusID:44778763).

1. **[^](#cite_ref-Peeters2003_16-0)** Peeters, G. (2003) "[A Large Set of Audio Features or Sound Description (Similarity and Classification) in the CUIDADO Project](http://recherche.ircam.fr/anasyn/peeters/ARTICLES/Peeters_2003_cuidadoaudiofeatures.pdf)".[*[full citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources#What_information_to_include)*]

1. **[^](#cite_ref-PollardJansson1982_17-0)** Pollard, H. F., and E. V. Jansson (1982) *A Tristimulus Method for the Specification of Musical Timbre*. *Acustica* 51:162–71.

## References

- American Standards Association (1960). *American Standard Acoustical Terminology*. New York: American Standards Association.

- Dixon Ward, W. (1965). "[Psychoacoustics](https://books.google.com/books?id=XNVsAAAAMAAJ&q=timbre+wastebasket)". In *Audiometry: Principles and Practices*, edited by Aram Glorig, 55. Baltimore: Williams & Wilkins Co. Reprinted, Huntington, N.Y.: R. E. Krieger Pub. Co., 1977. [ISBN](/source/ISBN_(identifier)) [0-88275-604-4](https://en.wikipedia.org/wiki/Special:BookSources/0-88275-604-4).

- Dixon Ward, W. (1970) "Musical Perception". In *Foundations of Modern Auditory Theory* vol. 1, edited by Jerry V. Tobias, [*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]. New York: Academic Press. [ISBN](/source/ISBN_(identifier)) [0-12-691901-1](https://en.wikipedia.org/wiki/Special:BookSources/0-12-691901-1).

- [Erickson, Robert](/source/Robert_Erickson) (1975). [*Sound Structure in Music*](https://books.google.com/books?id=t3j6_ShXeWYC). Berkeley and Los Angeles: University of California Press. [ISBN](/source/ISBN_(identifier)) [0-520-02376-5](https://en.wikipedia.org/wiki/Special:BookSources/0-520-02376-5).

- McAdams, Stephen, and Albert Bregman (1979). "Hearing Musical Streams". *Computer Music Journal* 3, no. 4 (December): 26–43, 60.

- Schouten, J. F. (1968). "The Perception of Timbre". In *Reports of the 6th International Congress on Acoustics, Tokyo, GP-6-2*, 6 vols., edited by Y. Kohasi, [*[full citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources#What_information_to_include)*]35–44, 90. Tokyo: Maruzen; Amsterdam: Elsevier.

## External links

- John Grey, 1975. [An Exploration of Musical Timbre](https://ccrma.stanford.edu/files/papers/stanm2.pdf) (Ph.D. Thesis)

v t e Melody Balungan Cadence Interval Melisma Melodic motion Motif Ornament Trill Pattern Phrasing Pitch Rhythm Sequence Steps and skips Timbre Type (figure) Ululation Voice Voice leading

v t e Opera terms by origin English Breeches role Chest voice Concert performance Duodrama Head voice Insertion aria Mad scene Melodrama Monodrama Number Opera house Patter song Prompter Sung-through Surtitles French Claque Coup de glotte Divertissement Encore Entr'acte Haute-contre Intermède Overture Répétiteur Roulade Timbre Tragédie en musique Travesti German Fach Gesamtkunstwerk Kammersänger Kapellmeister Leitmotif Literaturoper Regieoper Singspiel Sitzprobe Spieloper Sprechgesang Italian Aria Aria di sorbetto Arioso Banda Bel canto Bravura Brindisi Burletta Cabaletta Cadenza Cantabile Castrato Cavatina Chiaroscuro Coloratura Comprimario Contralto Convenienze Da capo aria Diva Falsetto Falsettone Fioritura Impresario Intermezzo Legato Libretto Licenza Maestro Melodramma Messa di voce Mezzo-soprano Musico Opera seria Ossia Passaggio Pasticcio Portamento Prima donna Recitative Ritornello Sinfonia Solita forma Soprano Soprano sfogato Spinto Squillo Stagione Stile rappresentativo Tenore contraltino Tenore di grazia Tessitura Verismo Vibrato Other Hovsångare

v t e Musical range or compass and register Vocal register Whistle Falsetto Modal Vocal fry Voice type Boy soprano Soprano Coloratura Soubrette Lyric Spinto Dramatic Soprano sfogato Mezzo-soprano Contralto (Alto) Castrato Countertenor Sopranist Tenor Haute-contre Tenore contraltino Tenore di grazia Heldentenor Baritenor Baritone Bass-baritone Bass Basso profondo Sound Bass Sub-bass Treble Related articles Chest voice Clef Extension Head voice Passaggio Pedal tone Organ registration Tessitura Timbre Vocal range Vocal weight

v t e Timbre Colors of noise Fundamental frequency Jivari Loudness Microinflection Noise Overtone Pitch Rustle noise Sawari Spectral envelope Sympathetic string Tonality Waveform

v t e Singing Singing types A cappella Bathroom singing Extended technique Throat singing Overtone singing White voice Oversinging Rapping Scat singing Sign singing Sing-along Vocal percussion Beatboxing Forms · Genres Choral Opera Lied Vocables Voice classification Voice type Alto Bass Bass-baritone Baritone Baritenor Tenor Countertenor Contralto Mezzo-soprano Soprano Fach Non-classical music Concepts · Techniques Backup vocals Belting Coloratura Chest voice Crooning Cursive singing Death growl Falsetto Head voice Lead vocals Passaggio Quintus Rapping Scat singing Screaming Sprechgesang Tessitura Timbre Vocal pedagogy Vocal range Vocal register Vocal resonation Vocal weight Sound equipment (popular music) In-ear monitor Microphone Pitch correction Sound reinforcement system Monitor speaker Miscellaneous Vocal music Choir Vocal coach

Authority control databases International GND FAST National United States France BnF data Other Yale LUX

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