Translation of "Klangvorstellung" in English

This strongly determines the sound I have in mind.

In actual fact I am never held captive here in my concept of sound.

In an ideal case, creative improvisation in Jazz is guided by an inner concept of sound.

The sound ideal is determined by all the music one has previously heard.

He composed without a piano, had what was evidently an outstanding inner sense of sound, and thought in finished ideas.

She is fascinated by the challenge of producing an instrument on which the musician has the ideal possibility of creating his own personal idea of sound.

It was established for the purpose of passing along the centuries-old tradition of one of Germany’s oldest orchestras and thus keep alive the special sound as well as the performance culture of this unique ensemble.

My job is to take the components such as tone expectations, choice of woods, artistic and esthetic touch, together with experience, to compose an instrument of full character.

In fact, the builder’s individual sound preferences are a very important point as well. For me, tone wood business is a question of trust between the luthier and the tone wood dealer.

In my own words: This is an all-round cajon, with a wide variety of tones. It’s easy to fit into any sound requirement – Flamenco, Rock, Jazz, Folk, Celtic/Irish Music, Latin, Country/Bluegrass, Singer/Songwriter... and many more.

He had a very precise idea of the shepherd’s shawm sound, which appears in the third act of his opera Tristan and Isolde.

A statement of programmatic relevance to the whole musical avant-garde was formulated by Karl-Heinz Stockhausen in his Arbeitsbericht [Work Report] 1952/53, whose aesthetic approach was as follows: “One can no longer rely on the immediate sound ideal.

Barrels We keep a wide selection of barrels with different bores and shapes available, so you can find the best possible combination for your sound expectations.

Every musical instrument achieves perfection by augmenting its characteristics with an entire legacy of physical perceptions and abilities that came about through dealing with the material, the sonic conception and the culture of playing and listening that spawned it.

For Fennesz, composing is partly an improvisatory search that consists of playing around for hours, finding and refining things, and partly the attempt to reconstruct a melody line or a certain sound he hears in his head.

That one of the determining factors in his sound ideal was “all the music that one has previously heard” was for him completely natural and not a reason to rebel against this fact.

In so doing I also wanted to suggest from my concept of sound that Lear's path now leads elsewhere – something that no longer has anything to do with our world.

Both, magnitude and asymmetry of Heschl's gyrus may have impact on preference of timbre, tone and size of particular musical instruments and on musical performance.

Within Eschenbach's sound conception, he interpreted Brahms' First actually and without aesthetic malice as if were Beethoven's Tenth, which means it singled out the motivic work, the structural connections, the compositional architecture, and to a lesser degree the sound color density and the melodic-rhythmic pathos, which right at the beginning of the slow introduction is produced through the insistent kettledrums and the melancholy strings.

Which wood is “best” really depends on an individual’s idea of sound as well as on the purpose for which the instrument will be used.

When the leader also has a very special gift of selecting his fellow musicians in such a way that they fit into his idea of sound as a matter of course, then music becomes an event.

Then, a composition by Gerald Eckert was particularly stimulating, for the composer was himself present and ready to answer questions, e.g. “Is everything precisely notated, did you have an idea of the sound of the piece beforehand, do you compose at a desk?”

How, then, is Bertold Hummel's creative work in music to be distinguished from the avant-garde of the fifties and sixties, for these were the decisive years of his generation, and, if he was enthusiastic, what was he enthusiastic about? A statement of programmatic relevance to the whole musical avant-garde was formulated by Karl-Heinz Stockhausen in his Arbeitsbericht [Work Report] 1952/53, whose aesthetic approach was as follows: "One can no longer rely on the immediate sound ideal.