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250 SOUND MOTION PICTURES
have been performed in which the tones falling in various parts have been eliminated from the general sounds by means of so-called filters.
When frequencies below ioo, 200, 300, or on up to 1,000 cycles are progressively eliminated from speech its character changes markedly. The terms " timbre" or "tone colour" best describe the characteristic lost. This characteristic appears to be associated with the fundamental and the first few overtones of the voiced sounds. Their presence is necessary, therefore, in order to convey this quality; but sound frequencies below 300 cycles do not appear to be essential for the correct interpretation of speech.
When frequencies above 8,000, 7,000, or on down to 3,000 cycles are eliminated, the character of the speech again changes markedly. The term "sibilance" appears to describe best the characteristic lost and refers to the prominence of the hissing or frictional character of speech. If attention is directed to such sounds as s, /", th, and z, the elimination of frequencies above 6,000 or 7,000 cycles is readily detectable, but it requires rather close attention to detect the elimination of frequencies above 8,000 cycles. Elimination of frequencies above 7,000 cycles, however, slightly impairs the interpretation of the s and z sounds of a woman's voice; and elimination of frequencies above 6,000 cycles, those of the/ and th sounds of a man's voice, and of the f, th, sy and z sounds of a woman's voice. The impairment due to eliminating higher frequencies is usually greater in the case of female voices.
As in the case of speech, the tone colour or timbre of musical tones also appears to be associated with the fundamental and the first few overtones of the note produced. Timbre is probably more important in music than in speech. For example, it is one of the things that distinguish the tones of various instruments. In general,