"[1] When using this listening technique/ method of perception / interpretation there is "a relation between timbre and spectral content which is analogous to that between pitch and frequency in that one is the prevalent cultural construct of the other.
Valentina Suzukei suggests that 'it was the nomadic way of life and its focus on the timbral qualities of natural sounds that created this kind of musicality'.
[4] This is especially prevalent in Canada where composers such as Hildegard Westerkamp apply the thinking of R. Murray Schafer's World Soundscape Project to their compositions.
[7] The composition of timbre-centered music in the nomadic communities of Tuva involves mimicry of sounds heard in the environment.
Timbral listening is a fundamental component of listening to, understanding and being able to correctly perform this music using vocal techniques such as throat singing "khoomei" and harmonic producing instruments such as the jaw harp, bzaanchy, shoor, qyl qiyak, qyl-gobyz, ku-rai, and igil.