1911年,勋柏格在他的《和声学》一书的末尾杜撰了“音色旋律”这一概念,其管弦乐曲OP.16之3之所以闻名遐尔,就因为它与这一既给人以深刻印象又令人费解的概念联系在一起。勋柏格认为,一定能够从音色中“产生那些结果,它们彼此间的联系所形成的逻辑作用完全等同于我们在音高旋律上得到满足的那种逻辑。这似乎是一种未来的幻想,但也是极有可能的。我坚信,这种幻想会实现的。”当然,OP.16之3与音色旋律这个概念之间的联系之所以令人捉摸不透,首先在于对它的解释有误,其次是对它 In 1911, Schoenberger invented the concept of “timbre” at the end of his book Harmony, and its orchestral title, OP.16, 3, is famous for its connection to both man and woman Impressed with a convoluted concept. Schoonberger argued that it would be “able to produce those results from the sound and the logical function of their connection to each other was exactly the same as the logic we were satisfied with in pitch melody.” This seems to be a futuristic fantasy, But it is very possible, and I firmly believe that this illusion will come true. "Of course, the connection between OP.16 and the concept of timbre is unpredictable, first of all, in the interpretation of it , Followed by it