 suggested that the entire compositional structure could be conceived as " timbre " : since " the different experienced components such as colour , harmony and melody , meter and rhythm , dynamics , and form correspond to the different segmental ranges of this unified time " [ Stockhausen Texte , 1 : 120 ] , the total musical result at any given compositional level is simply the " spectrum " of a more basic duration — i.e. , its " timbre , " perceived as the overall effect of the overtone structure of that duration , now taken to include not only the " rhythmic " subdivisions of the duration but also their relative " dynamic " strength , " envelope , " etc . 
