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On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts

Please use this identifier to cite or link to this item: http://hdl.handle.net/1811/29394

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dc.creator Huron, David
dc.date.accessioned 2007-11-01T14:26:01Z
dc.date.available 2007-11-01T14:26:01Z
dc.date.issued 2007-10
dc.identifier.citation Empirical Musicology Review, v2 n4 (October 2007), 123-139 en
dc.identifier.issn 1559-5749
dc.identifier.other EMR000027a
dc.identifier.uri http://hdl.handle.net/1811/29394
dc.description.abstract An analysis of 50 chorale harmonizations by J.S. Bach shows that the use of embellishment tones is consistent with several principles known to contribute to the perceptual segregation of auditory streams. The results imply that a major role of embellishment tones may be to enhance the perceptual independence of the individual parts or voices. In addition, it is shown that Bach tends to distribute embellishment tones in alternating voices. This “turn-taking” is consistent with a single-channel model of attention where asynchronous onset cues are used to refresh the presumed auditory image for each voice. en
dc.format.extent 1045755 bytes
dc.format.mimetype application/pdf
dc.language.iso en en
dc.publisher Empirical Musicology Review en
dc.subject voice-leading en
dc.subject auditory streams en
dc.subject figuration tones en
dc.subject non-chordal tones en
dc.title On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts en
dc.type Article en