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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/29394

dc.creatorHuron, David
dc.date.accessioned2007-11-01T14:26:01Z
dc.date.available2007-11-01T14:26:01Z
dc.date.issued2007-10
dc.identifier.citationEmpirical Musicology Review, v2 n4 (October 2007), 123-139en
dc.identifier.issn1559-5749
dc.identifier.otherEMR000027a
dc.identifier.urihttps://doi.org/10.18061/1811/29394
dc.identifier.urihttp://hdl.handle.net/1811/29394
dc.description.abstractAn 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.extent1045755 bytes
dc.format.mimetypeapplication/pdf
dc.language.isoenen
dc.publisherEmpirical Musicology Reviewen
dc.subjectvoice-leadingen
dc.subjectauditory streamsen
dc.subjectfiguration tonesen
dc.subjectnon-chordal tonesen
dc.titleOn the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Partsen
dc.typeArticleen


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