TOGE | MTO — Example 2
Auditory grouping processes and the resulting perceptual qualities and corresponding orchestral effects. [Adapted from Goodchild and McAdams 2021, Fig. 1]
TOGE | MTO — Example 4
Timbral augmentation (sustained, stable): Debussy, La Mer, i, mm. 122–31
TOGE | MTO — Example 5
Timbral augmentation (sustained, transforming): Wagner, Parsifal, Overture, mm. 20–25
TOGE | MTO — Example 6
Timbral augmentation (punctuated): Sibelius, Symphony no. 5, op. 82, iii, mm. 474–482
TOGE | MTO — Example 7
Timbral emergence (sustained, stable): Debussy, La Mer, i, mm. 6–17
TOGE | MTO — Example 8
Timbral emergence (sustained, transforming): Schoenberg, Five Pieces for Orchestra op. 16, iii, mm. 1–11
TOGE | MTO — Example 9
Timbral emergence (punctuated): Berlioz, Symphonie fantastique, iv, m. 17
TOGE | MTO — Example 10
Timbral heterogeneity (sustained, stable): Debussy, La Mer, iii, mm. 183–186.
TOGE | MTO — Example 11
Timbral heterogeneity (punctuated): Tchaikovsky, Nutcracker Suite, op. 71a, i, mm. 181–182
TOGE | MTO — Example 18
Example 18. Stream segregation (stable) of blended streams: Borodin, In the Steppes of Central Asia, mm. 210–218
TOGE | MTO — Example 19
Stream segregation (transforming) of blended streams: Stravinsky, Quatre Etudes, iv (Madrid), mm. 93–94