TOGE | MTO — Example 4

TOGE

Nov 24

Example 4. Timbral augmentation (sustained, stable): Debussy, La Mer, i, mm. 122–31
Audio example 1a is the English horn alone, 1b adds the two solo celli, and 1c is the full context [simulation from OrchPlayMusic Library]

Full Score and Recording

Scores and Recordings

Debussy | La mer

All Examples from the TOGE Article

Supplemental Materials

TOGE | MTO — Example 1

Auditory grouping gives rise to events from which perceptual properties are extracted, which then acquire musical functions within a given sonic context

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 3

Taxonomy of concurrent auditory grouping phenomena

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 12

Taxonomy of sequential auditory grouping phenomena

TOGE | MTO — Example 13

Stream integration (stable). Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, vi (“Samuel Goldberg and Schmuÿl”), mm. 1–8, Score in C

TOGE | MTO — Example 14

Stream integration (transforming): Reynolds, The Angel of Death, S section, mm. 364–373; [From Touizrar and McAdams 2019]

TOGE | MTO — Example 15

Surface texture (stable): Smetana, Die Moldau, mm. 185–194

TOGE | MTO — Example 16

Surface texture (transforming): Smetana, The Bartered Bride, Overture, mm. 89–99

TOGE | MTO — Example 17

Stream segregation (stable) of co-equal single-instrument lines: Vaughan Williams, The Lark Ascending, mm. 88–94

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

TOGE | MTO — Example 20

Stratification (stable) with three layers: Mahler, Symphony no. 1, ii, mm. 26–31

TOGE | MTO — Example 21

Stratification (transforming) in three layers: Borodin, In the Steppes of Central Asia, mm. 27–42]

TOGE | MTO — Example 22

Taxonomy of segmental auditory grouping phenomena

TOGE | MTO — Example 23

Timbral shifts: Schubert, Symphony no. 9 in C major, i, mm. 594–602]

TOGE | MTO — Example 24

Timbral echo: Sibelius, Symphony no. 2 in D major, ii, mm. 120–128

TOGE | MTO — Example 25

Antiphonal contrast: Haydn, Symphony no. 100 in G major (Military), ii, mm. 61–64

TOGE | MTO — Example 26

Timbral juxtapositions: Sibelius, Symphony no. 2, ii, mm. 67–75.

TOGE | MTO — Example 27

Sectional boundaries: Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics.

Scores and Recordings for all the TOGE examples

TOGEScore and AudioExample4ConcurrentBlendTimbral AugmentationSustainedStableDebussyLa MerMTOAuditory GroupingMusic and Score

Stephen McAdams