Timbral emergence (punctuated): Berlioz, Symphonie fantastique, iv, m. 17

Timbral heterogeneity (sustained, stable): Debussy, La Mer, iii, mm. 183–186.

Timbral heterogeneity (punctuated): Tchaikovsky, Nutcracker Suite, op. 71a, i, mm. 181–182

Taxonomy of sequential auditory grouping phenomena

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

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

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

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

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

Example 18. Stream segregation (stable) of blended streams: Borodin, In the Steppes of Central Asia, mm. 210–218

Stream segregation (transforming) of blended streams: Stravinsky, Quatre Etudes, iv (Madrid), mm. 93–94

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

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

Taxonomy of segmental auditory grouping phenomena

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

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

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

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

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.