On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts
David Huron
Empirical Musicology Review · 2007
doi:10.18061/1811/29394 (opens in a new tab)
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Abstract
Accented passing tone Step Step (in same direction) Accented Unaccented passing tone Step Step (in same direction) Unaccented Upper neighbor tone Ascending step Step (in opposite direction) Unaccented Lower neighbor tone Descending step Step (in opposite direction) Unaccented Accented upper neighbor Ascending step Step (in opposite direction) Accented Accented lower neighbor Descending step Step (in opposite direction) Accented Anticipation Step or leap Same pitch Unaccented Suspension Same pitch Descending step Accented Retardation Same pitch Ascending step Accented Escape tone Step Leap Unaccented Appoggiatura Leap Step Accented Changing tone Step Leap then step Pedal tone Same pitch Same pitch Repetition tone* Same pitch Any movement Unaccented Arpeggio tone* Leap Any movement Unaccented *Chordal embellishments
Abstract licence: CC BY-NC
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