Abstract
The study of timbre and orchestration in symphonic music research is underexplored, and few theories attempt to explain strategies for combining and contrasting instruments and the resulting perception of orchestral structures and textures. An analysis of orchestration treatises and musical scores reveals an implicit understanding of auditory grouping principles by which many orchestration techniques give rise to predictable perceptual effects. We present a novel theory formalized in a taxonomy of devices related to auditory grouping principles that appear frequently in Western orchestration practices from a range of historical epochs. We develop three classes of orchestration analysis categories: concurrent grouping cues result in blended combinations of instruments; sequential grouping cues result in melodic lines, the integration of surface textures, and the segregation of melodies or stratified (foreground and background) layers based on acoustic (dis)similarities; segmental grouping cues contrast sequentially presented blocks of materials and contribute to the creation of perceptual boundaries. The theory predicts orchestration-based perceptual structuring in music and may be applied to music of any style, culture, or genre.
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