outlined in the paper according to multiple viewpoints arranged in the following order of succession: “modal skeleton”, “tonalization”, “generation of the fourth voice” and “absolute pitch assignment”. The soprano line is a Bachian melody used also in Ebcioglu (1988). Figure 3 A modal example realised as follows: “modal skeleton”, fioriturae (figuration) and “absolute pitch assignment”. The cantus firmus has been drawn from Koechlin (1925).

DOI link for outlined in the paper according to multiple viewpoints arranged in the following order of succession: “modal skeleton”, “tonalization”, “generation of the fourth voice” and “absolute pitch assignment”. The soprano line is a Bachian melody used also in Ebcioglu (1988). Figure 3 A modal example realised as follows: “modal skeleton”, fioriturae (figuration) and “absolute pitch assignment”. The cantus firmus has been drawn from Koechlin (1925).

outlined in the paper according to multiple viewpoints arranged in the following order of succession: “modal skeleton”, “tonalization”, “generation of the fourth voice” and “absolute pitch assignment”. The soprano line is a Bachian melody used also in Ebcioglu (1988). Figure 3 A modal example realised as follows: “modal skeleton”, fioriturae (figuration) and “absolute pitch assignment”. The cantus firmus has been drawn from Koechlin (1925).