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| | SchenkerGUIDE: Consonance and dissonance |
 | | The idea of consonance and dissonance in western music goes back to at least the 5th century BCE and is now commonly understood to stem from a combination of factors both acoustic and cultural. | | | Consonant intervals have simpler ratios (the octave has the simplest of all - 2:1) and the more complex the ratio the more it is heard as a dissonance (the minor second has a ratio of 16:15). | | | Whatever the basis for the concept of consonant and dissonant intervals, a gradually changing consensus developed over the centuries that while some successions of intervals were pleasing to the ear, some were not. |
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http://www.schenkerguide.com/consonanceanddissonance.html
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| | The Keyboard Tuning of Domenico Scarlatti |
| | The interplay of consonance and dissonance is central to musical sound. | | | Use of total dissonance to optimize a 12-tone tuning for a historical body of music can produce musically valuable results, but must at present be tempered with musical judgment, in particular to prevent overspecialization of the intervals. | | | We conclude that the total dissonance of a large volume of music is a useful tool for studies of keyboard instrument tuning in a historical musical context, although it is insufficient by itself. |
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http://sankey.ws/consonance.html
(1564 words)
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| | physics - Consonance and dissonance |
| | Both consonance and dissonance are words applied to harmony, chords, and intervals and by extension to melody, tonality, and even rhythm and metre (music). | | | Dissonant melodic intervals then included the tritone and all augmented and diminished intervals. | | | In music, a consonance (Latin consonare, "sounding together") is a harmony, chord, or interval considered stable, as opposed to a dissonance, which is considered unstable (see dissonance). |
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http://www.physicsdaily.com/physics/Consonance_and_dissonance
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| | Consonance of Non-Harmonic Complex Tones - by Björn Jacobsson & Jesper Jerkert |
| | The numbers of sessions where the interval does not include zero are as follows: 2 of 8 for the music acousticians, 7 of 10 for the amateur musicians and 11 of 16 for the musically inexperienced. | | | The numbers of sessions where the interval does not include zero are as follows: 5 of 8 for the music acousticians, 0 of 10 for the amateur musicians and 1 of 16 for the musically inexperienced. | | | For a majority of the music acousticians theoretical dissonance and rated consonance are correlated, whereas no correlation could be found between theoretical dissonance and frequency ratio. |
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http://www.f.kth.se/~f97-jje/musikteori/consonance.html
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| | An Atlas of Consonance |
| | Consonance means "to sound together", and it occurs in music when two musical tones are played together at particular intervals. | | | Consonance is often now defined as the result of the synchronization of the partials of two or more different musical tones. | | | The author presents a graphical tool for the visualization of consonance and dissonance, based on an acoustical model of the interaction of musical tones. |
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http://www.sohl.com/mt/maptone.html
(3579 words)
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| | Consonance and Dissonance - The Main Theories |
| | The component of dissonance that arises when a two pitches form an interval that is categorically ambiguous for a listener. | | | The component of dissonance that arises when pure tones are separated by roughly 40% of a critical band. | | | Helmholtz (1877) proposed the notion that dissonance arises due to beating between adjacent harmonics of complex tones. |
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http://www.music-cog.ohio-state.edu/Music829B/main.theories.html
(699 words)
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| | Consonance and Dissonance |
| | The concept of "consonance and dissonance" (CandD) is an important technical issue in music. | | | Later music accepts new consonances that earlier music regarded as restricted sounds, i.e., dissonances. | | | Composers then compensated by strengthening the level of dissonance, using the old dissonances as consonances -- thus, the perennial complaint that modern music is "too dissonant". |
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http://solomonsmusic.net/consonance.htm
(1180 words)
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| | Table of Contents TTSS |
| | The measurement of (sensory) consonance and dissonance is applied to the analysis of music using dissonance scores. | | | Sensory dissonance is a function of the interval and the spectrum of a sound. | | | Introducing a dissonant octave--almost any interval can be made consonant or dissonant by proper choice of timbre. |
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http://eceserv0.ece.wisc.edu/~sethares/contents.html
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| | Music:Consonance and Dissonance - Wikibooks, collection of open-content textbooks |
| | A dissonant interval can be described as being "unstable" or demanding treatment by resolving to a consonant interval; a consonant interval is one that is stable and does not demand treatment. | | | Thus, there is a hierarchy of consonant and dissonant intervals. | | | The perfect fourth is considered dissonant in common practice music when not supported by a lower third or fifth (but see below). |
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http://en.wikibooks.org/wiki/Music:Consonance_and_Dissonance
(690 words)
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| | Consonance and Dissonance |
| | In reality, to determine the degree of consonance or dissonance of two sounds played together is not as simple as determining if their frequencies fall within the same critical band. | | | To establish the degree of consonance or dissonance for a chord, or a pair of musical notes played together, we have to examine the entire harmonic series for each note, and look at frequency differences to see if they fall within the same critical band. | | | At issue is, when does a musical chord "sound good", or is consonant, and when does a musical chord "sound bad", or is dissonant. |
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http://hep.physics.indiana.edu/~rickv/consonance_and_dissonance.html
(1309 words)
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| | Search Results for dissonance - Encyclopædia Britannica |
| | The very foundation of harmonic music has been the interplay of consonance and dissonance. | | | in music, the impression of stability and repose (consonance) in relation to the impression of tension or clash (dissonance) experienced by a listener when certain combinations of tones or notes are... | | | Until the 20th century, music theorists were prone to concoct tables that showed an “objective” classification of intervals into the two opposing camps of consonant and dissonant. |
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http://www.britannica.com/search?query=dissonance&submit=Find&source=MWTAB
(437 words)
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| | cd.html |
| | Dissonant sounds, on the other hand, have been seen as harsh, inharmonious, unresolved, and unpleasant, but are often believed to be the most interesting and beautiful sounds in music. | | | From the beginning of music history, people have been struggling with their conceptions of consonance and dissonance. | | | They are only meant to put forth various harmonic and intervallic relationships that seem to determine what I see as consonant and dissonant. |
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http://plaza.ufl.edu/tnelly/cd.html
(212 words)
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| | Consonance |
| | The consonance and dissonance scales are arbitrary (from Plomp and Levelt, Journal of the Acoustical Society of America, vol. | | | Illustration of the way in which consonance of an interval with a lower complex tone of 250 Hz and a variable higher one depends on the frequency of this tone. | | | The subjective agreeability of a sound or of simultaneous sounds. |
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http://www.sfu.ca/sonic-studio/handbook/Consonance.html
(268 words)
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| | Erik's Rants and Recipes: An old debate about music |
| | I often hear the ill-informed argument that whatever music the arguer is arguing against is dissonant and the music that the arguer is championing is not. | | | Dissonance plays a part only in passing, as it did in Medieval music. | | | Rock and roll, of all the music cited here, is the least dissonant. |
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http://www.pinkmochi.com/eriksrant/archives/000126.html
(1988 words)
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| | Keith Prater Theory School |
| | The more consonant the intervals in the chord, the more consonant the chord. | | | The more dissonant the intervals in the chord, the more dissonant the chord. | | | The most dissonant chords will have lots of seconds, sevenths and tritone intervals. |
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http://www25.brinkster.com/musicschool/course3/lesson2.html
(156 words)
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| | Tom Pankhurst's TonalityGUIDE (pilot project) |
| | At its simplest, the importance of consonance and dissonance to the sense of 'being in a key' can be seen the harmonisation of a melody. | | | The reasons why are less important than the fact that within the Western musical tradition dissonant intervals are felt to be somehow unstable, in need of resolution to a less unstable interval. | | | In this way, a triad imposes a hierarchy on melody by highlighting which notes are part of the harmony (consonant) and which are not (dissonant). |
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http://www.tonalityguide.com/introtriadic.php
(449 words)
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| | Keith Prater Online Music School |
| | A sound is Dissonant if it is unpleasant. | | | The minor second is the most dissonant interval. | | | The second most consonant interval is the Perfect Fifth. |
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http://www25.brinkster.com/musicschool/course2/lesson17.html
(316 words)
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| | Harmonious Music Feature |
| | He has developed technical definitions of "consonance" and "dissonance" that lets him sculpt sounds and intervals that precisely control the amount of consonance and dissonance in musical passages. | | | Sethares bases these improvements on the idea that the tonal quality of a sound influences listeners' perceptions of the consonance (or smoothness) and dissonance (or roughness) of notes of any two pitches (referred to as musical intervals). | | | These intervals sounded very consonant in the original key, or those closely related to it. |
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http://www.engr.wisc.edu/alumni/perspective/23.3/music.html
(840 words)
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| | [No title] |
| | Since degrees of consonance and dissonance are still operable in atonal music, harmonic motion may still be effected, both on the local and structural level. | | | Carl Dahlhaus clarifies a common misinterpretation of the Schoenberg's description of the "emancipation of the dissonance" that often leads some analysts/theorists to believe that harmony is impossible on both the local and structural level in atonal music. | | | According to the contextual approach the notes in a piece of atonal music are where they are for reasons that have to do with thematicism and not harmony. |
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http://www.cnmat.berkeley.edu/~bruce/berg.html
(3455 words)
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| | Consonance and Dissonance |
| | These experiments revealed that the most dissonant interval is the one for which the two pure tone frequencies are separated by 25% of the critical band. | | | Each complex tone in a musical interval has a 'family' of harmonics. | | | The frequencies 262 and 392 do not fall within this range, and so the interval is judged consonant. |
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http://www.c3.hu/~andris/sound/consonance/con2.html
(380 words)
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| | BAIN: The Harmonic Series (Overtone Series) |
| | Though there is much more to the principle of consonance and dissonance in music, Helmholtz's degree of dissonance theory nonetheless provides us with some insight into the harmonic series's role in our perception of musical intervals. | | | Helmholtz proposed that the degree of dissonance produced by an interval is related to the degree of roughness produced by partials of the two fundamental tones that make up the interval. | | | It should also be mentioned that modern music psychologists make a distinction between sensory consonance/dissonance and musical consonance/dissonance, and have also demonstrated that factors such as register and dynamic level play a large role in how we actually perceive the relative consonance or dissonance of musical intervals. |
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http://www.music.sc.edu/fs/bain/atmi02/hs/index-audio.html
(3444 words)
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| | Illustration of consonance and dissonance |
| | A consonant interval is considered relatively dissonant in relation to another consonant interval if it is located to the right, and relatively consonanant if located to the left of it. | | | The absolutely consonant intervals are further divided into three categories consisting of the unison and octave; perfect fifth, major third, and minor third; and major sixth, minor sixth, and perfect fourth. | | | Komar views intervals as first dividing into two main categories; those which are absolutely consonant and absolutely dissonant. |
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http://www.music.indiana.edu/som/courses/rhythm/illustrations/consonance_and_dissonance.html
(109 words)
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| | Consonance and dissonance |
| | As the two frequencies differ by an increasing amount, they begin to sound more consonant and by the time they are in different critical bands they will be consonant. | | | When frequency of the two pure tones fall within the same critical band, they begin to sound dissonant. | | | Musical instruments are usually carefully tuned so that they produce tones at the same frequency, however two different instruments never play exactly the same frequency. |
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http://carini.physics.indiana.edu/P105S98/Consonance-and-dissonance.html
(867 words)
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| | The Counterpoint Page |
| | It would be tempting to assume that this so-called "Journey of the Dissonance" progressed in a constant and linear fashion together with music history, from highly consonant environments in the past, all the way towards our modern twelve-tone world (including the new members of the avant-garde tendencies: computer music, microtonal, mass-sound, concrète, and others). | | | dissonance: a combination of sounds that is "unstable". | | | To a large extent, that notion is true: a composer of the twelfth-century would certainly not have had the musical training to absorb or interpret a dodecaphonic row. |
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http://www.contrapunctus.com/contrapunctus.htm
(1896 words)
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| | The Overtone Series |
| | One may also think of consonance and dissonance in terms of harmonic stability and instability, since this is how composers have used these intervals in their music. | | | Including the intervalic inversions, we may derive a more comprehensive chart of relative consonance and dissonance that has influenced musicians of all periods. | | | As we move from left to right (farther away from the fundamental) the frequencies are not as closely related, and so we consider those intervals more dissonant. |
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http://www.smu.edu/totw/overtone.htm
(374 words)
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| | Amazon.com: Tuning, Timbre, Spectrum, Scale: Books: William A. Sethares |
| | Sensory consonance and the ability to measure it have important implications for the design of audio devices and for musical theory and analysis. | | | The next four sections are entitled respectively: The Science of Sound, Musical Scales, Consonance and Dissonance of Harmonic Sounds, and Related Spectra and Scales. | | | The plot thickens as the connection between sensory consonance and musical scales unfolds. |
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http://www.amazon.com/exec/obidos/tg/detail/-/354076173X?v=glance
(1906 words)
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| | sensação psico fisiológica das relações |
| | Beats can be heard also in the timbre of musical instruments, depending on the peculiar composition of harmonic partials of the sounds they produce. | | | These are the relations used in western music; all the rest, as the super-augmented and the super-diminished relations are just theoretical juggling. | | | e., musically speaking, to resolve them [passing from dissonance, that have beats, to consonance, that have not]. |
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http://paginas.terra.com.br/arte/teoriamusical/grafingl/graf29.htm
(564 words)
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| | Music as Image: Sound and Language |
| | A dissonance is any combination of musical tones not in a state of repose (consonance). | | | This is subjective to the listener and/or composer and produces the feeling that movement or resolution toward the consonant state is required. | | | Dr. Hanson also states, "throughout musical history the dissonances have shown a tendency to crowd the consonances out...a pleasing vitamin in music is consonance. |
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http://interact.uoregon.edu/MEDIALIT/wfae/readings/Levant.html
(3116 words)
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| | [No title] |
| | Consonance and dissonance are by definition subjective, but music from all cultures indicates that people prefer certain intervals, such as the octave and the fifth. The Physics of Beats The superposition of two pure tones of equal amplitudes but different frequencies may be illustrated mathematically. | | | These sounds are often referred to as dissonant sounds, meaning, essentially, unpleasant sounds. | | | This reaction will be visible through EEG readings and analysis, when consonant sounds and dissonant sounds of different beat frequencies are played. |
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http://www.cs.colostate.edu/~anderson/res/eeg/sarah/essay.doc
(3492 words)
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| | Audio Engineering Society - Chicago Section - Meeting Review, April 1998 |
| | Bill's presentation focused mainly on the human perception of sounds in music, specifically the consonance and dissonance of sounds. | | | Bill plays an interesting example of how 10 tone intonation can be used to create "good" musical sounds. | | | Bill provided samples of music consisting of nonharmonic partials created by stretching and compressing tones. |
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http://www.aes.org/sections/chicago/apr98review.html
(447 words)
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| | 1201 |
| | The dissonance to consonance nature of music helps to create these progressions. | | | In music, this concept of tension is called dissonance. | | | It means that the music does not have a tonal center. |
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http://www.macomb.edu/faculty/scotts/tension.html
(237 words)
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| | Seeger.html |
| | Thus in First species counterpoint (example 3.1) no consonance between the two parts was allowed; additionally, the melodies themselves consisted in the main of dissonant intervals. | | | Although the fate of these studies is not known, what would seem to be two of them - Psalm 137 (1923) and The Letter (1931) - were published in New Music in 1954. | | | Thus, rhythmically, as well as intervalically, the successive appearance of identical formulations was discouraged - regularity of pitch, interval or rhythm weakened the required dissonant effect. |
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http://www.o-art.org/history/early/Seeger.html
(1195 words)
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| | Perfect vs. Imperfect Consonance - GameDev.Net Discussion Forums |
| | Stumpf said that consonance is subjective and depends (more or less only) on the number of listeners that would agree that the sounds are consonant (oct.75%, 5th 50%, 4th 33%, 3rd 25%) | | | Posted - 5/12/2003 3:05:23 AM I haven't seen a definition of a perfect vs an imperfect consonance in psychoacoustics but I'm not sure about music theory. | | | Posted - 5/12/2003 4:32:08 AM OK I see, categorization of intervals in music theory. |
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http://www.gamedev.net/community/forums/viewreply.asp?ID=898012
(623 words)
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| | Week 5 |
| | Beating; critical band; sensory / acoustic consonance and dissonance. | | | The further apart on the basilar membrane the resonance regions for the components of the two notes, the less 'rough' the beating and the more consonant (smooth) the interval. | | | Term referring to the perceptual 'smoothness' of an interval. |
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http://www.ethnomusic.ucla.edu/courses/ESM172a/Files172A/WEEK5.HTM
(2142 words)
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| | Consonance - Wikipedia, the free encyclopedia |
| | For consonance in music see consonance and dissonance. | | | It is the repetition of consonant sounds in a short sequence of words, for example, the "t" sound in "Is it blunt and flat?" Alliteration differs from consonance insofar as alliteration requires the repeated consonant sound to be at the beginning of each word, where in consonance it is at the end. | | | A special species of consonance is using a series of sibilant sounds (/s/ and /sh/ for example); this is sometimes known simply as sibilance. |
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http://en.wikipedia.org/wiki/Consonance
(149 words)
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| | Dissonance is Today, Consonance is Tomorrow |
| | Whatever the form of music is, it is only a reason to reappraise the real meaning of music with external possibilities. | | | Is melody lost sight of in preference to dissonance in contemporary composition? | | | You remember when Debussy was a little boy and the secretary of the Conservatory came to him and said, "Have you finished poisoning the ears of your friends with all this dissonance?" And Debussy answered and he was only 12 years old, "Oh Mr.Secretary, dissonance is today. |
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http://www.scena.org/lsm/sm6-3/lastnote.html
(814 words)
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| | [No title] |
| | Basically, since the Classical era, dissonance is often associated with something requiring resolution, but the Second Viennese school and most jazz music illustrates that dissonance can be left unresolved and still be musically interpretable. | | | Complex rhythms, I have always argued, demand complex harmonies. | | | However, in Classical practice, the fourth is considered dissonant, and must be resolved if it occurs between the bass and an upper voice by one note staying where it is and the other moving towards the other by an interval of a minor or major second, resulting in a major or minor third. |
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http://home.earthlink.net/~tagutcow/rhythm.txt
(2466 words)
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| | [smt-list] SMT-Jazz Call for Proposals |
| | It is to be hoped that a discussion of the nature of "consonance vs. dissonance" in the jazz repertoire will inspire contributions that resonate with other theoretical and analytical approaches to music of the first half of the twentieth century, and thus be of great interest to the larger membership of SMT. | | | ============================================== CALL FOR PROPOSALS --- SMT-Jz Special Session at SMT Madison 2003: DISSONANCE AND CONSONANCE Study of the nature, limits and musical role of "consonance," the first topic taken up by Western Music Theory, remains just as pertinent today, 2500 years later. | | | One of the first theorists to attempt to grapple with some of the traditional issues of natural-bass theory as they might apply to the evolving jazz language of the fifties was George Russell, in his "Lydian Chromatic Concept of Tonal Organization " (1953), a truly seminal work (now available in a new edition). |
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http://www.societymusictheory.org:16080/pipermail/smt-talk/2002-November/000071.html
(408 words)
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| | Consonance-dissonance independent from major-minor |
| | However, I.R.'s results suggest that consonance and major mode (or dissonance and minor mode) are separable phenomena of pitch perception." | | | Such an acoustic account goes back to Rameau and von Helmholtz (for a review, see Crowder, 1984). | | | "The major-minor mode differentiation is often viewed as a by-product of the consonance principle. |
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http://web.telia.com/~u57011259/Peretz.htm
(197 words)
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| | Psysics & Psychphysics od Sound and Music |
| | Consonance, Dissonance and the Critical Band (with audio examples) | | | What Happens When The limit of frequency discrimination approaches the Critical Band? | | | This course was developed and expanded over a 15 year period from the early 1970's and used as an introductory course at the Australian Centre for the Arts and Technology, at the Australian National University, where the author was the Founding Head, and director from1989—2000. |
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http://www.avatar.com.au/courses/PPofM
(230 words)
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| | Digression: consonance and dissonance |
| | ‐aggregation inside critical bands ‐a product of streaming dissonant sounds together? |
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http://www.helsinki.fi/~ssyreeni/dsound/dsound-d-04.en.html
(40 words)
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| | Fuzzy Tension |
| | The basis of this approach is the natural overtone series produced by acoustic instruments, and I'll show in this article just how versatile the approach might be (assuming I can get it to work!). | | | Thus the traditional Consonance/Dissonance inverse relationship will hold for simple intervals and slowly break down with octave separation. | | | For instance a second is less dissonant as a ninth (try it on a piano if you don't believe this). |
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http://members.aol.com/rwtodd/notes4.html
(1032 words)
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| | Consonance and dissonance in auditory midbrain |
| | Consonance has two components, musical consonance and sensory consonance. | | | In 1863 Helmholtz suggested that sensory dissonance results from a perception of roughness, which is due to beat frequencies produced by interacting spectral components (partials, harmonics). | | | The results suggest that mistuning created a temporally synchronous distributed representation of the mistuned component that could be identified by higher auditory centers in the presence of the ongoing response produced by the remaining components; this kind of representation might facilitate the identification of individual sound sources in complex acoustic environments. |
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http://web.telia.com/~u57011259/Sinex.htm
(502 words)
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| | Music of Non-Western Peoples: Glossary of Musical Terms |
| | Consonance and dissonance are relative acoustic states that exist along a continuum in which dissonance increases as frequency ratios become smaller. | | | Psychology: consonance and dissonance are subjective terms describing pleasing (consonant) or displeasing (dissonant) sounds. | | | Acoustics; consonance is the sympathetic vibration of soundwaves of different frequencies related as the ratios of small whole numbers. |
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http://www.dartmouth.edu/~music4/terms.html
(1144 words)
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| | [smt-list] evolutionary process of dissonance inclusion |
| | But this is not to say that a consonance/dissonance distinction does not pertain to the song; the distinction is in fact crucial. | | | I strongly doubt that > seconds, sevenths, and the like, could be made to pass for > consonances in any music based on an opposition consonance/dissonance. | | | In this context, anything other than the concluding E over FM7, as in my score, would sound awfully dissonant, in some sense of the term. |
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http://www.societymusictheory.org:16080/pipermail/smt-talk/2003-July/001116.html
(231 words)
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| | Consonance and Dissonance |
| | That is to say, here the musical ear does indeed abandon the attempt at exact analysis, but it still takes note of the impression. | | | the scale tones) as well as the compound elements (i.e., the chord and melodies) are all derived from the same principle, and realizing the relationship between analysis (i.e., breaking down an object to its parts) and perception of impression (i.e., the holistic view), he establishes a continuum between the consonances and dissonances[ |
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http://www-crca.ucsd.edu/~syadegar/MasterThesis/node15.html
(265 words)
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| | Assif Tsahar: Dissonance is Consonance |
| | What relevant is the spirit of search within the music, finding your own language, not imitating. | | | A friend of mine, piano player Daniel Sarid, who left Israel for two years in Chicago, wrote me that he saw Cecil Taylor and that he never saw anything like it, and I said OK, who is Cecil Taylor? | | | I had a tape of Eric Dolphyâs âThe Prophet,â with Booker Little, with that half step dissonance in the middle of the melody, and it was so beautiful, wrong and right at the same time. |
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http://www.allaboutjazz.com/php/article.php?id=17923
(3012 words)
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| | (sc1.htm) |
| | Consonance and dissonance are not absolute qualities--consonant intervals especially possess varying degrees of stability. | | | Dissonant intervals may not be used to good effect in first species, so they are excluded from the exercise. | | | Imperfect consonances have a more varied sonority and are the most versatile. |
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http://www.duke.edu/web/mus118/sc1.htm
(650 words)
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| | [jsyn] a new applet |
| | It allows you to create an FM >> pair with arbitrary parameters, analyze its spectrum and create a scale >> based on the consonance/dissonance of the intervals of that spectrum >> (consonance and dissonance refering to a rather primitive notion of >> beating sinewave components). | | | It >> explores the notions of dissonance and consonance of sounds with respect >> to their timbres, along the lines of William Sethares' theories outlined >> in _Tuning, Timbre, Spectrum, Scale_. |
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http://www.music.columbia.edu/pipermail/jsyn/2001-May/007267.html
(466 words)
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