scholarly journals Understanding Musical Consonance and Dissonance: Epistemological Considerations from a Systemic Perspective

Systems ◽  
2014 ◽  
Vol 2 (4) ◽  
pp. 566-575 ◽  
Author(s):  
Nicola Di Stefano ◽  
Marta Bertolaso
Keyword(s):  
Consonance And Dissonance

scholarly journals The perception of consonance and dissonance.

1918 ◽  
Vol 25 (2) ◽  
pp. 93-133 ◽  
Author(s):  
Constantine Frithiof Malmberg
Keyword(s):  
Consonance And Dissonance

scholarly journals Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension

2019 ◽  
Author(s):  
Imre Lahdelma ◽  
Tuomas Eerola
Keyword(s):  
Empirical Studies ◽  
Pronounced Effect ◽  
Musical Expertise ◽  
Musical Context ◽  
Vital Factor ◽  
Consonance And Dissonance

The contrast between consonance and dissonance is a vital factor in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance in turn disagreeableness and a need of resolution. The current research addresses the perception of consonance/dissonance in intervals and chords isolated from musical context. Experiment 1 explored the correlations between the seven most used concepts denoting consonance/dissonance across all the available (60) empirical studies published since 1883. The stimuli consisted of a representative continuum of consonance/dissonance. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli's cultural familiarity was divided into three levels, and the correlations between the pivotal concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and familiarity levels. On the basis of the results a rigorous control for familiarity and musical expertise is recommended for all studies investigating the perception of consonance/dissonance. The findings help pinpoint how familiarity affects the perception of consonance/dissonance and demonstrates the pronounced effect of musical expertise on this.

Consonance and Dissonance

2018 ◽  
pp. 158-185
Author(s):  
Richard K. Thomas
Keyword(s):  
Consonance And Dissonance

scholarly journals A psychophysical study of the perception of consonance and dissonance

1981 ◽  
Vol 17 (2) ◽  
pp. 89-92
Author(s):  
Stephen Metz ◽  
Anne D. Pick ◽  
Marsha G. Unze
Keyword(s):  
Psychophysical Study ◽  
Consonance And Dissonance

scholarly journals Computational Approach to Musical Consonance and Dissonance

2018 ◽  
Vol 9 ◽  
Author(s):  
Lluis L. Trulla ◽  
Nicola Di Stefano ◽  
Alessandro Giuliani
Keyword(s):  
Computational Approach ◽  
Consonance And Dissonance

A History of Consonance and Dissonance

1989 ◽  
Vol 13 (3) ◽  
pp. 94
Author(s):  
Erling Wold ◽  
James Tenney
Keyword(s):  
History Of ◽  
Consonance And Dissonance

Uncanny Resemblances: Tonal Signification in the Freudian Age

2004 ◽  
Vol 57 (2) ◽  
pp. 285-324 ◽  
Author(s):  
Richard Cohn
Keyword(s):  
Twentieth Century ◽  
Sigmund Freud ◽  
Instrumental Music ◽  
Heinrich Schenker ◽  
The Uncanny ◽  
Early Twentieth Century ◽  
Richard Strauss ◽  
Consonance And Dissonance

Early twentieth-century psychological theorists (Ernst Jentsch, Sigmund Freud) associated the uncanny with the occlusion of the boundary between real and imaginary, and with the defamiliarization of the familiar. Their music-theoretic contemporaries (Heinrich Schenker, Ernst Kurth, Alfred Lorenz) associated reality with consonance, imagination with dissonance. Late Romantic composers frequently depicted uncanny phenomena (in opera, song, and programmatic instrumental music) through hexatonic poles, a triadic juxtaposition that inherently undermines the consonant status of one or both constituents. Quintessentially familiar harmonies become defamiliarized liminal phenomena that hover between consonance and dissonance, thereby embodying the characteristics they are called upon by composers to depict. Examples of uncanny triadic juxtapositions are drawn from music of Gesualdo, Monteverdi, Haydn, Wagner, Mahler, Grieg, Richard Strauss, Sibelius, Puccini, Ravel, and Schoenberg.

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