Relevant bibliographies by topics / Dissonance (Music) Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Dissonance (Music) Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Dissonance (Music) Music"

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Reale, Steven. "The Calculus of Finite (Metric) Dissonances." Music Theory Spectrum 41, no. 1 (2019): 146–71. http://dx.doi.org/10.1093/mts/mty028.

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Abstract “Metric dissonance” is a term borrowed from the realm of pitch relationships, but many studies of metric dissonance draw primarily from a conception of dissonance based on the relative complexities of frequency ratios while downplaying the important syntactical aspect that dissonance plays in tonal music. This article develops existing models of metric dissonance, most notably that of Harald Krebs, by formalizing them through the calculus of finite differences, thereby introducing a methodology for quantifying metric dissonance. Such a formalization not only establishes a heuristic for comparing musical passages but also suggests an experiential model for hearing metrically dissonant music.
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Linnavalli, Tanja, Juha Ojala, Laura Haveri, Vesa Putkinen, Kaisamari Kostilainen, Sirke Seppänen, and Mari Tervaniemi. "Musical Expertise Facilitates Dissonance Detection On Behavioral, Not On Early Sensory Level." Music Perception 38, no. 1 (September 2020): 78–98. http://dx.doi.org/10.1525/mp.2020.38.1.78.

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Consonance and dissonance are basic phenomena in the perception of chords that can be discriminated very early in sensory processing. Musical expertise has been shown to facilitate neural processing of various musical stimuli, but it is unclear whether this applies to detecting consonance and dissonance. Our study aimed to determine if sensitivity to increasing levels of dissonance differs between musicians and nonmusicians, using a combination of neural (electroencephalographic mismatch negativity, MMN) and behavioral measurements (conscious discrimination). Furthermore, we wanted to see if focusing attention to the sounds modulated the neural processing. We used chords comprised of either highly consonant or highly dissonant intervals and further manipulated the degree of dissonance to create two levels of dissonant chords. Both groups discriminated dissonant chords from consonant ones neurally and behaviorally. The magnitude of the MMN differed only marginally between the more dissonant and the less dissonant chords. The musicians outperformed the nonmusicians in the behavioral task. As the dissonant chords elicited MMN responses for both groups, sensory dissonance seems to be discriminated in an early sensory level, irrespective of musical expertise, and the facilitating effects of musicianship for this discrimination may arise in later stages of auditory processing, appearing only in the behavioral auditory task.
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Perlovsky, Leonid. "Music and cognitive dissonance." Physics of Life Reviews 25 (August 2018): 152–53. http://dx.doi.org/10.1016/j.plrev.2018.03.012.

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Johnson-Laird, Phil N., Olivia E. Kang, and Yuan Chang Leong. "On Musical Dissonance." Music Perception 30, no. 1 (September 1, 2012): 19–35. http://dx.doi.org/10.1525/mp.2012.30.1.19.

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psychoacoustic theories of dissonance often follow Helmholtz and attribute it to partials (fundamental frequencies or overtones) near enough in frequency to affect the same region of the basilar membrane and therefore to cause roughness, i.e., rapid beating. In contrast, tonal theories attribute dissonance to violations of harmonic principles embodied in Western music. We propose a dual-process theory that embeds roughness within tonal principles. The theory predicts the robust increasing trend in the dissonance of triads: major < minor < diminished < augmented. Previous experiments used too few chords for a comprehensive test of the theory, and so Experiment 1 examined the rated dissonance of all 55 possible three-note chords, and Experiment 2 examined a representative sample of 48 of the possible four-note chords. The participants' ratings concurred reliably and corroborated the dual-process theory. Experiment 3 showed that, as the theory predicts, consonant chords are rated as less dissonant when they occur in a tonal sequence (the cycle of fifths) than in a random sequence, whereas this manipulation has no reliable effect on dissonant chords outside common musical practice.
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Alves, Bill. "Consonance and Dissonance in Visual Music." Organised Sound 17, no. 2 (July 19, 2012): 114–19. http://dx.doi.org/10.1017/s1355771812000039.

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The concepts of consonance and dissonance broadly understood can provide structural models for creators of visual music. The application of words such as ‘harmony’ across both music and visual arts indicates potential correspondences not just between sensory elements such as pitch and colour but also with the manipulation of tension and resolution, anticipation and stability in visual music. Concepts of harmony have a long history in proportions of space, colour and motion as well as music that artists can now exploit with new technologies. I will offer examples from my own work as well as techniques from artists such as Oskar Fischinger and John Whitney.
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Bell, Matthew. "Danses Fantastiques." Journal of Music Theory 65, no. 1 (April 1, 2021): 107–37. http://dx.doi.org/10.1215/00222909-9124750.

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Abstract Much of Tchaikovsky's music for the ballets Sleeping Beauty and Nutcracker exhibits what Harald Krebs calls metrical dissonance: the juxtaposition or superimposition of noncoincident pulses and rhythmic patterns. This article shows how the dances of the composer's collaborators, Enrico Cecchetti, Antonietta Dell'Era, Lev Ivanov, and Marius Petipa, respond to and participate in these metrical dissonances. The first part of the article defines metrical dissonance, the processes that transform it, and the related but distinct phenomenon of metric type. The second part presents four choreomusical analyses that draw on archival dance notation and videos of present-day performances.
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Anders, Torsten, and Benjamin Inden. "Machine learning of symbolic compositional rules with genetic programming: dissonance treatment in Palestrina." PeerJ Computer Science 5 (December 16, 2019): e244. http://dx.doi.org/10.7717/peerj-cs.244.

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We describe a method for automatically extracting symbolic compositional rules from music corpora. Resulting rules are expressed by a combination of logic and numeric relations, and they can therefore be studied by humans. These rules can also be used for algorithmic composition, where they can be combined with each other and with manually programmed rules. We chose genetic programming (GP) as our machine learning technique, because it is capable of learning formulas consisting of both logic and numeric relations. GP was never used for this purpose to our knowledge. We therefore investigate a well understood case in this study: dissonance treatment in Palestrina’s music. We label dissonances with a custom algorithm, automatically cluster melodic fragments with labelled dissonances into different dissonance categories (passing tone, suspension etc.) with the DBSCAN algorithm, and then learn rules describing the dissonance treatment of each category with GP. Learning is based on the requirement that rules must be broad enough to cover positive examples, but narrow enough to exclude negative examples. Dissonances from a given category are used as positive examples, while dissonances from other categories, melodic fragments without dissonances, purely random melodic fragments, and slight random transformations of positive examples, are used as negative examples.
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Virtala, Paula, and Mari Tervaniemi. "Neurocognition of Major-Minor and Consonance-Dissonance." Music Perception 34, no. 4 (April 1, 2017): 387–404. http://dx.doi.org/10.1525/mp.2017.34.4.387.

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Major-minor and consonance-dissonance are two profound elements of Western tonal music, and have strong affective connotations for Western listeners. This review summarizes recent evidence on the neurocognitive basis of major-minor and consonance-dissonance by presenting studies on their processing and how it is affected by maturation, musical enculturation, and music training. Based on recent findings in the field, it is proposed that both classifications, particularly consonance-dissonance, have partly innate, biologically hard-wired properties. These properties can make them discriminable even for newborn infants and individuals living outside the Western music culture and, to a small extent, reflect their affective connotations in Western music. Still, musical enculturation and active music training drastically modify the sensory/acoustical as well as affective processing of major-minor and consonance-dissonance. This leads to considerable variance in psychophysiological and behavioral responses to these musical classifications.
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Street, Alan. "Constructive Dissonance." Tempo, no. 180 (March 1992): 66. http://dx.doi.org/10.1017/s0040298200025961.

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BUTLER, MARK J. "Hearing Kaleidoscopes: Embedded Grouping Dissonance in Electronic Dance Music." Twentieth-Century Music 2, no. 2 (September 2005): 221–43. http://dx.doi.org/10.1017/s1478572206000272.

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The rhythmic and metrical qualities of electronic dance music (EDM) are clearly among its most prominent and appreciated features. Yet scholarship on rhythm, as well as popular discourse surrounding EDM, often frames the pervasively duple metres that characterize popular dance-based styles as simplistic and limited in capacity. Given the allure of EDM’s temporal qualities, how do musicians devise creative solutions to the constraints of its duple metrical organization? This article addresses this question through a consideration of embedded grouping dissonance, one of several distinctive rhythmic phenomena found in EDM. In theorizing embedded grouping dissonance, the article both builds upon and expands recent music-theoretical formulations of ‘metrical dissonance’, which describe similar occurrences without addressing this specific phenomenon. It then situates embedded grouping dissonance in relation to EDM’s technologically mediated means of production, arguing that this rhythmic technique exemplifies recurring principles of design that shape and reflect the aesthetics of electronic dance music on a broad scale.
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Dissertations / Theses on the topic "Dissonance (Music) Music"

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Whitcomb, Benjamin Dwight. "The coincidence theory of consonance : a re-evaluation based on modern scientific evidence /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Kane, Mike. "A consideration of modes of dissonance in 20th-century music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.

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Bravo, Fernando. "Human emotion processing through the systematic control of musical dissonance in audiovisual paradigms." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708589.

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Fritz, Thomas. "Emotion investigated with music of variable valence : neurophysiology and cultural influence." Phd thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2009/2911/.

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Music is a powerful and reliable means to stimulate the percept of both intense pleasantness and unpleasantness in the perceiver. However, everyone’s social experiences with music suggest that the same music piece may elicit a very different valence percept in different individuals. A comparison of music from different historical periods suggests that enculturation modulates the valence percept of intervals and harmonies, and thus possibly also of relatively basic feature extraction processes. Strikingly, it is still largely unknown how much the valence percept is dependent on physical properties of the stimulus and thus mediated by a universal perceptual mechanism, and how much it is dependent on cultural imprinting. The current thesis investigates the neurophysiology of the valence percept, and the modulating influence of culture on several distinguishable sub-processes of music processing, so-called functional modules of music processing, engaged in the mediation of the valence percept.
Musik eignet sich besonders gut, um sowohl intensive Angenehmheit/Lust und Unangenehmheit/Unlust (siehe auch Wundt, 1896), so genannte Valenzperzepte, im Zuhörer hervorzurufen. Jedoch kann derselbe musikalische Stimulus sehr unterschiedliche Valenzperzepte in verschiedenen Zuhörern hervorrufen, was nahe legt, dass das durch Musik vermittelte Valenzperzept zumindest teilweise durch kulturelle Prägung moduliert wird. Ein Vergleich von Musik verschiedener historischer Perioden legt ebenfalls nahe, dass kulturelle Prägung das Valenzperzept des Hörers bei der Wahrnehmung von Intervallen und Harmonien moduliert. Wichtigerweise ist es nach wie vor weitgehend unbekannt, inwiefern das Valenzperzept von physikalischen Eigenschaften des Stimulus (z.B. Rauhigkeit) abhängt - und daher auf einem universellen perzeptiven Mechanismus basiert - oder wie sehr es abhängt von kultureller Prägung. Die vorliegende Dissertation untersucht die Neurophysiologie des Valenzperzepts, sowie den modulierenden Einfluss von Kultur auf mehrere funktionelle Module der Musikwahrnehmung (voneinander unterscheidbare Subprozesse der Musikwahrnehmung), die bei der Entstehung des Valenzperzepts beteiligt sind.
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Kalant, Amelia. "The politics of dissonance : a criticism of Theodor Adorno's theory of music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61828.

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Bhogal, Gurminder Kaur. "Arabesque and metric dissonance in the music of Maurice Ravel (1905-1914) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400345384.

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Clement, Brett G. "A Study of the Instrumental Music of Frank Zappa." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1248708091.

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Bosworth, William Thomas. "Accentual counterpoint and metrical narrative in the music of Brahms." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283616.

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This thesis introduces a web of concepts to analyse Brahmsian metre and move toward a more nuanced understanding of metrical expression and narrative in his music. Recent analytical studies of metre in common-practice Western classical music have utilised a powerful analogy of consonance and dissonance between tonal and metrical dimensions. More theoretical studies, particularly of Brahms's music, have investigated how metrical states can be systematised, both abstractly and by Brahms, to create a sense of tonicity. This thesis synthesises and extends these approaches. Metrical dissonance is suggested to offer only an insufficient purchase on Brahms's metrical style, and the concept of accentual counterpoint is suggested as an alternative that gives fuller power to the explication of Brahms's metrical complexity, but without reducing that complexity. The complexity of metrical states that Brahms employs, in turn, is explored. Brahms's path to the composition of extraordinary metrical complexity in his Op. 78 violin sonata shows both his increasing systematisation of metrical states and his increasing ability to separate and manipulate metrical accent-types, the latter supporting the concept of accentual counterpoint. That metre has expressive power invites the concept of metrical narrative. An attempt is made to unite a recent theory of musical narrative with metrical analysis, inviting readings of different narrative archetypes within Brahms's metrical trajectories, with a focus on non-romantic narratives as a complement to traditional readings of unity. The pitch-metre analogy, and particularly the typicality of tonicity in metrical organisation, is problematised by those works by Brahms that begin and end in different notated metres. These instances, apparent manifestations of directional metre, are analysed, principally using the theories of hypermetre, metrical dissonance, metrical states and accentual counterpoint, with the hypothetical concepts of organisation (directional metre, metrical narrative and metrical tonicity) as interactive heuristics. Moving from organisation back to expression, the thesis closes by exploring a problem within current theories of form and phrase structure: the difference between musical expansion and extension. It highlights a metrical manifestation of this created as an effect of accentual counterpoint, dubbed metrical expansiveness, and examines the interaction of this effect with form and narrative.
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Spurrier, Graham. "Consonant and dissonant music chords improve visual attention capture." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2125.

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Recent research has suggested that music may enhance or reduce cognitive interference, depending on whether it is tonally consonant or dissonant. Tonal consonance is often described as being pleasant and agreeable, while tonal dissonance is often described as being unpleasant and harsh. However, the exact cognitive mechanisms underlying these effects remain unclear. We hypothesize that tonal dissonance may increase cognitive interference through its effects on attentional cueing. We predict that (a) consonant musical chords are attentionally demanding, but (b) dissonant musical chords are more attentionally demanding than consonant musical chords. Using a Posner cueing task, a standard measure of attention capture, we measured the differential effects of consonant chords, dissonant chords, and no music on attentional cueing. Musical chords were presented binaurally at the same time as a visual cue which correctly predicted the spatial location of a subsequent target in 80% of trials. As in previous studies, valid cues led to faster response times (RTs) compared to invalid cues; however, contrary to our predictions, both consonant and dissonant music chords produced faster RTs compared to the no music condition. Although inconsistent with our hypotheses, these results support previous research on cross-modal cueing, which suggests that non-predictive auditory cues enhance the effectiveness of visual cues. Our study further demonstrates that this effect is not influenced by auditory qualities such as tonal consonance and dissonance, suggesting that previously reported cognitive interference effects for tonal dissonance may depend on high-level changes in mood and arousal.
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Toro-Tóbon, Carlos I. "Fundamental dissonance: concertino for alto saxophone and sinfonietta." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6868.

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Fundamental Dissonance, an original composition scored for alto saxophone and sinfonietta, explores the concept of dissonance not only in the traditional musical sense related to tonality, but as a general principle indispensable for variety and creation. The particular perspective of this concept that can be found in the early work of the Hungarian philosopher, aesthetician, and literary historian Georg Lukács has given a specific direction to my creative process. In one of his first writings, The Theory of the Novel (1914), Lukács presents the idea of dissonance in the following terms: “Every form is the resolution of a fundamental dissonance of existence.” Here Lukács refers to a general conception of form, which includes the artistic context. A couple of texts about Lukács contribute to a thorough understanding of this idea and help to give shape to my interpretation of this sentence. Resolution is the key term in the sentence and mediates between form, what will be created, and dissonance, what needs to be resolved. In this way dissonance is presented as a problem, a question, or what others have also called a knot. It is fundamental because of its previous condition to existence. Without unrest, unity keeps things in a state of equilibrium, inhibiting movement or variety. Instead, disunity, or dissonance, permits change and creation, hence existence. There is a strong link between creation and dissonance. These ideas, and the multiple interpretations of dissonance in the musical context, influenced the original concepts used in Fundamental Dissonance and guided the compositional process. The first, and perhaps more evident manifestation of dissonance is the use of specific intervals as foundations of the musical language in the piece. Uses of the set class (012); with variants (013), (023), or (024) obtained by the expansion of (01); appear not only in the melodic and harmonic aspects but also at the structural level. Some scattered uses of microtonality are also part of this approach. In opposition, and as a reference to its genesis, the “equilibrium before its existence” is represented with unisons, adding contrast and variety to the previous intervals. Contrast is the second element I used to represent Lukács’s idea of dissonance. I have included references to contrasting styles and genres, short passages in tonal chords or short melodic cells with tonal character. These traditionally consonant elements play a contrasting –i.e., dissonant- role because of the general dissonant language in which they have been placed. Other compositional aspects that serve as contrast have to do with the opposition of densities and textures; the highly marked differences between the two main themes; and the use of the alto saxophone, an instrument traditionally not belonging to the sinfonietta, as the soloist. Extramusical elements have been used as general principles in the creative process. The saxophone adopts a role of leadership from the very beginning of the piece, presenting its ideas in a monologue style. Some instruments follow the soloist while others oppose, creating a clash of forces that ultimately generates more dissonance.
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Books on the topic "Dissonance (Music) Music"

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Consonance and dissonance in music. San Marino, CA: Everett Books, 1995.

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Tenney, James. A history of 'consonance' and 'dissonance'. Toronto: facsimile of self-published manuscript, 1988.

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A history of consonance and dissonance. New York: Excelsior, 1988.

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Dissonanz als ästhetische Kategorie. Paderborn: Verlag Wilhelm Fink, 2008.

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Krebs, Harald. Fantasy pieces: Metrical dissonance in the music of Robert Schumann. New York: Oxford University Press, 1999.

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Melnick, Daniel C. Fullness of dissonance: Modern fiction and the aesthetics of music. Rutherford [NJ]: Fairleigh Dickinson University Press, 1994.

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Erle, Giorgio. Leibniz, Lully e la teodicea: Forme etiche dell'armonia musicale. Padova: Il poligrafo, 2005.

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Leibniz, Lully e la teodicea: Forme etiche dell'armonia musicale. Padova: Il poligrafo, 2005.

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Dissonanz und Klangfarbe: Instrumentationsgeschichtliche und experimentelle Untersuchungen. Bonn: Verlag für Systematische Musikwissenschaft, 1985.

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Kaye, Philip R. The " contenance angloise" in perspective: A study of consonance and dissonance in continental music, c. 1380-1440. New York: Garland Pub., 1989.

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Book chapters on the topic "Dissonance (Music) Music"

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Thomas, Richard K. "Consonance and Dissonance." In Music as a Chariot, 158–85. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315145631-8.

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Kamp, Michiel. "Ludomusical Dissonance in Diablo III." In Music in the Role-Playing Game, 131–45. New York ; London : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2019. http://dx.doi.org/10.4324/9781351253208-9.

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McCreary, Bear, Meghen Miles, and Kevin R. Grazier. "Consonance and Dissonance: The Art and Science of Film Music." In ACS Symposium Series, 79–96. Washington, DC: American Chemical Society, 2013. http://dx.doi.org/10.1021/bk-2013-1139.ch007.

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Phillips, Wesley. "Melancholy Science as Dissonant System." In Metaphysics and Music in Adorno and Heidegger, 11–45. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137487254_2.

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Montiel, Marco Katz. "Development: Dissonant Confrontations." In Music and Identity in Twentieth-Century Literature from Our America, 43–60. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137433336_3.

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Mazzola, Guerino. "Neuronal Response in Limbic and Neocortical Structures During Perception of Consonances and Dissonances." In Music and the Mind Machine, 89–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79327-1_9.

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Mazzola, Guerino, Vreni Graber-Brunner, and Heinz-Gregor Wieser. "Hirnelektrische Vorgänge im limbischen System bei konsonanten und dissonanten Klängen." In Musik — Gehirn — Spiel, 135–52. Basel: Birkhäuser Basel, 1989. http://dx.doi.org/10.1007/978-3-0348-5562-4_10.

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Gurd, Sean Alexander. "Music." In Dissonance. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823269655.003.0003.

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In the period between Homer and the death of Euripides, Greek music was an explicitly avant-garde tradition, openly exploring the poetic capacities of unsettling noise. This chapter traces the use of timbral sound and melodic complexity to create a musical aesthetics designed to unsettle; a discussion of the conservative reaction to this tradition is then juxtaposed with the musical aesthetics of Euripides and Timotheus
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"3. Music." In Dissonance, 97–132. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823269679-006.

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DOWLING, W. JAY, and DANE L. HARWOOD. "Timbre, Consonance, and Dissonance." In Music Cognition, 62–89. Elsevier, 1986. http://dx.doi.org/10.1016/b978-0-08-057068-6.50009-6.

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Conference papers on the topic "Dissonance (Music) Music"

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Joeng, HyeonCheol, and JeongYang Park. "An Effect that a Consonant-dissonant Music Therapy has on Autonomic Nervous System." In Healthcare and Nursing 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.116.04.

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