Relevant bibliographies by topics / Dissonance (Music) Music / Books
To see the other types of publications on this topic, follow the link: Dissonance (Music) Music.

Books on the topic 'Dissonance (Music) Music'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 books for your research on the topic 'Dissonance (Music) Music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse books on a wide variety of disciplines and organise your bibliography correctly.

1

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
11

Lenard-Cook, Lisa. Dissonance: A novel. Santa Fe, NM: SFWP, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
12

Dissonance: A novel. Albuquerque: University of New Mexico Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
13

Maneirismo inquieto: Os Responsórios de Semana Santa de Carlo Gesualdo. [Lisbon]: Imprensa Nacional-Casa da Moeda, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
14

Hands Like Houses (Musical group). Dissonants. Place of publication not identified]: Rise Records, 2016.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
15

Beyer, Johanna Magdalena. Dissonant counterpoint. Lebanon, NH: Frog Peak Music, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
16

Adorno, Theodor W. Dissonanzen ; Einleitung in die Musiksoziologie. Frankfurt am Main: Suhrkamp, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
17

Gianuario, Annibale. Vincenzo Galilei, la dissonanza e la seconda pratica: Discorso di Vincentio Galilei intorno all'uso delle dissonanze (ms. di Firenze). 2nd ed. Sezze Romano (Italia): Fondazione Centro studi rinascimento musicale, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
18

Fico, Lorenzo. Zarlino: Consonanza e dissonanza nelle Istitutioni harmoniche. Bari: Adriatica, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
19

Slonimskiĭ, Sergeĭ Mikhaĭlovich. Svobodnyĭ dissonans: Ocherki o russkoĭ muzyke. Sankt-Peterburg: Kompozitor, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
20

Piontek, Tobias. Musiktherapie in der Grundschule?: Dissonanzen, Resonanzen, Konsonanzen. Marburg: Tectum Verlag, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
21

Dissonant divas in chicana music: The limits of la onda. Minneapolis: University of Minnesota Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
22

Dissonant identities: The rock 'n' roll scene in Austin, Texas. Hanover, NH: University Press of New England, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
23

Righini, Pietro. Il temperamento: Orientamenti e valutazioni : consonanza, dissonanza, fusione dei suoni, misurazione oggettiva delle qualità dei temperamenti. Padova: G. Zanibon, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
24

Solistas dissonantes: História (oral) de cantoras negras. [São Paulo]: Letra e Voz, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
25

Gmys, Marcin. Harmonie i dysonanse: Muzyka Młodej Polski wobec innych sztuk = Harmonies and dissonances : Young Poland music and other arts. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
26

Alexander, Irma. Wedding Music and Other Dissonance. Minerva Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
27

The Style of Palestrina and the Dissonance. Dover Publications, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
28

Moore, Henry Thomas. The Genetic Aspect of Consonance and Dissonance. Library Reprints, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
29

Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. Oxford University Press, USA, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
30

McLachlan, Neil M. Timbre, Pitch, and Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935345.013.44.

Full text
Abstract:
The perception of a sound’s timbre and pitch may be related to the more basic auditory function of sound recognition. Timbre may be related to the sensory experience (or memory) by which we recognize the source or meaning of a sound, while pitch may involve the recognition and mapping of timbres along a cognitive spatial dimension. Musical dissonance may then result from failure of sound recognition mechanisms, resulting in poor integration of pitch information and heightened arousal in musicians. Neurobiological models of auditory processing that include cortico-ponto-cerebellar and limbic pathways provide an account of the neural plasticity that underpins sound recognition and more complex human musical behaviors.
APA, Harvard, Vancouver, ISO, and other styles
31

Darlow, Mark. Dissonance in the Republic of Letters. Taylor & Francis Group, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
32

Kaye, Philip R. The "Contenance Angloie" in Perspective: A Study of Consonance and Dissonance in Continental Music, C. 1380-1440 (Outstanding Dissertations in Music). Garland Publishing, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
33

Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.

Full text
Abstract:
This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
APA, Harvard, Vancouver, ISO, and other styles
34

Rogers, Holly. Audiovisual Dissonance in Found-Footage Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0010.

Full text
Abstract:
Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged in such a way as to bring to the fore the conventions of mainstream cinematography and the languages of mass media. The result is not audiovisual synchronicity, but rather collision, or dissonance. Through the close reading of several found-footage films, this chapter traces the evolution of an activated form of audiovisual consumption that arises from a process of alienated listening.
APA, Harvard, Vancouver, ISO, and other styles
35

Dissonance in the Republic of Letters: The Querelle des Gluckistes et des Piccinnistes. Taylor & Francis Group, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
36

Dohna, Yvonne Zu. Canova Und Die Tradition: Kunstpolitik Am Papstlichen Hof (Italien in Geschichte Und Gegenwart). Peter Lang Publishing, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
37

Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice. Routledge, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
38

Heble, Ajay. Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice. Routledge, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
39

Tenney, James. On the Development of the Structural Potentialities of Rhythm, Dynamics, and Timbre in the Early Nontonal Music of Arnold Schoenberg. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0001.

Full text
Abstract:
In this essay, James Tenney discusses the development of the structural potentialities of rhythm, dynamics, and timbre in the early nontonal music of Arnold Schoenberg. Beginning with the Three Piano Pieces op. 11, and continuing through Pierrot Lunaire and the Four Songs with Orchestra opp. 21 and 22, Schoenberg developed a style that he later characterized as one based on “the emancipation of the dissonance.” His further descriptions of the developments of the period are almost exclusively in terms of harmonic innovations. Analytical writings by others have reflected this same concern with the harmonic (and, to a lesser extent, the melodic) aspects of the music. Tenney considers the twelve-tone method in music and argues that it is a partial systematization of procedures that Schoenberg had used. He hopes that his observations on rhythm, dynamics, and timbre that are articulated in this essay might later serve as the basis for a broader generalization of the basic ideas underlying twelve-tone music.
APA, Harvard, Vancouver, ISO, and other styles
40

Tenney, James. The Chronological Development of Carl Ruggles’s Melodic Style. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0008.

Full text
Abstract:
James Tenney presents the results of some statistical analyses that he carried out with the aid of a computer to study the chronological development of Carl Ruggles's melodic style. Certain aspects of Ruggles's music—the general shape of the melodic lines, the ever-present dissonant sonorities—are so consistent throughout all of his compositions that they give an impression of singular stylistic homogeneity. Tenney's results suggest just the opposite conclusion—at least with respect to his melodic writing. He goes on to examine significant changes in Ruggles's melodic style that are manifested in three ways: a gradual shift in the distribution of interval frequencies; a more and more effective avoidance of early recurrences of pitch classes; and an increase in the frequency and proximity of dissonance relations within his melodic lines.
APA, Harvard, Vancouver, ISO, and other styles
41

Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I B Tauris & Co Ltd, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
42

Rogers, Holly. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0001.

Full text
Abstract:
The Introduction situates the subsequent chapters within the wider discourses on music and the moving image, and on experimental film. It identifies several threads that run through the book, most of which concern the identification of a critical space that opens up between previously constructed binaries when audiovisuality is treated experimentally: between music and noise, active and passive consumption, popular and avant-garde practices and audiovisual synchronicity and dissonance. Despite the divergent practices of experimental film’s many histories, these threads enable the identification of persistent and common forms of sonic innovation.
APA, Harvard, Vancouver, ISO, and other styles
43

A, Bonfantini Massimo, and Vitali Marco, eds. Dissonanzen: Note dall'avanguardia. Napoli: Edizioni scientifiche italiane, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
44

Beal, Amy C. New York Waltzes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0004.

Full text
Abstract:
This chapter examines Beyer's solo piano pieces. The titles for her three major piano suites—Gebrauchs-Musik, Dissonant Counterpoint, and Clusters—derive from techniques in the air during the mid-1930s. Beyer's Gebrauchs-Musik (1934) consists of five short, mostly two-voice pieces. The undated Dissonant Counterpoint likewise explores repeating and evolving rhythmic patterns, as well as additive rhythm ideas, expanding the length of individual measures within an ametrical setting and creating discretely separate phrase structures similar to techniques used in her clarinet suites. Like much of Beyer's music, these pieces frequently include difficult polyrhythms. Indeed, the pieces in these suites tend to alternate between a quick, rhythmic style and a slow, static one.
APA, Harvard, Vancouver, ISO, and other styles
45

Adorno, Theodor W. Dissonanzen. Einleitung in die Musiksoziologie. Suhrkamp, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
46

Whitehead, Baruch, and Johan Galtung. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics (Toda Institute Book Series on Global Peace and Policy). I. B. Tauris, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
47

Adorno, Theodor W. Dissonanzen: Musik in der verwalteten Welt. 7th ed. Göttingen, Germany: Vandenhoeck & Ruprecht, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
48

Suárez, Juan A. The Sound of Queer Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0013.

Full text
Abstract:
This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference; as a possibility that is communicated by sound just as much as by the image. The chapter takes as examples of these modes both historical filmmakers, such as Jack Smith, Kenneth Anger, Andy Warhol and Barbara Hammer, and more recent ones, such as Hans Scheirl, David Domingo, Jennifer Reeves, Luther Price and William E. Jones.
APA, Harvard, Vancouver, ISO, and other styles
49

Tenney, James. Meta ⌿ Hodos. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0002.

Full text
Abstract:
In this essay, James Tenney discusses a phenomenology of twentieth-century musical materials and an approach to the study of form. Before describing the musical materials, Tenney examines the factors that account for the increased aural complexity of much of the music of the twentieth century and of some of its effects in our perception of music. He analyzes the gradual use of more and more complex sound-units in place of single tones, one manifestation of which can be seen in the expansion of the very concept of “melodic line” by way of various kinds of doublings. He also talks about the notion of equivalence in Arnold Schoenberg's arguments about consonance/dissonance and compares it with his own principle of equivalence. Tenney goes on to explore the gestalt-factors of cohesion and segregation by referring to the ideas of Max Wertheimer and concludes with an assessment of formal factors in the clang and sequence.
APA, Harvard, Vancouver, ISO, and other styles
50

Mirchandani, Sharon. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0008.

Full text
Abstract:
This epilogue reflects on Marga Richter's music, suggesting that her zest for living, coupled with her dedication to her art, makes her a role model for younger composers and performers. As she takes old age in stride, Richter has not thought of retiring and remains focused on composition. She continues to spend summers in Vermont and enjoys the beauty around her and visiting with professional colleagues, friends, and family. This epilogue describes Richter's musical style, which has remained fairly constant throughout her life, and argues that her works are characterized by dissonance, slowly unfolding free forms, ostinatos and layering, and a loose tonality. It also considers Richter's ties with feminism and her views on gender roles.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Dissonance (Music) Music' for other source types:
Journal articles Dissertations / Theses
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography