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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

Street, Alan. "Constructive Dissonance." Tempo, no. 180 (March 1992): 66. http://dx.doi.org/10.1017/s0040298200025961.

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10

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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11

Trainor, Laurel J., Christine D. Tsang, and Vivian H. W. Cheung. "Preference for Sensory Consonance in 2- and 4-Month-Old Infants." Music Perception 20, no. 2 (2002): 187–94. http://dx.doi.org/10.1525/mp.2002.20.2.187.

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The preferences of 2- and 4-month-old infants for consonant versus dissonant two-tone intervals was tested by using a looking-time preference procedure. Infants of both ages preferred to listen to consonant over dissonant intervals and found it difficult to recover interest after a sequence of dissonant trials. Thus, sensitivity to consonance and dissonance is found before knowledge of scale structure and may be based on the innate structure of the inner ear and the firing characteristics of the auditory nerve. It is likely that consonance perception provides a bootstrap into the task of learning the pitch structure of the musical system to which the infant is exposed.

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12

MAW, DAVID. "The mimetic basis of pure music in Machaut's refrain songs: part 1, musical mimesis." Plainsong and Medieval Music 29, no. 1 (April 2020): 27–50. http://dx.doi.org/10.1017/s0961137120000054.

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ABSTRACTWord setting in Machaut's refrain songs poses a problem, for whilst it is clearly indicated in the manuscripts, it often does not comply with recognised principles or values. To understand the situation, a dualistic relationship of words and music is proposed. It is founded in the coordinated but independent operation of principles of musical mimesis and musico-poetic dislocation. The music is constructed at a primary level as an imitation of the poetic form; but it is fundamentally independent of this model and may thus be detached from it and displaced against it. Devices such as ‘cross-cadencing’, ‘quasi-declamation’, ‘complementary-cadence inversion’ and ‘dissonance’ between implied and actual word setting are manifestations of this technique. The proposal accounts on the same basis for both the close relationship of words and music observable in the virelais and for the more abstract connection apparent in the rondeaux. There is a technical unity at work across the genres in Machaut's song composition.

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13

Seror, George A., and W. Trammell Neill. "Context Dependent Pitch Perception in Consonant and Dissonant Harmonic Intervals." Music Perception 32, no. 5 (June 1, 2015): 460–69. http://dx.doi.org/10.1525/mp.2015.32.5.460.

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Two experiments examined whether discrimination of component pitches in a harmonic interval is affected by the consonance or dissonance of the interval. A single probe pitch (B or C) was followed by a two note harmonic interval including that pitch (e.g., C then C-F# or C-G) or not including it (e.g., C then B-F# or B-G). On each trial, subjects indicated by key press whether the probe note was repeated in the following interval. The target note in the interval either matched the probe or differed by one semitone (B or C). The other note produced a consonant (e.g., perfect fifth) or dissonant (e.g., tritone) context for the target. Pitch discrimination was faster and more accurate in consonant intervals than dissonant, when the context note was higher than the target (Experiment 1), but there was no effect of consonance when the target was higher (Experiment 2). We conclude that the perception of the lower but not the upper pitch in a two note harmonic interval is affected by the interval’s consonance or dissonance. We discuss the results in terms of the theoretical framework of processing fluency and aesthetics proposed by Winkielman, Schwarz, Fazendeiro, and Reber (2003).

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14

Grave, Floyd. "Metrical Dissonance in Haydn." Journal of Musicology 13, no. 2 (1995): 168–202. http://dx.doi.org/10.2307/764104.

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15

Grave, Floyd. "Metrical Dissonance in Haydn." Journal of Musicology 13, no. 2 (April 1995): 168–202. http://dx.doi.org/10.1525/jm.1995.13.2.03a00020.

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16

Dibben, Nicola. "The Perception of Structural Stability in Atonal Music: The Influence of Salience, Stability, Horizontal Motion, Pitch Commonality, and Dissonance." Music Perception 16, no. 3 (1999): 265–94. http://dx.doi.org/10.2307/40285794.

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Two experiments that investigate the perception of structural stability in atonal music are reported. The first experiment suggests that listeners may hear atonal music in terms of the relative structural importance of events and that listeners' hearing is greatly influenced by metrical and durational structure. A second experiment reveals that, even in the absence of clear rhythmic, timbral, dynamic, and motivic information, listeners infer relationships of relative structural stability between events at the musical surface. The effects of three main variables (pitch commonality, horizontal movement, and dissonance) and two salience criteria (register and parallelism) are considered. The results indicate that in the absence of a clearly differentiated surface structure, listeners' judgments of stability are influenced by the dissonance of chords and the horizontal movement of voices. It is concluded that salience (phenomenal accents), voice-leading, and dissonance are potentially important factors in the abstraction of relationships of relative structural importance, and hence to any inference of prolongational structure in atonal music.

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17

Cohn, Richard. "Uncanny Resemblances: Tonal Signification in the Freudian Age." Journal of the American Musicological Society 57, no. 2 (2004): 285–324. http://dx.doi.org/10.1525/jams.2004.57.2.285.

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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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18

TATLOW, RUTH. "DISSONANCE AND HARMONY: RESPONSE TO DANIEL R. MELAMED." Eighteenth Century Music 18, no. 2 (August 17, 2021): 323–25. http://dx.doi.org/10.1017/s1478570621000026.

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19

Schöön, Daniele, Pascaline Regnault, Søølvi Ystad, and Mireille Besson. "Sensory Consonance." Music Perception 23, no. 2 (December 1, 2005): 105–18. http://dx.doi.org/10.1525/mp.2005.23.2.105.

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THE AIM OF THIS SERIES OF experiments was to determine whether consonant and dissonant chords elicit similar or different electrophysiological effects out of a musical context and whether these effects are similar or different for musicians and nonmusicians. To this end, w e recorded t he e vent-related b rain potentials (ERPs) elicited by the different intervals of the chromatic scale that were classified into three categories: perfect consonances, imperfect consonances, and dissonances. Participants were to decide, on a six-point scale, whether the intervals evoked pleasant or unpleasant feelings. To test the hypothesis that the perception of dissonance results from the superposition of the partials of close frequencies (Helmholtz, 1877), two notes were either played together (harmonic intervals) or successively (melodic intervals). Since, in this latter case, the two notes are played at different points in time, the perception of roughness, if any, should be weaker than for harmonic intervals. In line with Helmholtz's hypothesis, results showed larger differences for harmonic than for melodic intervals, which were mainly found on the N1-P2 complex for musicians, on the N2 component for nonmusicians, and on a later negative component for both musicians and nonmusicians. However, these results also point to the influence of expertise and cultural factors, since different results were obtained when ERPs were averaged as a function of music theory and according to the participants' responses.

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20

Milenkovic, Ivan. "Music and crisis." Muzikologija, no. 21 (2016): 15–26. http://dx.doi.org/10.2298/muz1621015m.

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In this article the author does not consider crisis a threat, but in a modern sense, an auto-motive drive of art. Therefore, crisis does not affect the art from the outside, it does not hit it as an illness or a storm, but it always produces itself, which is considered to be a condition for movement in art. First of all, the author analyzes the notion of representation and the four roots of the sufficient reason as a conservative and conserving element of art, to which he opposes crisis and its self-production as something that resists sclerotization of art forms. In music, the relation between the ossified, "naturalized" structure and that which decomposes that structure, manifests itself as the relation between harmony and disharmony. The moment when harmony shows a tendency towards naturality, understanding eternity and truth, an alarm is activated to show that music is being paralyzed and it needs a deconstructive intervention of disharmony, atonality and dissonance.

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21

Irving, Katrina. "Rock Music and the State: Dissonance or Counterpoint?" Cultural Critique, no. 10 (1988): 151. http://dx.doi.org/10.2307/1354111.

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22

Nemesh, Beth. "Family-based music therapy: from dissonance to harmony." Nordic Journal of Music Therapy 26, no. 2 (March 10, 2016): 167–84. http://dx.doi.org/10.1080/08098131.2016.1144638.

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23

Zentner, Marcel R., and Jerome Kagan. "Infants' perception of consonance and dissonance in music." Infant Behavior and Development 21, no. 3 (January 1998): 483–92. http://dx.doi.org/10.1016/s0163-6383(98)90021-2.

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24

Dougan, Kirstin, and Kate Lambaria. "iPads in the Music Library: Harmony or Dissonance?" Music Reference Services Quarterly 18, no. 2 (April 3, 2015): 61–78. http://dx.doi.org/10.1080/10588167.2015.1030924.

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25

Oja, Carol J. "Dane Rudhyar's Vision of American Dissonance." American Music 17, no. 2 (1999): 129. http://dx.doi.org/10.2307/3052711.

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26

Lee, Kyung Myun, Erika Skoe, Nina Kraus, and Richard Ashley. "Neural Transformation of Dissonant Intervals in the Auditory Brainstem." Music Perception 32, no. 5 (June 1, 2015): 445–59. http://dx.doi.org/10.1525/mp.2015.32.5.445.

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Acoustic periodicity is an important factor for discriminating consonant and dissonant intervals. While previous studies have found that the periodicity of musical intervals is temporally encoded by neural phase locking throughout the auditory system, how the nonlinearities of the auditory pathway influence the encoding of periodicity and how this effect is related to sensory consonance has been underexplored. By measuring human auditory brainstem responses (ABRs) to four diotically presented musical intervals with increasing degrees of dissonance, this study seeks to explicate how the subcortical auditory system transforms the neural representation of acoustic periodicity for consonant versus dissonant intervals. ABRs faithfully reflect neural activity in the brainstem synchronized to the stimulus while also capturing nonlinear aspects of auditory processing. Results show that for the most dissonant interval, which has a less periodic stimulus waveform than the most consonant interval, the aperiodicity of the stimulus is intensified in the subcortical response. The decreased periodicity of dissonant intervals is related to a larger number of nonlinearities (i.e., distortion products) in the response spectrum. Our findings suggest that the auditory system transforms the periodicity of dissonant intervals resulting in consonant and dissonant intervals becoming more distinct in the neural code than if they were to be processed by a linear auditory system.

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27

Makowski, Suzana K. E., and Ronald M. Epstein. "Turning Toward Dissonance: Lessons From Art, Music, and Literature." Journal of Pain and Symptom Management 43, no. 2 (February 2012): 293–98. http://dx.doi.org/10.1016/j.jpainsymman.2011.06.014.

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28

Perlovsky, Leonid, Arnaud Cabanac, Marie-Claude Bonniot-Cabanac, and Michel Cabanac. "Mozart effect, cognitive dissonance, and the pleasure of music." Behavioural Brain Research 244 (May 2013): 9–14. http://dx.doi.org/10.1016/j.bbr.2013.01.036.

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29

Mawer, Deborah. "Music-Dance (and Design) Relations in Ballet Productions of Ravel’s Daphnis et Chloé." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 2012): 77–85. http://dx.doi.org/10.7202/1012353ar.

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This article investigates music−dance (and design) interplay and balletic challenges in Daphnis et Chloé, focusing upon the Ravel−Ashton−Craxton production for The Royal Ballet (1951, revived in 2004), in comparison with the Ravel−Fokine−Bakst original of 1912. Sources drawn upon include accessible choreographic materials of Frederick Ashton (1904−88), held at the Royal Opera House Archives in London, as well as first-hand correspondence with the designer John Craxton (1922−2009). In order to explore the main music−dance relationships and emergent meanings, the study engages with multimedia ideas founded upon “consonance” and “dissonance” (Albright 2000), supported by music analytical (Cook 2001; 1998) and conceptual blending approaches (Fauconnier and Turner 2002). Particular moments from the ballet are selected for interpretation and, moving beyond rather over-simplified oppositions of unity versus independence or consonance versus dissonance, a case is made for complexes, transformation, and plurality.

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30

Silverberg, Laura. "Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic." Journal of Musicology 26, no. 1 (January 1, 2009): 44–84. http://dx.doi.org/10.1525/jm.2009.26.1.44.

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Abstract Both communist party officials and western observers have typically interpreted the composition of modernist music in the Eastern Bloc as an act of dissidence. Yet in the German Democratic Republic (GDR), the most consequential arguments in favor of modernism came from socialists and party members. Their advocacy of modernism challenged official socialist realist doctrine, but they shared with party bureaucrats the conviction that music ought to contribute to the development of socialist society. Such efforts to reform musical life from a Marxist-Leninist standpoint were typical of the first generation of East Germany's intelligentsia, who saw socialist rule as the only guarantee against the reemergence of German fascism. Two of East Germany's most prominent composers, Hanns Eisler and Paul Dessau, routinely used the twelve-tone method in works carrying an explicitly socialist text. During preparations for the 1964 Music Congress, aesthetician Güünter Mayer drew from Eisler's Lenin Requiem and Dessau's Appell der Arbeiterklasse to argue that modernist techniques were highly appropriate for giving expression to contemporary social conditions. The efforts of these socialists to reconcile modernist techniques with their understanding of socialism undermine basic divisions between communism and capitalism, complicity and dissent, and socialist realism and western modernism.

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31

Krebs, Harald. "Response to Lynn Cavanagh." Canadian University Music Review 22, no. 2 (March 4, 2013): 27–29. http://dx.doi.org/10.7202/1014504ar.

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Krebs's unusual monograph demonstrates that the writing of pure music theory remains an essential enterprise—particularly in the relatively neglected rhythmic domain—but only if the reader undertakes active reading and has prior knowledge of how the music goes. Within the monograph, perpetuation of the image of the misunderstood and suffering artist as a clue to the extramusical meaning Schumann associated with metrical dissonance leads to biased results. This essay's supplementary analysis of the first movement of Schumann's Symphony No. 3, informed by the history of ideas, proposes that in this movement metrical dissonance is used to reinterpret an emblem of the past so as to convey a vision of the future.

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32

Love, Stefan Caris. "Subliminal Dissonance or “Consonance”? Two Views of Jazz Meter." Music Theory Spectrum 35, no. 1 (April 2013): 48–61. http://dx.doi.org/10.1525/mts.2013.35.1.48.

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33

Hinton, S. "The Emancipation of Dissonance: Schoenberg's Two Practices of Composition." Music and Letters 91, no. 4 (November 1, 2010): 568–79. http://dx.doi.org/10.1093/ml/gcq092.

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34

Melnick, Daniel C. "Fullness of Dissonance: Modern Fiction and the Aesthetics of Music." Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 95. http://dx.doi.org/10.2307/431693.

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35

Fagge, Roger. "The politics, aesthetics and dissonance of music in everyday life." Jazz Research Journal 13, no. 1-2 (October 13, 2019): 7–18. http://dx.doi.org/10.1558/jazz.39944.

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36

Paulus, Werner. "Event-related potentials evoked by music lack a dissonance correlate." Psychomusicology: A Journal of Research in Music Cognition 11, no. 2 (1992): 152–56. http://dx.doi.org/10.1037/h0094124.

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37

Meiborg, Ceciel, and Sjoerd van Tuinen. "Brewing Dissonance: Conceptualizing Mannerism and Baroque in Music with Deleuze." diacritics 42, no. 3 (2014): 54–82. http://dx.doi.org/10.1353/dia.2014.0013.

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38

Green, Anders C., Klaus B. Bærentsen, Hans Stødkilde-Jørgensen, Mikkel Wallentin, Andreas Roepstorff, and Peter Vuust. "Music in minor activates limbic structures: a relationship with dissonance?" NeuroReport 19, no. 7 (May 2008): 711–15. http://dx.doi.org/10.1097/wnr.0b013e3282fd0dd8.

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39

Burwell, Kim. "Issues of dissonance in advanced studio lessons." Research Studies in Music Education 41, no. 1 (May 3, 2018): 3–17. http://dx.doi.org/10.1177/1321103x18771797.

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In recent years researchers have contributed a great deal to our shared understanding of the complexities of studio practices, which are widely regarded as a centre-point of higher education music. This article investigates an aspect of studio learning that does not lend itself easily to scrutiny, by drawing common issues from the cases of two students who, exceptionally, reported dissatisfaction with the approaches taken by their current teachers. These issues, loosely grouped under the metaphor of dissonance, are explored through interview and observation evidence, in terms of the balance of activity within lessons, turn taking, and encouragement. The study gives rise to questions that might be applied, arguably, in any studio setting.

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40

Blackburn, Bonnie J. "On Compositional Process in the Fifteenth Century." Journal of the American Musicological Society 40, no. 2 (1987): 210–84. http://dx.doi.org/10.2307/831517.

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The change from "successive composition" to "simultaneous conception" is one of the great turning points in the history of music. The latter term, derived from Pietro Aaron's allusion to the method of composition used by modern composers, does not correctly convey Aaron's meaning. He said that modern composers "take all the parts into consideration at once," disposing them in different ranges and thus allowing the avoidance of awkward clashes between the inner voices. This more harmonic orientation finds confirmation in the writings of Giovanni Spataro, whose theory of harmony, later developed by Zarlino, contradicts a current view of fifteenth-century music as purely intervallic counterpoint founded on a superius-tenor framework in which the bass is nonstructural and nonessential. The theory is grounded in the functional role of dissonance, adumbrated a century earlier in the treatise by Goscalcus. Discussion of the new compositional process can already be found fifty years earlier in the writings of Johannes Tinctoris. That this has not been recognized is due to persistent confusion over the term res facta. The key to comprehending this term lies in a correct understanding of what Tinctoris meant by counterpoint: it is not what we today call counterpoint but successive composition. Res facta differs from counterpoint in that each voice must be related to every other voice so that no improper dissonances appear between them. This method, "harmonic composition," could be quasi-simultaneous or successive; the criterion is the ultimate result-the finished work of art. Res facta is both a method of composition and a term that denotes a work composed in this manner, analogous to Listenius's opus perfectum et absolutum. The musica poetica of the sixteenth century is the legacy of res facta, and the two terms are indirectly connected. The new process of composition is the foundation for Tinctoris's delineation of an ars nova beginning about 1437, a date that may have been chosen in recognition of its first great representation in Dufay's Nuper rosarum flores.

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41

Krebs, Harald. "Some Extensions of the Concepts of Metrical Consonance and Dissonance." Journal of Music Theory 31, no. 1 (1987): 99. http://dx.doi.org/10.2307/843547.

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Cacioppo, Curt. "Color and dissonance in late Beethoven: The Quartet Op. 135." Journal of Musicological Research 6, no. 3 (February 1986): 207–48. http://dx.doi.org/10.1080/01411898608574566.

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malin, yonatan. "Metric Displacement Dissonance and Romantic Longing in the German Lied." Music Analysis 25, no. 3 (October 2006): 251–88. http://dx.doi.org/10.1111/j.1468-2249.2006.00243.x.

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Tucker, Olivia Gail. "Preservice Music Teacher Occupational Identity Development in an Early Field Experience." Journal of Music Teacher Education 30, no. 1 (June 24, 2020): 39–52. http://dx.doi.org/10.1177/1057083720935852.

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Occupational identity development is an important, complex component of music teacher education. Preservice teachers may experience dissonance between and/or integration of their musician and teacher identities, and scholars have found early field experiences to be important in undergraduates’ transitions into the teacher role. The purpose of this instrumental case study was to examine the occupational socialization and identity development of preservice music teachers in an early field teaching experience with a focus on preservice teacher and P–12 student interactions. I conducted observations, interviews, and a demographic survey during a semester-long early field experience. Findings centered around (a) the dynamic nature of preservice teachers’ identities; (b) the importance of peers, music teacher educators, and students to preservice participants as they engaged in the process of becoming music teachers, and (c) the momentary embodiment of music teacher and student roles. I connect these findings to prior research and suggest implications.

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45

Vos, Joos. "Purity Ratings of Tempered Fifths and Major Thirds." Music Perception 3, no. 3 (1986): 221–57. http://dx.doi.org/10.2307/40285335.

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In this study, the relationship between the degree of tempering of musical intervals and the subjective purity of these intervals was investigated. Subjective purity was determined for fifths and major thirds. The intervals were presented in isolation, that is, they were not given in a musical context. For two simultaneous complex tones the relationship between subjective purity and tempering could be described by exponential functions. These functions were obtained both for ratings on a 10-point equal-interval scale and for subjective distances derived from preference data collected by means of the method of paired comparisons. To verify to what extent subjective purity had been determined by interference of nearby harmonics, the spectral content of the tones was varied. For both the fifths and the major thirds, interference of the various pairs of nearly coinciding harmonics was canceled by deletion of the even harmonics of the higher tone. This deletion resulted in higher purity ratings, the effect being most prominent for the major third. A further reduction of the potential interference between harmonics was still more effective: for simultaneous sinusoidal tones, subjective differences between pure and tempered intervals were much smaller than for complex tones. Purity ratings for simultaneous sinusoids presented at a low sound level were about equal to the ratings for successive tones. The purity ratings were compared with dissonance patterns predicted by models for tonal consonance/dissonance. Only in a few conditions do the patterns predicted by the model of Plomp and Levelt resemble the rating patterns obtained, and the dissonance patterns predicted by the model of Kameoka and Kuriyagawa are at variance with the purity ratings in all conditions. Suggestions for revision of the models are given.

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Wright, James K., and Albert S. Bregman. "Auditory stream segregation and the control of dissonance in polyphonic music." Contemporary Music Review 2, no. 1 (January 1987): 63–92. http://dx.doi.org/10.1080/07494468708567054.

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Mercado, Emily M. "Popular, Informal, and Vernacular Music Classrooms: A Review of the Literature." Update: Applications of Research in Music Education 37, no. 2 (July 21, 2018): 30–37. http://dx.doi.org/10.1177/8755123318784634.

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The purpose of this literature review is to examine research in popular, informal, nontraditional, out-of-school, and vernacular music education from 2012 to the present in order to concentrate on recent literature and make suggestions to inform current practice. Researchers have indicated that these classrooms can provide creative and collaborative opportunities and can help students connect with out-of-school music experiences. In addition, these classrooms seem to align with culturally relevant and student-centered pedagogies and an inclusive curriculum. In contrast, researchers have discussed a perceived dissonance concerning the validity and use of vernacular music in the classroom (i.e., the musical genres considered acceptable in the classroom and how they support or hinder the learning outcomes).

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Dodson, A. "Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas." Journal of Music Theory 53, no. 1 (March 1, 2009): 57–94. http://dx.doi.org/10.1215/00222909-2009-021.

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Bodner, Ehud, Avi Gilboa, and Dorit Amir. "The unexpected side-effects of dissonance." Psychology of Music 35, no. 2 (February 15, 2007): 286–305. http://dx.doi.org/10.1177/0305735607070381.

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Komosinski, Maciej, and Agnieszka Mensfelt. "Emotions Perceived and Emotions Experienced in Response to Computer-Generated Music." Music Perception 33, no. 4 (April 1, 2016): 432–45. http://dx.doi.org/10.1525/mp.2016.33.4.432.

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This paper explores perceived and experienced emotions elicited by computer-generated music. During the experiments, 30 participants listened to 20 excerpts. Each of the excerpts lasted for about 16 seconds and was generated in real-time by specifically designed software. Measurements were performed using both categorical (a free verbal description) and dimensional approaches. The relationship between structural factors of music (mode, tempo, pitch height, rhythm, articulation, and presence of the dissonance) and emotions was examined. Personal characteristics of the listener: gender and music training were also taken into account. The relationship between structural factors and the perceived emotions was mostly congruent with predictions derived from the literature, and the relationship between those factors and experienced emotions was very similar. Tempo and pitch height – the cues common to music and speech – turned out to have a strong influence on the evaluation of emotion. Personal factors had a marginal effect. In the case of verbal categories comparable with the dimensional model, a strong correspondence was found.

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