[Smt-talk] Fwd: First Species Question

[Eytan Agmon]

Tim, Richard, and others,

 

Tim's examples are very interesting, but if one analyzes them very
carefully, I believe one will find that the "dissonance" lies elsewhere, not
in the unisons or octaves as such.

Richard's observation, that the same (chordal) note may be consonant in
relation to one note, while dissonant in relation to another, is
unexceptional (in Tim's examples the consonance is in relation to a pedal).
Certainly it is no argument against characterizing the intervals in question
as "consonant" and "dissonant," respectively.

 

Eytan Agmon

Bar-Ilan University

 

From: smt-talk-bounces at societymusictheory.org
[mailto:smt-talk-bounces at societymusictheory.org] On Behalf Of Timothy Cutler
Sent: Thursday, July 08, 2010 12:38 PM
To: Smt-talk at societymusictheory.org
Subject: Re: [Smt-talk] Fwd: First Species Question

 


For more examples along these lines, I have an article in a recent Music
Theory Online that discusses a dissonant perfect unsion (!) by J. S. Bach. 

 

http://mto.societymusictheory.org/issues/mto.10.16.1/toc.16.1.html

 

Tim Cutler

Cleveland Institute of Music

 

Richard Hermann wrote:
 
"Another mildly related situation occurs with dyadic definitions of
dissonance such as "The Perfect 5th is a consonance." However, in a six-five
chord a perfect fifth usually represents the dissonant chordal seventh in
18th- and 19th-century music. Atomistic and rigid definitions and
perceptions seem  to run into difficulties when applied to phenomena in the
wild. They do have the mixed blessing of being easy to teach and learn. 

 

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20100708/9d947e77/attachment-0004.htm>