<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Dear SMT-Listians,<div><br></div><div>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.</div><div><br><div>
<span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Baskerville; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0; "><div>Best,</div><div><br></div><div>Richard Hermann, Prof. of Music</div><div>University of New Mexico</div><div><br></div><br class="Apple-interchange-newline"><br class="Apple-interchange-newline"></span>
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<br><div><div>On Jul 7, 2010, at 8:15 AM, Dunsby, Jonathan wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div style="WORD-WRAP: break-word">
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<div dir="ltr"><font color="#0000ff">...fifths are (and sound like) fifths, no matter what registers... </font></div></div>
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<div><font color="#0000ff">Best regards,</font></div>
<div><span style="FONT-SIZE: 12px" class="Apple-style-span"><font color="#0000ff">Donna Doyle</font></span></div>
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<div style="MARGIN: 0px"><font style="FONT: 12px Helvetica" color="#0000ff" size="3" face="Helvetica">Aaron Copland School of Music</font></div>
<div style="MARGIN: 0px"><font style="FONT: 12px Helvetica" color="#0000ff" size="3" face="Helvetica">Queens College</font></div>
<div style="MARGIN: 0px"><font style="FONT: 12px Helvetica" color="#0000ff" size="3" face="Helvetica">65-30 Kissena Blvd.</font></div>
<div style="MARGIN: 0px"><font style="FONT: 12px Helvetica" color="#0000ff" size="3" face="Helvetica">Flushing, NY 11367</font></div><font style="FONT: 12px Helvetica" size="3" face="Helvetica"><span class="Apple-converted-space"></span></font><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br class="webkit-block-placeholder">Well you say that, but almost as another thread I'm wondering just how and where, from a theory-building point of view, the illusion of 'part' integrity kicks in or doesn't? When e.g. a voice actually dips under the piano bass line in a 19C Lied, how come we don't hear it as the 'bass' (shades of Dichterliebe No. 2, of course, beloved of us theorists, but such happens all over Western art music, here and there)? My teacher always said "because that's what Messiaen taught us". But is there a history-of-theory etiology to this issue or perhaps non-issue? (Obviously, fifths with the 'bass' and fifths entailing only inner parts are not, in general, the same thing....)</div><p style="MARGIN: 0px; MIN-HEIGHT: 14px"> <br class="webkit-block-placeholder"></p><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; ">Jonathan</div>
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<div class="MsoNormal"><span style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><font size="3" face="Times New Roman">Jonathan Dunsby</font></span></div>
<div class="MsoNormal"><span style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><font size="3" face="Times New Roman">Chair, Music Theory Department</font></span></div>
<div class="MsoNormal"><span style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><font size="3" face="Times New Roman">Professor of Music Theory</font></span></div>
<div class="MsoNormal"><span style="FONT-FAMILY: Consolas; FONT-SIZE: 10.5pt"><font size="3" face="Times New Roman">Eastman School of Music</font></span></div>
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<div><pre></pre></div></div></div></div></div></div><p style="MARGIN: 0px; MIN-HEIGHT: 14px"> <br class="webkit-block-placeholder"></p></div></div></div></div></div></blockquote></div></div></div>_______________________________________________<br>Smt-talk mailing list<br><a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a><br>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org<br></blockquote></div><br></div></body></html>