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<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Tim, Richard, and others,<o:p></o:p></span></p>
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color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Tim's examples are very interesting, but if one analyzes them
very carefully, I believe one will find that the "dissonance" lies
elsewhere, <i>not</i> in the unisons or octaves as such.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>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.<o:p></o:p></span></p>
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color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Eytan Agmon<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Bar-Ilan University<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span
style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>
smt-talk-bounces@societymusictheory.org [mailto:smt-talk-bounces@societymusictheory.org]
<b>On Behalf Of </b>Timothy Cutler<br>
<b>Sent:</b> Thursday, July 08, 2010 12:38 PM<br>
<b>To:</b> Smt-talk@societymusictheory.org<br>
<b>Subject:</b> Re: [Smt-talk] Fwd: First Species Question<o:p></o:p></span></p>
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<p class=MsoNormal><o:p> </o:p></p>
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<p class=MsoNormal><br>
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. <o:p></o:p></p>
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<p class=MsoNormal><a
href="http://mto.societymusictheory.org/issues/mto.10.16.1/toc.16.1.html">http://mto.societymusictheory.org/issues/mto.10.16.1/toc.16.1.html</a><o:p></o:p></p>
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<p class=MsoNormal>Tim Cutler<o:p></o:p></p>
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<p class=MsoNormal>Cleveland Institute of Music<o:p></o:p></p>
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<p class=MsoNormal> <o:p></o:p></p>
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<p class=MsoNormal>Richard Hermann wrote:<br>
<br>
"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. <o:p></o:p></p>
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