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In music, consonance and dissonance are categorizations of simultaneous or successive sounds.Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. [1]
A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford and New York: Oxford University Press. ISBN 978-0-19-971435-3. van den Toorn, Pieter. 1975. "Some Characteristics of Stravinsky's Diatonic Music". Perspectives of New Music 14, no. 1. (Autumn-Winter): 104–138. Waters, Robert Francis. 2008.
Cultural dissonance is an uncomfortable sense experienced by people in the midst of change in their cultural environment. Consonance and dissonance in music are properties of an interval or chord (the quality of a discord) Dissonance in poetry is the deliberate avoidance of assonance, i.e. patterns of repeated vowel sounds. Dissonance in poetry ...
Dissonance, resolution, and suspense can be used to create musical interest. Where a melody or chordal pattern is expected to resolve to a certain note or chord, a different but similarly suitable note can be resolved to instead, creating an interesting and unexpected sound. For example, the deceptive cadence.
The emancipation of the dissonance was a concept or goal put forth by composer Arnold Schoenberg and others, including his pupil Anton Webern, who styled it The Path to the New Music. The phrase first appears in Schoenberg's 1926 essay "Opinion or Insight?". [1] It may be described as a metanarrative to justify atonality.
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'The Californians' As a native of L.A., I love all the references to the freeways, streets, off-ramps, etc. The best is the pause in the mirror — cracks me up no matter how many times I see it.
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.