Constructed from notes of the Lydian mode. (), in his 1953, presents a slightly different view from classical practice, one widely taken up in. He regards the tritone over the tonic as a rather consonant interval due to its derivation from the Lydian dominant thirteenth chord (, p. 1). In effect, he returns to a consideration of 'harmonic consonance': that intervals when not subject to (at least not by contraction) and correctly reproducing the of the are truly non-dissonant. Thus the harmonic minor seventh, natural major ninth, note ( ), note, and note must necessarily be consonant. Übersetzung für 'dissonance' im kostenlosen Englisch-Deutsch Wörterbuch und viele weitere Deutsch-Übersetzungen. Die Deutsche Film- und Medienbewertung Wiesbaden vergibt qualitativ hochwertigen Filmen die Prädikate WERTVOLL oder BESONDERS WERTVOLL. Octave equivalence (minor ninth in some sense equivalent to minor second, etc.) is no longer. Note that most of these pitches exist only in a universe of smaller than a; notice also that the (minor) seventh note for the of the in. Russell extends by approximation the virtual merits of harmonic consonance to the tuning system of and the 12-note octave of the, granting consonance to the note (approximating the harmonic ), that accidental being the sole pitch difference between the and the. (In another sense, that scale representing the provenance of the (with major seventh and ) replaces or supplements the of the (with minor seventh and ) as the source from which to derive.) Dan Haerle, in his 1980 The Jazz Language (, p. 4), extends the same idea of harmonic consonance and intact displacement to alter 's Series 2 gradation table from The Craft of Musical Composition (, 1: [ ]). In contradistinction to Hindemith, whose scale of consonance and dissonance is currently the de facto standard, Haerle places the minor ninth as the most dissonant interval of all, more dissonant than the minor second to which it was once considered by all as octave-equivalent. He also promotes the tritone from most-dissonant position to one just a little less consonant than the perfect fourth and perfect fifth. For context: unstated in these theories is that musicians of the had effectively promoted the major ninth and minor seventh to a legitimacy of harmonic consonance as well, in their fabrics of 4-note chords (, p. 106). See also [ ] • • • • • • • • References [ ] • Anon. The Harmonicon: A Journal of Music 4: [ ] • Aristoxenus (1902). Harmonics, edited and translated by H. Stewart Macran. Oxford: Clarendon Press. Sinbad. • Babb, Warren (1978). Hucbald, Guido and John on Music. New Haven and London: Yale University Press. • Benward, Bruce, and Marilyn Saker (2003). Music: In Theory and Practice, Vol. I., seventh edition. New York: McGraw-Hill Higher Education. London: Dent. • Boethius, Anicius (n.d.). De institutione musica, vol. I, Ms Cambridge, Trinity College, R.15.22 (944), f. Electronic edition on. • Butler, David, and Burdette Green (2002). Dissonance Übersetzung'From Acoustics to Tonpsychologie'. In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 246–71. The Cambridge History of Music 3. Cambridge and New York: Cambridge University Press. • Cowell, Henry (1969). New Musical Resources. New York: Something Else Press. [ISBN unspecified]. • Dahlhaus, Carl (1990). Studies in the Origin of Harmonic Tonality, translated by Robert O. Princeton: Princeton University Press. • Cook, Nicholas (1987). A Guide to Musical Analysis. London: Dent. • Eigeldinger, Jean-Jacques, Roy Howat, and Naomi Shohet. Homecoming. Chopin: Pianist and Teacher: As Seen by His Pupils. Cambridge and New York: Cambridge University Press. • Forte, Allen. Tonal Harmony in Concept and Practice, third edition. New York: Holt, Rinehart and Winston, 1979. • Gardiner, John Eliot. Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach. London, Allen Lane. • Gerbert, Martin. Scriptores ecclesiastici de musica sacra potissimum: ex variis Italiae, Galliae & Germaniae codicibus manuscriptis, 3 vols. [n.p.]: Typis San-Blasianis, 1784. Reprinted, Hildesheim: G. [ GS] • Gerson, A., and J. 'Evidence for a General Template in Central Optimal Processing for Pitch of Complex Tones'. • Gouwens, John. Composing for the Carillon. Culver IN: Culver Academy Press. 1954 [1877]., translated by Alexander J. Ellis from the fourth German edition (1887). New York: Dover Publications. • Helmholtz, H. (1885 [1954]). On the Sensations of Tone as a Physiological Basis for the Theory of Music. 2nd English edition. New York: Dover Publications. [Die Lehre von den Tonempfindungen, 1877. 4th German edition, trans. Ellis.] • (1937–70). Unterweisung im Tonsatz, 3 vols. Zufälliger ArtikelSchott's Söhne. • Hindemith, Paul (1942). The Craft of Musical Composition, vol. I, translated by Arthur Mendel. New York: Associated Music Publishers. • Hucbald of Saint-Amand.
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