By J. Tenney

ISBN-10: 0935016996

ISBN-13: 9780935016994

First released in 1988. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Extra resources for A History of 'Consonance' and 'Dissonance'

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There were.. certain sounds for which my voice and ear seemed to have a predilection: and that was my first perception. But this predilection appeared to me purely a matter of habit.. I concluded that since I did not find in myself any good reason for justifying this predilection and for regarding it as natural, 1ought [not] to take it as the principle of my research.. [and]. that 1 would not encounter it within Rameau and his successors (CDC-4) 69. myself and I abandoned the pleasant.. for fear that they wodd engulf me in some system which would perhaps be my own, but which would not at all be that of nature..

This "source" (whether by way of the first integral divisions of a string or as low-order harmonic partials of that string) is conceived as "generating" not only the consonances but the dissonances as well: The same source that generated the consonances also generates the dissonances. Everything is related to this first and fundamental sound. From its division d intervals are generated and these intervals are such only with respect to this first sound.. We must conclude.. [an d] that, as the source is itself perfect and is the source of both consonances and dissonances, it cannot be regarded as dissonant.

P. 8 1. 62. , p. 86. 63. , pp. 17 and 18. " 64. Helen Bush, "The Recognition of Chordal Formation Musical Quarterly, Vol. 32 (1946), pp. 22743. 65. Pietro Aaron, op. , p. 40. 66. Zarlino, op. , pp. 182-3. 67. Morley, op. , p. 222. 68. , pp. 226-7. 69. Benito Rivera, op. , and Joel Lester, op. cit. 70. T . Arnold, 7he Art of Accompanimentfrom a norough-Bass (London: Oxford University Press, 1931; reprint, New York: Dover, 1965, in two volumes), pp. 4 2 4 3 (Vol. r). 71. , p. 426, and in Arnold, oP.

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A History of 'Consonance' and 'Dissonance' by J. Tenney


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