The tines are arranged so that the most consonant intervals (octaves, fifths, and fourths) vibrate along with the fundamental.
Using electronically controlled pseudo-harmonic timbres, rather than strictly harmonic acoustic timbres, provides tonality with new structural resources such as Dynamic tonality.
Consonance and dissonance in music are properties of an interval or chord (the quality of a discord)
In the area of music, Delmedigo discusses the physics of music including string resonance, intervals and their proportions, consonance and dissonance.
At first, prima pratica referred only to the style of approaching and leaving dissonances.
During that period he began experimenting with various forms of dissonance and musique concrète that would influence his later work in a genre often called dark ambient or sometimes damnbient.
In this case, if Keech could add consonant elements by converting others to the basic premise, then the magnitude of her dissonance following disconfirmation would be reduced.
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Festinger and his colleagues saw this as a case that would lead to the arousal of dissonance when the prophecy failed.
Consonance and dissonance | dissonance | consonance and dissonance | Ion Dissonance | Cultural dissonance | Cognitive dissonance |
In a letter to Cipriano de Rore dated from around 1563, Benedetti proposed a new theory of the cause of consonance, arguing that since sound consists of air waves or vibrations, in the more consonant intervals the shorter, more frequent waves concurred with the longer, more frequent waves at regular intervals.
Béla Bartók, for example, "in such Strauss-influenced works as Duke Bluebeard's Castle," may be described as having still used, "dissonance 'such intervals as fourths and sevenths' for purposes of post-Romantic expression, not simply always as an appeal to the primal art of sound" - unlike Arnold Schoenberg and Strauss himself, who both believed in "a mythology of historical progress in Western music".
In Béla Bartók's Bagatelles, and several of Alfredo Casella's Nine Piano Pieces such as No. 4 'In Modo Burlesco' the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance.