By J. Tenney
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'
H i d . , pp. 14-15. 32. , pp. 4041. 33. Morley, op. , p. 205. 34. Johannes Lippius, Synopsis of New Music (SynopsisMusicae Novae, 1612), translated by Benito V. Rivera (Colorado Springs: Colorado College Music Press, 1977), p. 37. 35. ). Within the frequency range of most importance to musical (and linguistic) perception, the size of this interval is approximately a minor third, and the argument here assumes that any two frequency components less than a minor third apart are "within" a critical band.
1475), translated by Carl Parrish (London: The Free Press of Glencoe, CollierMacmillian, 1963), pp. 15 and 25. 6. Johames Tinctoris, lke Art of Counterpoint (Liber de Arte Contrapuncti, 1477), by Albert Seay (Stuttgart: American Institute of Musicology, 1961), p. 17 7. , p. 85. 8. , p. 17. 9. Zarlino. lke Art of Counterpoint (Part Three of La Istitutioni hannoniche, ,. Gioseffo --1558), translated by Guy A. ~ a r and c ~ Claude V. Palisca (New Haven and London: Yale University Press, 1968), p.
The note indicated by a figure was a consonance or a dissonance according to whether it formed a consonant or dissonant dyad in combination with the written bass note. And it was always the upper note of the dyad, regardless of whether it was that note or the bass which was obliged to resolve-as in Gasparini's distinction between second and ninth. The conception of consonance and dissonance implicit in figured bass practices thus remained merely an extension of CDC-3. And yet, the century-old habit of ascribing consonance or dissonance to an individual tone in a chord-even if it had been nothing more than a convenient shorthandhad become so commonplace by the early 18th century that even Jean-Philippe Rameau-in 1722- hardly seems to notice that he is articulating a radically new conception of consonance and dissonance, although he is quite clearly aware of the innovative nature of most of his other theoretical ideas.
A History of 'Consonance' and 'Dissonance' by J. Tenney