dissonance

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dissonance

, dissonancy
Music a sensation commonly associated with all intervals of the second and seventh, all diminished and augmented intervals, and all chords based on these intervals
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005

dissonance

see COGNITIVE DISSONANCE.
Collins Dictionary of Sociology, 3rd ed. © HarperCollins Publishers 2000
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Dissonance

 

in music, the sounding of tones that do not “blend” with each other. (Dissonance should not be confused with cacophony, which is aesthetically unpleasing, disharmonic sound.) The opposite of dissonance is consonance.

Augmented and diminished seconds and sevenths, raised and lowered intervals, and any chords that contain any of these intervals are considered dissonant. With respect to the base a fourth is also considered dissonant. From a mathematical and acoustical point of view, dissonance is a more complicated ratio between the numbers of vibrations (length of the strings) than consonance, the difference between consonance and dissonance is only quantitative, and the line between them is conventional. From the standpoint of music psychology, dissonance is heard as a more tense or unstable sound than consonance. In the major and minor system the qualitative differences between consonance and dissonance achieve a degree of polarization and contrast and have great aesthetic value. This difference in the perception of dissonant and consonant sounds has always been considered in the study of composition. Until the 17th century the complete subordination of dissonance to consonance was the rule. Dissonant sounds were musically prepared for and resolved back into consonance. From the 17th to 19th centuries dissonances were always resolved. From the end of the 19th century and particularly in the 20th century dissonance was used more frequently and independently, without musical preparation and without resolution.

REFERENCES

Garbuzov, N. A. “O konsoniruiushchikh i dissoniruiushchikh intervalakh.” Muzykal’noe obrazovanie, 1930, nos. 4-5.
Kleshchov, S. V. “K voprosu o razlichii dissoniruiushchikh i konsoniruiushchikh sozvuchii.” Trudy fiziologicheskikh laboratorii akademika I. P P. Pavlova, 1941, no. 10.
Tiulin, Lu. N. “Sovremennaia garmoniia i ee istoricheskoe proiskhozhdenie.” In Voprosy sovremennoi muzyki. Leningrad, 1963.
Helmholtz, H. Uchenie o slukhovykh oshchushcheniiakh kak fiziologicheskaia osnova dlia teorii muzyki. St. Petersburg, 1875. (Translated from German.)
Stumpf, C. Konsonanz und Dissonanz. Leipzig, 1898.
Riemann, H. “Zur Theorie der Konsonanz und Dissonanz.” In the collection Präludien und Studien, vol. 3. Leipzig, 1910.

IU. N. KHOLOPOV


Dissonance

 

a variety of assonant rhyme in which the accented vowels differ—for example, slóvo, sléva, and slava. The sound repetition is constructed with consonants; consequently, dissonance is often called consonance. Dissonance, a rarely used but expressive technique, is an innovation of 20th-century poetry. Examples of dissonance appear in the following:

Na poberezh’e posle burl
Tvoikh kamnei ia slyshu khrust,
O, more, samyi umnyi v mire
Khudozhnik-abstraktsionist!

L. N. Martynov

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.

dissonance

[′dis·ə·nəns]
(acoustics)
An unpleasant combination of harmonics heard when certain musical tones are played simultaneously. Also known as discord.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.
References in periodicals archive ?
Moreover, the tempo is fast enough that it is not possible to view the "dissonances" as displaced consonances.
Traditional consonance and dissonance in species counterpoint can be summarized as in Example 1.
The balance between consonance and dissonance is described as "potential" for an important reason.
But a graduated approach with the modal consonance as intermediary between tonal consonance and dissonance seems preferable, since the degree of tonal projection varies widely from piece to piece.
In particular, there is a strident dissonance between the D[natural] of the right hand versus the D[sharp] of the left.
It should be emphasized that the ic-0 and ic-5 relationships presented so far have various potentials for consonance and dissonance. The realization in Example 12 is particularly dissonant because cross-relations are conspicuous.
A range of potential dissonance between the two parts can be developed by cycling one of the parent scales sequentialiy through the circle of fifths while fixing the other.
it is God," and thus comprises a tacit recognition of the important role which dissonance must play for democracy and theology alike, then perhaps this music could be said to suit Lee's grand image of the statue, city, and harbor.
To describe this dynamic somewhat differently, Coltrane's music - especially that of his later years - addresses itself very particularly to the problem of affirming the presence of a divine voice in music without allowing that affirmation, that proclamation of transcendent harmony, to be co-opted and debased by what Crouch terms the "ignoble proclivities of the marketplace." In this respect, Coltrane's exploration of dissonance within the dynamic of a music openly dedicated to divinity itself marks his indomitable resolve, his will to negate facile spirituality.
is that here the various possibilities of the human spirit confront us not just as visions of harmonic reconciliation, but with the full, jarring force of their irresolvable dissonance, an intractability to bland homogeneity which, when acknowledged as such, is no cause for despair, but the actual, persistent, radiant sign of democracy's promise, its enduring source of unhopeful hope.
But it is, I would argue, Bill Frisell whose recent work has been most insistent - and effective - in proclaiming the interdependence of an aesthetics of dissonance with democratic aspirations and ideals.
For a discussion of the ideological uses to which a merely coloristic dissonance may be put, see Attali and Adorno.