Talk:Consonance and dissonance

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Consonance and dissonance is within the scope of WikiProject Music, an attempt to build a comprehensive and detailed guide to music. If you would like to participate, you can choose to edit the article attached to this page, or visit the project page, where you can join the project and see a list of open tasks.

Contents

[edit] Notation

In the Symbol Sourcebook (ISBN 0-4712-8872-1), Henry Dreyfuss asserts the existence of a symbol in musical notation for dissonance. He denotes it by two notes with their stems converging at a common point, with each notehead flanked by a different accidental symbol. Can anyone corroborate such a symbol?  Denelson83  07:27, 1 December 2005 (UTC)

[edit] Split

Please keep this as a single article. — Omegatron 20:14, 6 July 2006 (UTC)

I agree, oppose split. Also, that template is meant for pages about different topics with the same name, which is why it mentions disambiguation. In this case, a disambiguation page would make no sense, because consonance and dissonance have different names but nevertheless belong together. This is an encyclopedia, not a dictionary. —Keenan Pepper 01:16, 7 July 2006 (UTC)
It seems to me, the interwiki links are totally wrong because the article is not splitted. There is enough room for both of the articles. Agree to splitting. Avjoska 07:53, 21 May 2007 (UTC)

[edit] Consonance vs dissonance

The sections "Dissonance and musical style" "Dissonance throughout the history of western music" and "objective basis of dissonance" could be retitled by replacing dissonance with consonance without changing the content. Hyacinth 15:35, 16 October 2006 (UTC)

[edit] Non-harmonic consonance

Although a reference to Sethares' work is made in the "see also" section, it is not mentioned in the body of the article. This seems like a very significant omission. His work in establishing the relationship between the timbres of non-Western instruments and the tunings in which they are played would seem to validate the idea that consonance arises from the alignment of tuning & timbre, thus providing a physical, culture-independent basis for the perception of sonance.

Recently, he co-authored a paper which introduced the previously-unrecgnized property of tuning invariance [1] in isomorphic keyboards, which shows that some two-dimensional note-patterns present a given musical interval with the same shape wherever they occur, independent of tuning, across a wide tuning continuum that includes the tunings of many non-Western cultures (in addition to those of the West). This raises the possibility -- still speculative, and probably not yet suited to discussion in Wikipedia -- that the human brain uses a tuning invariant note-layout to classify interval relationships.

The point being that Sethares' previously-published work is worthy of mention in the main body of this article not only because it illuminates the subject at hand, but also because it illuminates new areas of research that are only now opening up.

I am reluctant to edit this article to reflect this recent (published, peer-reviewed) scholarship without first mentioning it to this article's editors.

Your thoughts?

JimPlamondon (talk) 22:17, 25 February 2008 (UTC)

[edit] References

  1. ^ Milne, A., Sethares, W.A. and Plamondon, J., Invariant Fingerings Across a Tuning Continuum, Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32.