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Re: Melodic consonance ....


>Regarding ordering melodic intervals, perhaps _consonance_ is a poor
>Maybe 'pleasantness' (or possibly something resembling 'stability' or
>'weight') could be considered more appropriate. I also count 25
>within-octave melodic intervals (ascending and descending having very
>different characteristics).
Hi Kevin :
I would rather still prefer using the term "pleasantness" while
referring to sounds other than those rooted in a harmonic (tonic)
context, like in determining the extent of annoyance with regard to
environmental sound, whereas sticking to the notion of "musical
consonance" as (music)theoretically outlining what from the
psychoacoustic angle is related to the sensation of sensory consonance
(dissonance). Apart from Kameoka, Kuriyagawa (1969), Aures (1985), and,
of course, Terhardt (1974 ; 1976) it is the tables (intervals within two
octaves, c1-c7) in Hutchinson, Knopoff (1978) I am finding particularly
instructive in that regard, however its being restricted to dyads only.
As to "weight" I should perhaps prefer to referring to something like
spectral energy distribution (over time), or spectral centroid (I'd love
to have this like an F0-track over time), by this term.
Alexandra Hettergott.
o AURES, W. 1985. “Der sensorische Wohlklang als Funktion
psychoakustischer Empfindungsgrößen.” Acustica 58: 282-90.
o FASTL, H. 1996. “The psychoacoustics of sound-quality-evaluation.” EAA
Tutorium: Aurally-Adequate Sound-Quality Evaluation, Antwerpen, Lecture
II: 1-20. (Published also in Acustica/acta acustica 83/5 (1997):
o GUSKI, R. 1996. “Psychological Methods for Evaluating Sound Quality
and Assessing Acoustic Information.” EAA Tutorium: Aurally-Adequate
Sound-Quality Evaluation, Antwerpen, Lecture III: 1-29. (Published also
in Acustica/ acta acustica 83/5 (1997): 765–74.)
o HUTCHINSON, W., KNOPOFF, L. 1978. “The Acoustic Component of Western
Consonance.” Interface 7: 1-29.
o KAMEOKA, A., KURIYAGAWA, M. 1969. “Consonance theory. Part I:
Consonance of dyads. Part II: Consonance of complex tones and its
calculation method.” JASA 45 (6): 1451-9; 1460-9.
o PARNCUTT, R. 1989. Harmony: A Psychoacoustical Approach. Berlin:
o TERHARDT, E. 1974. “Pitch, consonance and harmony.” JASA 55 (5):
o TERHARDT,E.1976.“Ein psychoakustisch begründetes Konzept der
Musikalischen Konsonanz.” Acustica 36:121-36.
o TERHARDT, E. 1978. “Psychoacoustic evaluation of musical sounds.”
Perception and Psychophysics 23: 483-92.
o TERHARDT, E., STOLL, G. 1981. “Skalierung des Wohlklangs (der
sensorischen Konsonanz) von 17 Umweltschallen und Untersuchung der
beteiligten Hörparameter.” Acustica 48: 247-53.

Alexandra Hettergott
1, avenue des Gobelins
   /boîte 23
F-75005 Paris/France
Tél/fax:   +33-(0)1-43 31 41 27
Mél:        a.hettergott@wanadoo.fr

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