Subject: Re: Melodic consonance .... From: Alexandra Hettergott <a.hettergott(at)WANADOO.FR> Date: Thu, 6 Jul 2000 23:46:32 +0200From: KEVIN AUSTIN <KAUSTIN(at)VAX2.CONCORDIA.CA> >Regarding ordering melodic intervals, perhaps _consonance_ is a poor term. >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. Briefly, Alexandra Hettergott. __________________ o AURES, W. 1985. =93Der sensorische Wohlklang als Funktion psychoakustischer Empfindungsgr=F6=DFen.=94 Acustica 58: 282-90. o FASTL, H. 1996. =93The psychoacoustics of sound-quality-evaluation.=94 = EAA Tutorium: Aurally-Adequate Sound-Quality Evaluation, Antwerpen, Lecture II: 1-20. (Published also in Acustica/acta acustica 83/5 (1997): 754-64.) o GUSKI, R. 1996. =93Psychological Methods for Evaluating Sound Quality and Assessing Acoustic Information.=94 EAA Tutorium: Aurally-Adequate Sound-Quality Evaluation, Antwerpen, Lecture III: 1-29. (Published also in Acustica/ acta acustica 83/5 (1997): 765=9674.) o HUTCHINSON, W., KNOPOFF, L. 1978. =93The Acoustic Component of Western Consonance.=94 Interface 7: 1-29. o KAMEOKA, A., KURIYAGAWA, M. 1969. =93Consonance theory. Part I: Consonance of dyads. Part II: Consonance of complex tones and its calculation method.=94 JASA 45 (6): 1451-9; 1460-9. o PARNCUTT, R. 1989. Harmony: A Psychoacoustical Approach. Berlin: Springer. o TERHARDT, E. 1974. =93Pitch, consonance and harmony.=94 JASA 55 (5): 1061-9. o TERHARDT,E.1976.=93Ein psychoakustisch begr=FCndetes Konzept der Musikalischen Konsonanz.=94 Acustica 36:121-36. o TERHARDT, E. 1978. =93Psychoacoustic evaluation of musical sounds.=94 Perception and Psychophysics 23: 483-92. o TERHARDT, E., STOLL, G. 1981. =93Skalierung des Wohlklangs (der sensorischen Konsonanz) von 17 Umweltschallen und Untersuchung der beteiligten H=F6rparameter.=94 Acustica 48: 247-53. _______________________ Alexandra Hettergott 1, avenue des Gobelins /bo=EEte 23 F-75005 Paris/France T=E9l/fax: +33-(0)1-43 31 41 27 M=E9l: a.hettergott(at)wanadoo.fr http://perso.wanadoo.fr/a.hettergott/ ... la noche, peque=F1os ruidos ... sombra y espacio, tierra y tiempo, algo que corre y cae y pasa ... (Pablo Neruda)