Subject: sensory consonance /dissonance =?iso-8859-1?Q?=82?= musical consonance / dissonance From: Kevin Austin <kevin.austin@xxxxxxxx> Date: Fri, 17 Aug 2007 10:10:39 -0400 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>One term, two meanings. It seems that sensory consonance / dissonance is a psychoacoustic term (mapped either to perception, cognition or both), while musical dissonance (western) can be seen by looking at a score with the correct cultural optics (to make reference to the cross-modal referents). Best Kevin figured out ... 5 - 5 4 - 3 >Date: Thu, 16 Aug 2007 00:58:15 -0700 >From: PORRES <mentalosmosis@xxxxxxxx> >Subject: Re: Generating a continuum of consonant to dissonant sounds > > >sensory consonanc/dissonance relies mainly in the sensation of >beatings & roughness as well as the harmonicity (periodicity) of a >signal, that leads to a high perception of musical tone (toneness >huron). > >other musical consonance/dissonance dimensions are really hard to >map, as they are very abstract and cultural. > >anyway, you have a good conceptual problem in my oppinion, that you >are trying to match two completely different sensational aspects >(visual and auditory) by a highly abstact approach. It is not my >area, but I just dont see a visual correlate of sensory dissonance. > >if you think of it only as a cultural matter maybe... > >cheers >alex > >Kevin Austin <kevin.austin@xxxxxxxx> wrote: Hi Mike > >In my experience, you may need to clarify your question as in >"musical" terms, "dissonance" means 'requiring resolution to >consonance' -- that is, void of context, there are no 'dissonant' >sounds. You may not "like" it, but that doesn't produce [musical] >dissonance. The perfect fourth was a musical consonance and the third >was a dissonance in western music 900 years ago. Now these roles have >reversed. It strikes me that "harmonious" is not on the same >continuum with dissonant in general. > >I've not done the studies, but have worked through these ideas with >many hundreds of people. They wouldn't be controled studies, for what >classrooms and studios are controled? > >Bells and stable fm complexes may be 'complex' in their spectra, but >not 'dissonant'. You may be looking for aspects of time variance >(with both instantaneous and time-based integration). Consider the >sound of a large sheet of glass being smashed. It lasts 1500 >milliseconds and may be associated with "jagged" visuals. Stretch it >out to four minutes. Take the sound of a breaking wave (eight >seconds), stretch it out to four minutes. Compare them. Time compress >the wave to 750 milliseconds and compare it to the lowpass filtered >breaking glass. > >Best > >Kevin > > > > >Date: Tue, 14 Aug 2007 18:56:42 -0500 >>From: "Michael H. Coen" >>Subject: Generating a continuum of consonant to dissonant sounds >> >>Hello list, >> >>As part of a machine learning research project investigating >>audio/visual cross-modal perception, I'm looking at the relationship >>in perceived correspondences between "simple" sounds and visual >>inputs to "complex" sounds and visual inputs. >> >>Most importantly, I'm interested in _lack_ of correspondence between >>the two, e.g, simple shapes with complex sounds and vice-versa, and >>the impact of these "disagreements" on classifications and reaction >>times. >> >>I'm curious what principled studies (or perchance code?) might have >>been written for generating sounds ranging continuously from >>harmonious to dissonant. I can easily think of ways of doing this >>mathematically, e.g., randomly phase shift the harmonics, but I'm >>curious what the psychoacoustics community has to say regarding this >>issue. >> >>Any pointers would be greatly appreciated. And of course, if you're >>aware of anything more directly addressing the problem I described, >>that would be most welcome as well. >> >>Best regards, > >Mike Coen >