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Consonant harmony is a type of "long-distance" phonological assimilation, akin to the similar assimilatory process involving vowels, i.e. vowel harmony. Examples [ edit ]
The opposition between consonance and dissonance can be made in different contexts: In acoustics or psychophysiology, the distinction may be objective.In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).
Resolution has a strong basis in tonal music, since atonal music generally contains a more constant level of dissonance and lacks a tonal center to which to resolve.. The concept of "resolution", and the degree to which resolution is "expected", is contextual as to culture and historical period.
In music, tension is the anticipation music creates in a listener's mind for relaxation or release. For example, tension may be produced through reiteration , increase in dynamic level , gradual motion to a higher or lower pitch , or (partial) syncopations between consonance and dissonance .
Baroque composers learnt to enhance the "propulsive force" of the harmony engendered by the circle of fifths "by adding sevenths to most of the constituent chords." "These sevenths, being dissonances, create the need for resolution, thus turning each progression of the circle into a simultaneous reliever and re-stimulator of harmonic tension...
The concept of harmonic function originates in theories about just intonation.It was realized that three perfect major triads, distant from each other by a perfect fifth, produced the seven degrees of the major scale in one of the possible forms of just intonation: for instance, the triads F–A–C, C–E–G and G–B–D (subdominant, tonic, and dominant respectively) produce the seven ...
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B ♭), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode . [ 6 ]