Willaert then emphasized the contrasting affect of the second line of the poem, "In dolce, humile, angelica figura" (In a sweet, humble, angelic figure), by setting it primarily to minor consonances, which would again become a tenet in the theory of interval affect.
The opening of the madrigal Aspro core represents a fairly straightforward use of harmonic consonances for affective purposes.
according to which consonance
was considered to be determined by the perfection of the ratio.
In another example, an inner pair of near alliterative consonances seem framed by an outer pair of words making a polyptoton.
The term alliterative consonance is used here to designate words, usually stressed and monosyllabic, that have similar initial and terminal sounds but internal vowel sounds that differ,(6) as below where it links the word before the caesura (head) with the terminal word of the verse (hand):
Pythagoras also found that other sets of hammers with specific weight ratios produced other tonal consonances
such as fourths.
Meyer explains how the sections of the De institutione musica, which deal with the numerical proportions of intervals, contributed to Jerome's polyphonic theoretical foundation, which proposed a primary and secondary classification of consonances, in which dissonance, rationalized in terms of superarticulated consonances, was relegated to the category of secondary consonances.
Jerome draws an analogy between doctrina sacra, of which God is the subject, and music, rationalized as discrete sound, or that which implies consonance and, therefore, perfect harmony.