dissonance

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Related to dissonances: Dissonance theory
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Using traditional species counterpoint as a model, we can also argue that dissonances are dependent on consonances.
A second illustration of the dependence of dissonances on consonances follows from the above and involves structural levels.
Hence, while the pitches from G Ionian are used exclusively in the subject (satisfying cue 1), these standing, unresolved dissonances alert us that the syntax is not classically tonal (cue 2 unsatisfied).
More specifically, through his juxtaposition of Duncan, Creeley, and Olson with Baraka, Major, Brathwaite, and Harris, Mackey challenges traditional conceptions of "schools" of literature by arguing that the combination of experimentation and marginalization (both aesthetic and social) which characterizes each of these writers' works suggests not dissonance but rather a form of alliance that is rooted in their shared and insistent contesting of categorization.
Thus, cindynicians have developed a series of axioms specific to cindynics that define five main points: 1) the concept of "hyperspace" (which refers to the creation of hazardous conditions within a human network) and its use in the description of cindynic problems; 2) the definition of a basic cindynic situation; 3) the concept of transformation - that is, an operator or actor who acts on and thus alters cindynic situations; 4) the concept of dissonance and its relationship to cindynics and 5) the multi-dimensional structure of cindynics.
In his book "A Theory of Cognitive Dissonance" (Stanford University Press, 1957), L.
A consequence of this is that only 6ths and octaves are possible between the notated voices if dissonance is to be avoided when the third part is added.
But regardless of whether or not the letter of this law was always followed in practice - something which we can never know - we still, as Curtis himself points out, have the dissonance treatment of Dufay's fully written-out polyphony to guide us.
Locating the metaphor of metrical dissonance historically in the writings of Berlioz, Krebs postulates two categories of the phenomenon.
There is a range of possible interpretations that can be reduced to two types: a conflicting layer can be heard as a rhythmic or as a metrical dissonance. By rhythmic dissonance I mean an accentual pattern that does not support the prevailing meter, but at the same time does not suggest a competing metrical layer.
Paradoxically, however, Coltrane's music offers such hope only inasmuch as it refuses to proffer a facile, too easily won hopefulness, a hopefulness which fails to acknowledge the ineluctability of dissonance in all that is audible, and within social relations themselves.
Despite his notorious and frequently condemned antipathy toward jazz, Theodor Adorno nevertheless offers an indispensable glimpse of the role played by dissonance in acting as a kind of check on the more facile tendencies of harmony: