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.
Suppose there is a substantial increase in the dissonances in a system.
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.
Most dissonances arising from a literal interpretation of the fauxbourdon canon are no more offensive than those in the fully composed hymns, or indeed between the notated voices of the fauxbourdon pieces themselves.
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.
Rhythmic dissonances, in this view, are dependent upon (1) a well-established meter and (2) maintaining that meter in the face of conflicting accentual cues.
Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann.
1) Beginning with a consideration of the reasons Coltrane's work holds particular significance for Stone's The Doors and Lee's Mo' Better Blues, I shall seek to demonstrate that Coltrane's aesthetics of dissonance provides an indispensable glimpse, and immanent invocation, of the spirit so vital to the democracy still aborning - and too frequently suppressed - in America, as in the world.
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.