A History of 'Consonance' and 'Dissonance' by J. Tenney

By J. Tenney

First released in 1988. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Additional info for A History of 'Consonance' and 'Dissonance'

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Pp. 182-3. 67. Morlev. on. , P. 222. - , s. 69. , and Joel Lester, op. cir. 70. T. Arnold, The Art of Accompaniment from a 7horough-Bass (London: Oxford Universjty Press, 1931; reprint, New York: Dover, 1965, in two volumes), pp. 4 2 4 3 0'01. r). 7 1 . , p. 426, and in Amold, op. , p. 69. 72. Arnold, op. , pp. 106-7. 73. , pp. 110-26, but see especially pp. 112-13. 74. Zarlino, op. , p. 200. 75. Palisca, op. , p. 92. 76. Amold, op. , pp. 127-8. 77. Gasparini, op. , p. 49. C. , CDC-2 from the 9th the 13th centuries, and CDC-3 from the 14th through the 17th cen-wries: Thus, in the 9th century-and again in the 14th-a new interpretation of 'consonance' and 'dissonance' began to supercede an older one.

5. , 1475), translated by Carl Parrish (London: The Free Press of Glencoe, CollierMacmillian, 1963), pp. 15 and 25. 6. Johames Tinctoris, lke Art of Counterpoint (Liber de Arte Contrapuncti, 1477), by Albert Seay (Stuttgart: American Institute of Musicology, 1961), p. 17 7. , p. 85. 8. , p. 17. 9. Zarlino. lke Art of Counterpoint (Part Three of La Istitutioni hannoniche, ,. Gioseffo --1558), translated by Guy A. ~ a r and c ~ Claude V. Palisca (New Haven and London: Yale University Press, 1968), p.

L 1 and about which he had said, in an earlier passage: .. all properties of.. sounds in general, of intervals, and of chords rest finally on the single, fundamental source, which is represented by the undivided string.. " In one of his later theoretical works (Dimonstration du Principe de l'tiarmonie, 1750), he says: The sounding body, which I justly callfitndamental soundthis unique principle, generator and arranger of all music, this immediate cause of all its effects-the sounding body, I say, no sooner resonates than it engenders simultaneously all the continuous proportions from which are born harmony, melody, the modes, the genres, and down to the least rules 68.

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