Consonance and dissonance - Revision history

Overthink: Todos

2026-02-18T06:05:00Z

Todos

← Older revision		Revision as of 06:05, 18 February 2026
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	[[Category:Terms]]		[[Category:Terms]]

	{{~~todo~~\|improve synopsis}}		{{Todo\|improve synopsis\|add sound example}}

FloraC: Vertical fractions only have a place in display-style math

2025-01-09T16:10:31Z

Vertical fractions only have a place in display-style math

← Older revision		Revision as of 16:10, 9 January 2025
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	Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''. '''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.		Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''. '''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.

	A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about {{nowrap\|''f''<sub>2</sub> {{=}} ''f''<sub>1</sub> + 2.27{{subsup\|''f''~~ ~~\|1\|0.477}}}} (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval ~~{{sfrac\|~~''f''<sub>2</sub>\|''f''<sub>1</sub>}} is about 1.56 semitones at 440 Hz, and narrows as frequency increases.		A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about {{nowrap\|''f''<sub>2</sub> {{=}} ''f''<sub>1</sub> + 2.27{{subsup\|''f''\|1\|0.477}}}} (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval ''f''<sub>2</sub>/''f''<sub>1</sub> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.

	The same authors propose a measurement of sensory dissonance between two arbitrary sine waves, broadly modeled as follows: two identical frequencies have a dissonance of 0, the maximal roughness formula gives a dissonance of 1, and two frequencies at an octave or greater have dissonance 0. From zero difference to maximal roughness linear interpolation is used, and from maximal roughness to an octave a gradual decay. Note, however, that this is the result of one study; subsequent replication attempts have produced somewhat different formulas, and this particular study has been critically re-evaluated such as by [https://kb.osu.edu/bitstream/handle/1811/24077/EMR000007a-mashinter.pdf?sequence=1 Mashinter in 2006].		The same authors propose a measurement of sensory dissonance between two arbitrary sine waves, broadly modeled as follows: two identical frequencies have a dissonance of 0, the maximal roughness formula gives a dissonance of 1, and two frequencies at an octave or greater have dissonance 0. From zero difference to maximal roughness linear interpolation is used, and from maximal roughness to an octave a gradual decay. Note, however, that this is the result of one study; subsequent replication attempts have produced somewhat different formulas, and this particular study has been critically re-evaluated such as by [https://kb.osu.edu/bitstream/handle/1811/24077/EMR000007a-mashinter.pdf?sequence=1 Mashinter in 2006].

ArrowHead294: /* Musical vs. sensory dissonance */

2025-01-09T15:07:27Z

Musical vs. sensory dissonance

← Older revision		Revision as of 15:07, 9 January 2025
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	Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''. '''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.		Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''. '''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.

	A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about <~~math~~>~~f_2~~ = ~~f_1~~ + 2.27 ~~f_1^~~{0.477}~~\ \text{Hz~~}~~</math>~~ (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval <~~math~~>~~f_2~~/~~f_1~~</~~math~~> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.		A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about {{nowrap\|''f''<sub>2</sub> {{=}} ''f''<sub>1</sub> + 2.27{{subsup\|''f'' \|1\|0.477}}}} (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval {{sfrac\|''f''<sub>2</sub>\|''f''<sub>1</sub>}} is about 1.56 semitones at 440 Hz, and narrows as frequency increases.

	The same authors propose a measurement of sensory dissonance between two arbitrary sine waves, broadly modeled as follows: two identical frequencies have a dissonance of 0, the maximal roughness formula gives a dissonance of 1, and two frequencies at an octave or greater have dissonance 0. From zero difference to maximal roughness linear interpolation is used, and from maximal roughness to an octave a gradual decay. Note, however, that this is the result of one study; subsequent replication attempts have produced somewhat different formulas, and this particular study has been critically re-evaluated such as by [https://kb.osu.edu/bitstream/handle/1811/24077/EMR000007a-mashinter.pdf?sequence=1 Mashinter in 2006].		The same authors propose a measurement of sensory dissonance between two arbitrary sine waves, broadly modeled as follows: two identical frequencies have a dissonance of 0, the maximal roughness formula gives a dissonance of 1, and two frequencies at an octave or greater have dissonance 0. From zero difference to maximal roughness linear interpolation is used, and from maximal roughness to an octave a gradual decay. Note, however, that this is the result of one study; subsequent replication attempts have produced somewhat different formulas, and this particular study has been critically re-evaluated such as by [https://kb.osu.edu/bitstream/handle/1811/24077/EMR000007a-mashinter.pdf?sequence=1 Mashinter in 2006].

FloraC: Undo revision 174831 by Jdood (talk). Self-redirect

2025-01-06T10:55:21Z

Undo revision 174831 by Jdood (talk). Self-redirect

← Older revision		Revision as of 10:55, 6 January 2025
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	* [[Saddle chord]], a type of chord that exploits harmonic entropy		* [[Saddle chord]], a type of chord that exploits harmonic entropy
	* ''[[A singular measure of dissonance]]'' (2018)		* ''[[A singular measure of dissonance]]'' (2018)
	* [[Concordance]]

	== External links ==		== External links ==

Jdood: Please see if it's related

2025-01-05T20:40:49Z

Please see if it's related

← Older revision		Revision as of 20:40, 5 January 2025
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	* [[Saddle chord]], a type of chord that exploits harmonic entropy		* [[Saddle chord]], a type of chord that exploits harmonic entropy
	* ''[[A singular measure of dissonance]]'' (2018)		* ''[[A singular measure of dissonance]]'' (2018)
			* [[Concordance]]

	== External links ==		== External links ==

BudjarnLambeth: /* See also */

2024-09-19T03:56:34Z

BudjarnLambeth: /* See also */ Added link to orphan page

2024-09-19T03:55:54Z

BudjarnLambeth: Corrected Joe Monzo to Joseph Monzo

2023-08-09T08:42:57Z

Corrected Joe Monzo to Joseph Monzo

← Older revision		Revision as of 08:42, 9 August 2023
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	== Sonance ==		== Sonance ==
	[[~~Joe~~ Monzo]] considers consonance and dissonance to be opposite poles of a continuum of sensation, which he calls '''sonance'''. However he was not the first who used the term ''sonance'': also [https://de.wikipedia.org/wiki/Wilhelm_Keller_%28Komponist%29 Wilhelm Keller] distinguishes between ''sonanzmodal'' and ''distanzmodal'' aspects when analysing sounds, see his ''Handbuch der Tonsatzlehre'' from 1957.		[[Joseph Monzo]] considers consonance and dissonance to be opposite poles of a continuum of sensation, which he calls '''sonance'''. However he was not the first who used the term ''sonance'': also [https://de.wikipedia.org/wiki/Wilhelm_Keller_%28Komponist%29 Wilhelm Keller] distinguishes between ''sonanzmodal'' and ''distanzmodal'' aspects when analysing sounds, see his ''Handbuch der Tonsatzlehre'' from 1957.

	The term ''sonance'' goes back to [[Wikipedia:Giovanni Battista Benedetti\|Giovanni Battista Benedetti]]:<ref>[http://xtf.lib.virginia.edu/xtf/view?docId=DicHist/uvaBook/tei/DicHist3.xml;chunk.id=dv3-32 http://xtf.lib.virginia.edu/xtf/view?docId=DicHist/uvaBook/tei/DicHist3.xml;chunk.id=dv3-32]</ref>		The term ''sonance'' goes back to [[Wikipedia:Giovanni Battista Benedetti\|Giovanni Battista Benedetti]]:<ref>[http://xtf.lib.virginia.edu/xtf/view?docId=DicHist/uvaBook/tei/DicHist3.xml;chunk.id=dv3-32 http://xtf.lib.virginia.edu/xtf/view?docId=DicHist/uvaBook/tei/DicHist3.xml;chunk.id=dv3-32]</ref>

Inthar: /* Musical vs. sensory dissonance */This part may be more fitting for a paragraph largely about terminology.

2023-06-01T10:29:53Z

Musical vs. sensory dissonance: This part may be more fitting for a paragraph largely about terminology.

← Older revision		Revision as of 10:29, 1 June 2023
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	== Musical vs. sensory dissonance ==		== Musical vs. sensory dissonance ==
	Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''.		Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''. '''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.

	A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about <math>f_2 = f_1 + 2.27 f_1^{0.477}\ \text{Hz}</math> (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval <math>f_2/f_1</math> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.		A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about <math>f_2 = f_1 + 2.27 f_1^{0.477}\ \text{Hz}</math> (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval <math>f_2/f_1</math> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.
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	As mentioned above, psychoacoustics does not explain every aspect of musical dissonance in every culture, but there is much research dedicated to connecting the perception of sonance in specific musical traditions with the properties of the inner ear.		As mentioned above, psychoacoustics does not explain every aspect of musical dissonance in every culture, but there is much research dedicated to connecting the perception of sonance in specific musical traditions with the properties of the inner ear.

	'''''Cordance''''' has been proposed by [[User:Inthar\|Inthar]] as a term for the degree of psychoacoustic concordance and discordance, by analogy with the term ''sonance'' (see above), to lessen the common confusion between psychoacoustic concordance/discordance and musical consonance/dissonance.

	== References ==		== References ==

Inthar: /* Musical vs. sensory dissonance */

2023-05-31T22:20:47Z

Musical vs. sensory dissonance

← Older revision		Revision as of 22:20, 31 May 2023
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	== Musical vs. sensory dissonance ==		== Musical vs. sensory dissonance ==
	Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''' or '''~~concord~~'''.		Musical dissonance is a complex phenomenon depending on not only the fundamental frequency ratio but also the register, timbres, volume, spatialization, and the listener's conditioning and cultural background. '''Sensory dissonance''', '''discordance''', '''discord''', or '''roughness''', however, is a psychoacoustic effect that is much more consistent among most human listeners except for those with conditions like congenital amusia (tone deafness). In its most basic form, sensory dissonance occurs when two sine wave tones in the audible frequency range are played simultaneously, within about a critical band of each other but far apart enough that beating is not audible. The opposite is '''sensory consonance''', '''concordance''', '''concord''' or '''smoothness'''.

	A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about <math>f_2 = f_1 + 2.27 f_1^{0.477}\ \text{Hz}</math> (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval <math>f_2/f_1</math> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.		A study by Kameoka & Kuriyagawa in 1969 had listeners grade the roughness of two sine waves played simultaneously at equal intensity. They computed that if the lower sine wave has frequency ''f''<sub>1</sub> Hz, then the upper frequency that maximizes roughness is about <math>f_2 = f_1 + 2.27 f_1^{0.477}\ \text{Hz}</math> (we will call this the ''maximal roughness formula''). This assumes that each sine wave has intensity 57 dB SPL; the formula changes slightly depending on volume. The interval <math>f_2/f_1</math> is about 1.56 semitones at 440 Hz, and narrows as frequency increases.

← Older revision		Revision as of 03:55, 19 September 2024
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	* [[Tenney height]], a [[complexity]] measure on JI intervals		* [[Tenney height]], a [[complexity]] measure on JI intervals
	* [[Harmonic entropy]], referring to either a concordance metric on intervals and chords or the psychoacoustic model used to compute it		* [[Harmonic entropy]], referring to either a concordance metric on intervals and chords or the psychoacoustic model used to compute it
	* [[A singular measure of dissonance]]		* [[Saddle chord]], a type of chord that exploits harmonic entropy
			* ‘[[A singular measure of dissonance]]’

	== External links ==		== External links ==

← Older revision		Revision as of 03:56, 19 September 2024
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	* [[Harmonic entropy]], referring to either a concordance metric on intervals and chords or the psychoacoustic model used to compute it		* [[Harmonic entropy]], referring to either a concordance metric on intervals and chords or the psychoacoustic model used to compute it
	* [[Saddle chord]], a type of chord that exploits harmonic entropy		* [[Saddle chord]], a type of chord that exploits harmonic entropy
	* ‘[[A singular measure of dissonance]]’		* ''[[A singular measure of dissonance]]'' (2018)

	== External links ==		== External links ==