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On the political correctness of dissonance
Dissonance and culture?
Which is more dissonant, an augmented sixth or a minor seventh?
I remind my classes that Helmholtz published:
Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik
(On the Sensations of Tone as a Physiological Basis for the Theory of Music)
in 1863, with a reason, as given in the title.
The context is important. Albert wouldn't be born for another 16 years. As I recall, Helmholtz was much more of a 'Rameau-man', than a 'Bach-man'.
The simple experiment, can be done live or with multi-channel sound.
Voice One: C D E F G
Voice Two: G G# A A G
Voice Three: C B C C G
Voice Four: E E E E G
Voice one can be top or bottom.
Place the four singers, or loudspeakers close together (strong integration for most non-AP listeners).
Place the four singers / loudspeakers in four far corners of the room.
Does the final G sound like one pitch(class) with an octave, or four different notes, possibly of the same pitch.
In the second example, does auditory streaming dominate, ie, do the "chords" [sic] ever integrate into 'harmony'?
As I look at the four lines written above, I stream four voices, and do not hear the tritone in the second chord, or the semitone/major seventh in the fourth.
One advantage of not having to deal with 'sound' in this experiment is that the voices are not out of tune.