Clashing tones within one critical band produce roughness that underlies dissonance

Evidence

A clear connection between psychoacoustics and music has been shown. Roughness is closely related to consonance and dissonance perceived between two or more musical notes; the more the partials of the notes generate roughness, the higher the perceived dissonance is. This leads directly to basic melodic and harmonic structures in music. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1350 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Dissonance depends on proportional separation falling inside the critical bandwidth, not absolute frequency difference; Dissonance depends on musical interval, not a fixed beat rate across frequencies; Perceived dissonance arises when nearby harmonics fall within critical bandwidth (+8 more)

Related

• Perceived musical dissonance reduces to roughness from beating partials. (similarity 0.95)
• The rate of beating between close partials determines whether they sound consonant or rough (similarity 0.93)
• Dissonance depends on musical interval, not a fixed beat rate across frequencies (similarity 0.92)
• Dissonance arises from inconsistent stretch of notes versus partials (similarity 0.92)
• Roughness between note partials determines perceived musical dissonance (similarity 0.90)
• Perceived dissonance arises when nearby harmonics fall within critical bandwidth (similarity 0.89)
• Perceived roughness from beating depends on basilar-membrane critical bands. (similarity 0.89)
• Sensory consonance depends on roughness, sharpness, and tonalness (similarity 0.89)
• Roughness grows faster with modulation depth for tones than for noise (similarity 0.87)
• Fast amplitude modulations within a critical band produce roughness perception (similarity 0.87)
• Musical instruments are engineered to suppress higher partials to avoid dissonance (similarity 0.86)
• Interval dissonance increases with position higher in the harmonic series (similarity 0.86)
• Equal tempered intervals stay consonant because mistuning falls within critical bandwidth (similarity 0.85)
• Hearing resolves close tones through beats, rough fusion, then separation bands (similarity 0.85)
• Consonance judgments rest on psychoacoustic critical bandwidth (similarity 0.85)

Broader Connections

• Perceived dissonance arises when nearby harmonics fall within critical bandwidth #corroborates (0.95)
• Perceived musical dissonance reduces to roughness from beating partials. #corroborates (0.93) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1350
• Dissonance depends on proportional separation falling inside the critical bandwidth, not absolute frequency difference #expands (0.92)
• Dissonance depends on musical interval, not a fixed beat rate across frequencies #expands (0.90)
• Fast amplitude modulations within a critical band produce roughness perception #expands (0.85) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237
• Hearing resolves close tones through beats, rough fusion, then separation bands #expands (0.78)
• Sensory consonance depends on roughness, sharpness, and tonalness #qualifies (0.75) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 2040
• Roughness grows faster with modulation depth for tones than for noise #complicates (0.75)
• Instrument timbre determines how dissonant the same two-note interval sounds #complicates (0.72)