Dissonance arises from inconsistent stretch of notes versus partials
Evidence
The roughness phenomenon is, on the other hand, much more easily obtained when two notes are played at the same time. If the fundamental frequencies are different, the distances of their harmonics on the frequency scale define the roughness. If some of the harmonics are located at distances relative to each other that create roughness, a dissonant sound is perceived, as shown for three intervals in Figure 11.13. When the frequency ratio is near 3:2, as shown in the uppermost case in the figure, most of the partials of the spectra are either located very near to each other or far enough away from each other to cause no roughness. Only partials with number 10 or higher are at frequencies influencing each other. When the frequency ratio is about 5:4, a larger number of partials are seen to have such a ratio with each other that higher roughness is perceived. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1294 (
#expands, via linked claim)
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 (
#complicates, via linked claim)
Categorization
- XREF: connects to: The same musical interval’s dissonance changes with pitch register; Interval dissonance increases with position higher in the harmonic series — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1294; Perceived musical dissonance reduces to roughness from beating partials. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1350 (+2 more)
Related
- Dissonance depends on musical interval, not a fixed beat rate across frequencies (similarity 0.94)
- Interval dissonance increases with position higher in the harmonic series (similarity 0.94)
- Perceived musical dissonance reduces to roughness from beating partials. (similarity 0.92)
- Clashing tones within one critical band produce roughness that underlies dissonance (similarity 0.92)
- Roughness between note partials determines perceived musical dissonance (similarity 0.92)
- Simple integer frequency ratios minimize partial interference and thus dissonance (similarity 0.91)
- The rate of beating between close partials determines whether they sound consonant or rough (similarity 0.90)
- Equal tempered intervals stay consonant because mistuning falls within critical bandwidth (similarity 0.89)
- Musical instruments are engineered to suppress higher partials to avoid dissonance (similarity 0.88)
- Chord dissonance rises as harmonic number increases and interval shrinks (similarity 0.87)
- Perceived dissonance arises when nearby harmonics fall within critical bandwidth (similarity 0.86)
- Musical intervals between adjacent harmonics shrink as harmonic number rises (similarity 0.85)
- The same musical interval’s dissonance changes with pitch register (similarity 0.85)
- Instrument timbre determines how dissonant the same two-note interval sounds (similarity 0.84)
- A single note can sound rough only below roughly 100 Hz fundamental (similarity 0.84)
Broader Connections
- The same musical interval’s dissonance changes with pitch register
#expands(0.80) - Interval dissonance increases with position higher in the harmonic series
#expands(0.75) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1294 - Perceived musical dissonance reduces to roughness from beating partials.
#complicates(0.75) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1350 - Chord dissonance rises as harmonic number increases and interval shrinks
#expands(0.75) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 998 - Perceived dissonance arises when nearby harmonics fall within critical bandwidth
#complicates(0.72)