Rich complex tones can contain internally dissonant partials without sounding dissonant
Evidence
The whole may be better or worse than the sum of its parts: a perfectly fine, rich tone may be dissected for dissonant partners contained in the sound, yet the dissonances are not evident in the whole tone. To some extent, this mitigates autodissonance, although one can suppose that too many such dissonant partials do leave an unpleasant impression of the sound. — Eric J. Heller, Why You Hear What You Hear- An…, 2333
Categorization
Category: Contrarian or Surprising Claims
- XREF: Connects to Gestalt ‘whole greater than the sum of parts’ and to the critical band concept developed nearby in this same chapter.
Related
- Rich tones always compound internal and cross-tone dissonance (similarity 0.87)
- A single tone can be dissonant with its own high harmonics (similarity 0.83)
- Perceived dissonance arises when nearby harmonics fall within critical bandwidth (similarity 0.83)
- Perceived dissonance resists full quantification because it is a human impression (similarity 0.82)
- Clashing tones within one critical band produce roughness that underlies dissonance (similarity 0.81)
- Perceived musical dissonance reduces to roughness from beating partials. (similarity 0.80)
- Dissonance between complex tones reduces to summed penalties from near-coincident partials (similarity 0.80)
- Musical instruments are engineered to suppress higher partials to avoid dissonance (similarity 0.80)
- Dissonance arises from inconsistent stretch of notes versus partials (similarity 0.79)
- Tones with lower partials up to the sixth sound rich yet sweet (similarity 0.79)
- Roughness between note partials determines perceived musical dissonance (similarity 0.79)
- Consonance judgments rest on psychoacoustic critical bandwidth (similarity 0.78)
Broader Connections
- Perceived dissonance arises when nearby harmonics fall within critical bandwidth
#corroborates(0.82) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 944