By J. Tenney
First released in 1988. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional resources for A History of 'Consonance' and 'Dissonance'
Rarneau and his successors (CDC-4) 67. 4 CDC-2 is also implied in the following passage, where he gives the same r a order for the consonances as those given earlier by Lippius and Zarlino-ad the same numerical rationale for it: The order of origin and perfection of these consonances is determined by the order of the numbers. Thus, the octave between 1 and 2, which is generated f i s t b y integral divisions of a strind, is more perfect than the fifth between 2 and 3. , always following the natural progression of the numbers and admitting the sixths only last.
Pietro Aaron, op. , p. 40. 66. Zarlino, op. , pp. 182-3. 67. Morley, op. , p. 222. 68. , pp. 226-7. 69. Benito Rivera, op. , and Joel Lester, op. cit. 70. T . Arnold, 7he Art of Accompanimentfrom a norough-Bass (London: Oxford University Press, 1931; reprint, New York: Dover, 1965, in two volumes), pp. 4 2 4 3 (Vol. r). 71. , p. 426, and in Arnold, oP. , P. 69. 72. Arnold, op. , pp. 106-7. 73. , pp. 110-26, but see especially pp. 112-13. 74. Zarlino, op. , p. 200. 75. Palisca, op. , p. 92. 76. Arnold, op.
16. , Allen Forte, in Tonal Harmony in Concept and Practice (New York: Holt, Rinehart and Winston, 1962), says u p . 16-17): "In music the terms consonant and dissonant have nothing whatsoever to do with the pleasant or unpleasant quality of a sound. -and in whose view? This was certainly not the view of the major theorists who first formulated the concepts and practices of tonal harmony. 17. Crocker, op. , p. 6. 18. Gustave Reese, Music in the Middle Ages (New York: Norton, 1940), p. 294. 19. E.