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Additional info for A History of 'Consonance' and 'Dissonance'

Example text

In his discussion of Johann Staden's treatment of "discords" in a treatise of 1626, Arnold says: Staden begins by giving examples, in two parts only, of the discords in question. In the case of the Second, he fails to explain that it is not the Second itself, but the Bass which is dissonant, and therefore requires preparation, though the examples make this plain [my emphasis]. 3' Again, regarding a statement by Friderich Niedt (1700) to the effect that "When a note is figured or , there is no preparation..

76 While it may well be that the "Fifths and Octaves" referred to in the last sentence are the dyads so designated, the fifths and thirds mentioned in the first two sentences of the 3rd rule are the individual notes "taken and played," and the "consonances" of the second sentence are most certainly notes, not intervals. By the beginning of the 18th century, this transformation in the entitive reference of 'consonance' and 'dissonance' was no longer a matter of ambiguity; it had become a well-established verbal convention-as may be seen in the following passage from Gasparini's Zhe Practical Harmonist at the Harpsichord (1708) : The second may be considered the same as the ninth, since the ninth is the compound of the second, and because ordinarily one indicates a second and the interval will be a ninth.

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. Amold, op. , pp. 127-8. 77. Gasparini, op. , p. 49. C. , CDC-2 from the 9th the 13th centuries, and CDC-3 from the 14th through the 17th cen-wries: Thus, in the 9th century-and again in the 14th-a new interpretation of 'consonance' and 'dissonance' began to supercede an older one. But the aspect of musical perception denoted by these terms in their earlier interpretation did not-in either instance-simply disappear, or become any less real ban it had been before.

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