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| | MuSICA Research Notes: V IV, I 1, Spring 1997 |
 | | In contrast, a ratio of 45:32 produces the dissonant "tritone", (e.g., C and F#), an interval of three whole tones that was regarded as unacceptable and dangerous in the Middle Ages, the "Diabolus in musica."(1) |
 | | If the infant turned and looked at the speaker during the time a change in melody occurred (i.e., consonant to dissonant or the reverse), then she or he was rewarded by the illumination of an animated toy. |
 | | In short, the perceptual advantage of consonant intervals over dissonant intervals is present at all age levels tested, in particular it is present in infants who can hardly be said to have had much opportunity to learn about tonal music. |
| www.musica.uci.edu /mrn/V4I1S97.html (4545 words) |
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