
	Where results make sense

Topic: Emancipation of the dissonance

Related Topics

Twelve tone technique

Counterpoint

Pitch space

Timing (linguistics)

Melodic accent

The Art of Fugue

Pitch accent

Color space

Hertz

Scientific pitch notation

In the News (Fri 11 Dec 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Online Encyclopedia and Dictionary - Consonance and dissonance
		Both consonance and dissonance are words applied to harmony, chords, and intervals and by extension to melody, tonality, and even rhythm and metre (music).
		Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over a great number important developments in the history of western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism.
		By this definition dissonance is dependent not only on the quality of the interval between two notes, but the harmonics and thus sound quality (timbre) of those notes themselves.
	fact-archive.com /encyclopedia/Consonance_and_dissonance (1920 words)

	Learn more about Dissonance in the online encyclopedia. (Site not responding. Last check: 2007-10-09)
		Both are words applied to harmony, chordss, and intervalss: sounds which are dissonant seem unstable, and have an aural need to resolve to a stable consonance.
		Western musical history can be seen as progessing towards a wider definition of consonance, culminating in the emancipation of dissonance, such as in the view of Arnold Schoenberg.
		In poetry, dissonance is the deliberate avoidance of patterns of repeated vowel sounds (see assonance).
	www.onlineencyclopedia.org /d/di/dissonance.html (320 words)

	Emancipation of the dissonance - Wikipedia, the free encyclopedia
		The emancipation of the dissonance was a concept or goal put forth by Arnold Schoenberg and others, including his pupil Anton Webern, composer of atonal music and the inventor of the twelve tone technique.
		The emancipation of the dominant-quality dissonances has followed this pattern, with the dominant seventh developing in status from a contrapuntal note in the sixteenth century to a quasi-consonant harmonic note in the early nineteenth.
		Composers such as Charles Ives, Dane Rudhyar, even Duke Ellington and Lou Harrison, connected the emancipation of the dissonance with the emancipation of society and humanity.
	en.wikipedia.org /wiki/Emancipation_of_the_dissonance (533 words)

	[No title]
		The term emancipation of the dissonance refers to its comprehensibility, which is considered equivalent to the consonances comprehensibility.
		Carl Dahlhaus clarifies a common misinterpretation of the Schoenberg's description of the "emancipation of the dissonance" that often leads some analysts/theorists to believe that harmony is impossible on both the local and structural level in atonal music.
		Harmonic tension is created by chords of a greater degree of dissonance and release and repose is created by moving to chords with a lesser degree of dissonance.
	www.cnmat.berkeley.edu /~bruce/berg.html (3455 words)

	Schoenberg voice recording: My evolution (Site not responding. Last check: 2007-10-09)
		Yet, the overwhelming multitude of dissonances could not be counterbalanced any longer by occasional returns to such tonal triads as represent a key.
		Dissonant tones in the melody, that is, tones of a more remote relationship with the occasional center, cause difficulties of comprehension.
		Let us not forget that I came to that gradually, as a result of a convincing development, which enabled me to establish the law of the emancipation of the dissonance, which I mentioned before already, according to which the comprehensibility of the dissonance is considered tantamount to the comprehensibility of the consonance.
	www.usc.edu /isd/archives/schoenberg/as-vo-my.htm (2539 words)

	Consonance and Dissonance
		The major 3rd and 6th, for examples, were dissonant and initially were not used in early polyphony, which moved in parallel octaves, 4ths, and 5ths.
		In the twentieth century we have heard composers speak about the “emancipation of dissonance”, where the distinction is either blurred or erased {5}.
		Recent studies suggest that even in much of the “dissonant” music of the twentieth century a new logic replaces the old; i.e., there are still consonances and dissonances, but they have been redefined and used in new ways.
	solomonsmusic.net /consonance.htm (1180 words)

	[smt-list] evolutionary process of dissonance inclusion; "emancipation of dissonance"
		That means that dissonance is required throughout a composition, because, as Schoenberg and others have pointed out, all the devices that "habitually" (or physiologically or acoustically) create tonality (or a sense of key) must be avoided: repeated notes, triads, consonances, even the octave and rhythmic metre must be avoided wherever possible.
		This means that dissonance is not "in context" but, in fact, dissonance IS the context.
		Once you include a tonal context, then the whole composition becomes tonal, and the dissonances heard inside that context are tolerated as part of the enhancement of tonality or "key," or "direction" to the music (namely, a sense of "beginning, middle and end" [cadence]).
	societymusictheory.org:16080 /pipermail/smt-talk/2003-July/001120.html (443 words)

	[smt-list] evolutionary process of dissonance inclusion; "emancipation of dissonance"
		Or to put it another way, there is no such thing as "emancipation of the dissonance"--which is to say that dissonance in music cannot ever, I think, be truly (fully) emancipated.
		Contrapuntal dissonances in Bach are largely explicable by the syntactical harmonic underpinnings that render them coherent.
		Our ear reacts on each single dissonance in strict counterpoint texture as opposed to fundamentally consonant entity of the style (school rules), with its default single structural level.
	societymusictheory.org:16080 /pipermail/smt-talk/2003-July/001112.html (870 words)

	Schoenberg
		Eventually Schoenberg would be composing music with no tonal center at all in which dissonances are not resolved because all notes are equally related.
		When Schoenberg wrote Style and Idea, he announced the "emancipation of the dissonance," declaring that there is no difference between consonance and dissonance.
		For twelve-tone composition he advised avoiding traditional consonances and simpler dissonances (diminished triads and seventh chords); in the future perhaps both new and traditional expression would be possible.
	www.wsu.edu /~delahoyd/20th/schoenberg.html (1043 words)

	LaMo or PoMo (Site not responding. Last check: 2007-10-09)
		The emancipation of the dissonance was a concept or goal put forth by
		dissonances has followed this pattern, with the dominant seventh developing in status from a
		Lou Harrison, connected the emancipation of the dissonance with the emancipation of society and humanity.
	dks.thing.net /Postmodernism_or_LaMo.html (5679 words)

	Friends Of Chamber Music: Jacques Thibaud String Trio with Eugenia Zuckerman (Site not responding. Last check: 2007-10-09)
		Adhering to the classical ideals of clarity and coherence — the virtues of his beloved Mozart — he wrote music filled with French charm and “esprit” that delights in the play of stylistic manners, making irony an artistic virtue in itself rather than a source of expressive conflict.
		The trio’s harmonies are classically transparent despite a liberal use of dissonant combinations, and the tonal centers are firmly set.
		Schoenberg declared this music to be the “emancipation of the dissonance” and it became known as “atonal.” After a time, Schoenberg felt the need to impose some form or constraints on the use of atonality.
	www.focm.org /artist-thibaud.htm (1898 words)

	Cornell College - Student Symposium 2001
		In my lecture/presentation, I will introduce Schoenberg's "new music" and composing style and show how his Drei Klavierstucke (Three Piano Pieces) was an important factor in the creation of the "new music." With the dissonant sounds of atonality came public scorn and distaste towards Achoenberg's new music.
		To fulfill his goals and ideals, Schoenberg introduced the new composing methods of the emancipation of the dissonance, and the dodecaphonic methods of composition.
		The lecture will discuss how atonality came to be; then proceed to talk about how Schoenberg's music personified the emancipation of the dissonance and led to the dodecaphonic method of composing.
	www.cornellcollege.edu /student_symposium/2001/schoenberg.shtml (192 words)

	The Fredösphere (Site not responding. Last check: 2007-10-09)
		Maybe the neo-romantic label is assumed by people with a taste for very low levels of dissonance.
		Keep in mind, "dissonance" doesn't really apply in the atonal world; dissonance can only occur in the context of some kind of consonance.
		My preference is for lots and lots of dissonance -- which means, it must be tonal, but it must also be edgy.
	home.comcast.net /~fred_himebaugh/2005/10/dissonance-lib.html (399 words)

	Consonance and dissonance - Wikipedia, the free encyclopedia
		In music, a consonance (Latin consonare, "sounding together") is a harmony, chord, or interval considered stable, as opposed to a dissonance, which is considered unstable.
		Polyphonic cadences, requiring at least two voices, were created by successive dyads, the first an imperfect consonance on a weak beat, the second a perfect consonance on a strong beat, such as a major sixth moving to an octave (for instance, the major (imperfect) sixth D-B followed by the perfect octave C-C').
		Relaxation and tension have been used as analogy since the time of Aristotle till the present (DeLone et.
	en.wikipedia.org /wiki/Consonance_and_dissonance (2089 words)

	DoveSong.com -- The Centuries - 20th Century
		"And so 'Emancipation of the Dissonance' turns out to be 'Expurgation of the Consonance.' It is a unique and drastic application of the old pleasure-pain principle.
		This is music with no tonic center that uses non-traditional chords and the free use of dissonant harmonies, or discords.
		Schönberg told us that because dissonances were in reality simply upper partials in the overtone series, they should be treated just the same as any other partials.
	www.dovesong.com /centuries/Atonality.asp (1654 words)

	NewMusicbox
		I have long thought that the only way to be a receptive listener to music in a world where the Schoenberg/Cage emancipation of dissonance was a fait accompli is to engage in a similar emancipation involving judgment and taste.
		However, I'm reminded of a T-shirt I saw in the Reagan years that I strongly disagreed with which proclaimed, "Freedom of religion does not mean freedom from religion." For the same relativistic reasons, I've always found it disconcerting (an apt pun perhaps) that the implication of the "emancipation of dissonance" required an avoidance of consonance.
		Which is why I hear in Cage a more complete sonic emancipation than in the music of most of Schoenberg's other students, especially in Cage's late number pieces where major and minor triads can occur with the same lack of shame as 012 trichords and vice versa.
	www.newmusicbox.org /chatter/chatter.nmbx?id=4324 (3353 words)

	Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture
		Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture
		Two Assimilation and the Emancipation of Historical Dissonance
		Three Evolving Perceptions of Kandinsky and Schoenberg: Toward the Ethnic Roots of the "Outsider"
	ark.cdlib.org /ark:/13030/ft52900620 (157 words)

	[No title]
		There's a wonderful generation of American composers influenced by Schoenberg who are in danger of being completely lost in favor of minimalist sludge: My primary candidate here would be Wallingford Riegger, but there were many other interesting composers from the twenties through the sixties, including Alvin Etler, Ross Lee Finney, etc.
		who combine (to greater and lesser extents) the "emancipation of the dissonance" and in some cases serial techniques with a genuine "American" feeling (Riegger's Fourth Symphony is a great example of this).
		To repeat, this is a an area (out of national pride also, by the way) that deserves more exploration.
	www.kith.org /jimmosk/pitts.html (1090 words)

	classical music - andante - accentus - laurence equilbey
		Within a large oeuvre covering every genre, Arnold Schoenberg's output of choral music embodied, throughout his career, the favoured instrument for his faith.
		The choral repertory emerges clearly at key moments in Schoenberg's career which correspond to the maturation of a language, first tonal, then dodecaphonic: thus Friede auf Erden (Peace on Earth) was composed at the end of the exhilarating period of the emancipation of dissonance.
		Completed on 9 March 1907 and originally considered too complex to perform, this earliest of his a cappella works was not premiered until December 1911, in Vienna, in a version for chorus with orchestral accompaniment which lessened problems of intonation.
	www.andante.com /article/article.cfm?id=24937 (528 words)

	“Lost” Communist Composer’s “Politics of Emancipation”? -- July 11, 2003
		Eisler’s heartfelt communist beliefs were apparently caused by some mysterious virus, for he was “drawn to the tumult of Weimar Berlin, where he could not resist the call of revolution.
		He joined the German Communist Party and began writing agitprop music in a simple and direct style.” His teacher, composer Arnold Schoenberg, disapproved of his student's didactic work: “He could handle the ‘emancipation of dissonance,’ his phrase for his 12-tone technique, but he had no patience for his student's politics of emancipation.”
		Eichler’s icon of emancipation was “notoriously” brought before the House Committee on Un-American Activities and “accused of being ‘the Karl Marx of Communism in the musical field.’ Eisler, who joined the German Communist Party in 1926, responded, ‘I would be flattered.’” Eisler had written some film scores in Hollywood, but was deported in 1948.
	www.timeswatch.org /articles/2003/0711.asp (439 words)

	Juilliard \| The Juilliard Journal Online
		A case in the next room contains Kandinsky's original letter to Schoenberg, dated January 18, 1911.
		While not directly related to the music, they share Schoenberg's spirit, and we can see how Schoenberg's "emancipation of dissonance" is conceptually related to Kandinsky's abandonment of subject matter.
		The move is well illustrated by the juxtaposition of a few early landscapes to more abstract paintings.
	www.juilliard.edu /update/journal/j_articles143.html (1096 words)

	TIME.com: Destiny Unknown -- Jul 23, 1951 -- Page 1 (Site not responding. Last check: 2007-10-09)
		Where other composers were satisfied with the conventional scale of seven basic tones (do, re, mi, fa, sol, la, ti), Schoenberg insisted on discarding "key" and exploring the potential scale of twelve tones (i.e., the full chromatic scale in an octave).
		"Just dissonance," they said, or, more simply, "Just noise." Schoenberg stuck to his guns, demanded the "emancipation of dissonance." Discords can become new harmonies, he said.
		The best known: Alban Berg, composer of the twelve-tone opera Wozzeck (TIME, April 23).
	www.time.com /time/magazine/article/0,9171,890182,00.html (695 words)

Try your search on: Qwika (all wikis)