Harmony - Knowledge (XXG)

44: 1017:, or first-degree note, can be any of the 12 notes (pitch classes) of the chromatic scale. All the other notes fall into place. For example, when C is the tonic, the fourth degree or subdominant is F. When D is the tonic, the fourth degree is G. While the note names remain constant, they may refer to different scale degrees, implying different intervals with respect to the tonic. The great power of this fact is that any musical work can be played or sung in any key. It is the same piece of music, as long as the intervals are the same—thus transposing the melody into the corresponding key. When the intervals surpass the perfect Octave (12 semitones), these intervals are called 1220:

a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures introducing tension smoothly, without disturbing the listener. Once the piece reaches its sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tension of the previous chords. The clearing of this tension usually sounds pleasant to the listener, though this is not always the case in late-nineteenth century music, such as

160:, a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant when there is a balance between consonance and dissonance. This occurs when there is a balance between "tense" and "relaxed" moments. Dissonance is an important part of harmony when it can be resolved and contribute to the composition of music as a whole. A misplayed note or any sound that is judged to detract from the whole composition can be described as disharmonious rather than dissonant. 327:. These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths. The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing. 393: 448:, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression' with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. 331: 1235: 1246:, but an equally tempered major third is 400 cents and a Pythagorean third with a ratio of 81:64 is 408 cents. Measurements of frequencies in good performances confirm that the size of the major third varies across this range and can even lie outside it without sounding out of tune. Thus, there is no simple connection between frequency ratios and harmonic function. 882:, with each step only involving a change in one note's accidental. As such, additional accidentals are free to convey more nuanced information in the context of a passage of music and the other notes that make it up. Even when working outside diatonic contexts, it is convention, if possible, to use each letter in the alphabet only once in describing a scale. 374: 4020: 4163: 117:, a concept whose precise definition has varied throughout history, but is often associated with simple mathematical ratios between coincident pitch frequencies. In the physiological approach, consonance is viewed as a continuous variable measuring the human brain's ability to 'decode' aural sensory input. Culturally, 294:

improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music (or has in the past), the improvisation either embellishes pre-notated music or draws from musical models previously established in notated compositions, and therefore uses familiar harmonic schemes.

1287:. These differences may not be readily apparent in tempered contexts but can explain why major triads are generally more prevalent than minor triads and major-minor sevenths are generally more prevalent than other sevenths (in spite of the dissonance of the tritone interval) in mainstream tonal music. 1336:

Familiarity also contributes to the perceived harmony of an interval. Chords that have often been heard in musical contexts tend to sound more consonant. This principle explains the gradual historical increase in harmonic complexity of Western music. For example, around 1600 unprepared seventh chords

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usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxed" moments. For this reason, usually tension is 'prepared' and then 'resolved', where preparing tension means to place

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Other types of harmony are based upon the intervals of the chords used in that harmony. Most chords in western music are based on "tertian" harmony, or chords built with the interval of thirds. In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third. Other types

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While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence – at times amounting to integration, at other times

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and major and minor third and sixth, and their compound forms. An interval is referred to as "perfect" when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3). The other basic intervals (second, third, sixth, and seventh)

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These numbers don't "add" together because intervals are numbered inclusive of the root note (e.g. one tone up is a 2nd), so the root is counted twice by adding them. Apart from this categorization, intervals can also be divided into consonant and dissonant. As explained in the following paragraphs,

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In Western culture the musics that are most dependent on improvisation, such as jazz, have traditionally been regarded as inferior to art music, in which pre-composition is considered paramount. The conception of musics that live in oral traditions as something composed with the use of improvisatory

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Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, which permitted the study and analysis by theorists and composers of individual pre-constructed works in which pitches (and to some extent rhythms) remained

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to determine the relationship between small integer ratios and consonant notes (e.g., 1:2 describes an octave relationship, which is a doubling of frequency). While identifying as a Pythagorean, Aristoxenus claims that numerical ratios are not the ultimate determinant of harmony; instead, he claims

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The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consistent and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage

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When adjacent harmonics in complex tones interfere with one another, they create the perception of what is known as "beating" or "roughness". These precepts are closely related to the perceived dissonance of chords. To interfere, partials must lie within a critical bandwidth, which is a measure of

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Continuing to stack thirds on top of a seventh chord produces extensions, and brings in the "extended tensions" or "upper tensions" (those more than an octave above the root when stacked in thirds), the ninths, elevenths, and thirteenths. This creates the chords named after them. (Except for dyads

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The effect of dissonance is perceived relatively within musical context: for example, a major seventh interval alone (i.e., C up to B) may be perceived as dissonant, but the same interval as part of a major seventh chord may sound relatively consonant. A tritone (the interval of the fourth step to

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that has become ubiquitous in Western music, each interval is created using steps of the same size, producing harmonic relations marginally 'out of tune' from pure frequency ratios as explored by the ancient Greeks. 12-tone equal temperament evolved as a compromise from earlier systems where all

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progressions – as with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself in the different methods of performance adopted: in Indian Music, improvisation takes a major role in the structural framework of a piece, whereas in Western Music

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Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only pleasing concords may be harmonious) or from the point of view of

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In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Following the tertian practice of building chords by stacking thirds, the

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for chords built with other intervals). Depending on the size of the intervals being stacked, different qualities of chords are formed. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. To keep the nomenclature as simple as

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exhibit peaks in activity which correspond to the frequency components of a tonal stimulus. The extent to which FFRs accurately represent the harmonic information of a chord is called neural salience, and this value is correlated with behavioral ratings of the perceived pleasantness of chords.

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harmony, so named after the interval of a third, the members of chords are found and named by stacking intervals of the third, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Chord members are named after their

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It was not that counterpoint was supplanted by harmony (Bach's tonal counterpoint is surely no less polyphonic than Palestrina's modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the ("vertical")

274:(or fourth interval) that does not alter in pitch throughout the course of a composition. Pitch simultaneity in particular is rarely a major consideration. Nevertheless, many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of 1170:

Depending on the widths of the individual thirds stacked to build the chord, the interval between the root and the seventh of the chord may be major, minor, or diminished. (The interval of an augmented seventh reproduces the root, and is therefore left out of the chordal nomenclature.) The

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simplest first tension is added to a triad by stacking, on top of the existing root, third, and fifth, another third above the fifth, adding a new, potentially dissonant member a seventh away from the root (called the "seventh" of the chord) producing a four-note chord called a "

890:. Even if identical in isolation, different spellings of enharmonic notes provide meaningful context when reading and analyzing music. For example, even though E and F♭ are enharmonic, the former is considered to be a major third up from C, while F♭ is considered to be a 82:

are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as

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Tonal fusion contributes to the perceived consonance of a chord, describing the degree to which multiple pitches are heard as a single, unitary tone. Chords which have more coinciding partials (frequency components) are perceived as more consonant, such as the

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is considered a harmonic interval, just like a fifth or a third, but is unique in that it is two identical notes produced together. The unison, as a component of harmony, is important, especially in orchestration. In pop music, unison singing is usually called

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In organ registers, certain harmonic interval combinations and chords are activated by a single key. The sounds produced fuse into one tone with a new timbre. This tonal fusion effect is also used in synthesizers and orchestral arrangements; for instance, in

1600:. Third edition. "Homophonic texture...is more common in Western music, where tunes are often built on chords (harmonies) that move in progressions. Indeed this harmonic orientation is one of the major differences between Western and much non-Western music." 3819: 43: 140:

plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively

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consonant intervals produce a sensation of relaxation and dissonant intervals a sensation of tension. In tonal music, the term consonant also means "brings resolution" (to some degree at least, whereas dissonance "requires resolution").

863:. In those systems, a major third constructed up from C did not produce the same frequency as a minor third constructed up from D♭. Many keyboard and fretted instruments were constructed with the ability to play, for example, both of G♯ 357: 894:

up from C. In the context of a C major tonality, the former is the third of the scale, while the latter could (as one of numerous possible justifications) be serving the harmonic function of the third of a D♭ minor chord, a

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are called "imperfect" because the harmonic relationships are not found mathematically exact in the overtone series. In classical music the perfect fourth above the bass may be considered dissonant when its function is

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A note spelled as F♭ conveys different harmonic information to the reader versus a note spelled as E. In a tuning system where two notes spelled differently are tuned to the same frequency, those notes are said to be

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In the musical scale, there are twelve pitches. Each pitch is referred to as a "degree" of the scale. The names A, B, C, D, E, F, and G are insignificant. The intervals, however, are not. Here is an example:

381: 1080:. Other intervals, the second and the seventh (and their compound forms) are considered Dissonant and require resolution (of the produced tension) and usually preparation (depending on the music style). 1177:. Other types of seventh chords must be named more explicitly, such as "C Major 7" (spelled C, E, G, B), "C augmented 7" (here the word augmented applies to the fifth, not the seventh, spelled C, E, G 1242:

is composed of three tones. Their frequency ratio corresponds approximately 6:5:4. In real performances, however, the third is often larger than 5:4. The ratio 5:4 corresponds to an interval of 386

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the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies. The roughest interval in the

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and triads, tertian chord types are named for the interval of the largest size and magnitude in use in the stack, not for the number of chord members : thus a ninth chord has five members

536:", between the first two notes (the first "twinkle") and the second two notes (the second "twinkle") is the interval of a fifth. What this means is that if the first two notes were the pitch 513:

used in many of their earlier recordings. As a type of harmony, singing in unison or playing the same notes, often using different musical instruments, at the same time is commonly called

266:) is frequently cited as placing little emphasis on what is perceived in western practice as conventional harmony; the underlying harmonic foundation for most South Asian music is the 62:

is the concept of combining different sounds together in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct

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possible, some defaults are accepted (not tabulated here). For example, the chord members C, E, and G, form a C Major triad, called by default simply a C chord. In an A

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texture of several simultaneous but independent voices. Therefore, it is sometimes seen as a type of harmonic understanding, and sometimes distinguished from harmony.

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Therefore, the combination of notes with their specific intervals—a chord—creates harmony. For example, in a C chord, there are three notes: C, E, and G. The note

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In response to harmonic intervals, cortical activity also distinguishes chords by their consonance, responding more robustly to chords with greater consonance.

237:, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. According to 203:, which is thought the first work in European history written on the subject of harmony. In this book, Aristoxenus refers to previous experiments conducted by 2347: 3799: 1200:, not nine.) Extensions beyond the thirteenth reproduce existing chord members and are (usually) left out of the nomenclature. Complex harmonies based on 106:. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work and vernacular practice alike. 1084:

the seventh step of the major scale, i.e., F to B) sounds very dissonant alone, but less so within the context of a dominant seventh chord (G7 or D

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musical texture (distinguishing between harmonic (simultaneously sounding pitches) and "contrapuntal" (successively sounding tones)). According to

102:. The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger 867:

A♭ without retuning. The notes of these pairs (even those where one lacks an accidental, such as E and F♭) were not the 'same' note in any sense.

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harmony in Western music began in about 1600 is commonplace in music theory. This is usually accounted for by the replacement of horizontal (or

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provide harmony, and in a G7 (G dominant 7th) chord, the root G with each subsequent note (in this case B, D and F) provide the harmony.

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in the central range, the second roughest interval is the major second and minor seventh, followed by the tritone, the minor third (

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Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original

4187: 3700: 3393: 2802:"Musicians demonstrate experience-dependent brainstem enhancement of musical scale features within continuously gliding pitch" 2510:

Tanguiane (Tangian), Andranick (1994). "A principle of correlativity of perception and its application to music recognition".

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Emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias. The

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nomenclature allows that, by default, "C7" indicates a chord with a root, third, fifth, and seventh spelled C, E, G, and B

1767: 4002: 3929: 1357: 1750: 2235: 2191: 2147: 2103: 2063: 2023: 1981: 1912: 1615: 1422: 1137: 533: 494: 2320: 50:, such as this US Navy group, sing 4-part pieces, made up of a melody line (normally the lead) and 3 harmony parts. 4127: 3528: 3358: 2355: 1881: 1779: 1745: 259: 3235: 1103: 851: 142: 114: 3513: 874:, constructing the major and minor keys with each of the 12 notes as the tonic can be achieved using only flats 4197: 3889: 3673: 3074: 2018:

Powers, Harold S.; Widdess, Richard (2001). "India, §III, 2: Theory and practice of classical music: Rāga". In

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Powers, Harold S.; Widdess, Richard (2001). "Theory and practice of classical music: Melodic elaboration". In

2006:‎ and Catherine Schmidt Jones, 'Listening to Indian Classical Music', Connexions, (accessed 16 November 2007) 1501:"Harmony in Design: A Synthesis of Literature from Classical Philosophy, the Sciences, Economics, and Design" 3949: 3899: 3453: 3323: 302: 258:) musical traditions, although many cultures practice vertical harmony. In addition, South Asian art music ( 3879: 3829: 3586: 3288: 3154: 1276: 1208: 486: 282: 157: 2864:"Losing the Music: Aging Affects the Perception and Subcortical Neural Representation of Musical Harmony" 1340:

Individual characteristics such as age and musical experience also have an effect on harmony perception.

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structure of chords but also their ("horizontal") movement. Like music as a whole, harmony is a process.

3556: 4147: 3969: 3849: 3839: 3747: 3720: 3623: 3403: 3144: 2605: 2245: 2201: 2157: 2113: 2073: 2033: 1991: 1922: 1625: 1295:'s Bolero #5 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ. 878:

sharps to spell notes within said key, never both. This is often visualized as traveling around the

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seeks to understand and describe the relationships between melodic lines, often in the context of a

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A particular emphasis on harmony is one of the core concepts underlying the theory and practice of

3423: 1267:. The spectra of these intervals resemble that of a uniform tone. According to this definition, a 121:

pitch relationships are often described as sounding more pleasant, euphonious, and beautiful than

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a source of sustained tension – between the vertical and horizontal dimensions of musical space.

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pitch relationships, which can be conversely characterized as unpleasant, discordant, or rough.

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are found in abundance in jazz, late-romantic music, modern orchestral works, film music, etc.

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In the Western tradition, in music after the seventeenth century, harmony is manipulated using

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Close harmony and open harmony use close position and open position chords, respectively. See:

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Levin, Robert D. (2001). "The Classical period in Western art music: Instrumental music". In

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is the relationship between two separate musical pitches. For example, in the melody "

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Descriptions and definitions of harmony and harmonic practice often show bias towards

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Nettl, Bruno (2001). "Concepts and practices: Improvisation in musical cultures". In

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gradually became familiar and were therefore gradually perceived as more consonant.

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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

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because it has three members, not because it is necessarily built in thirds (see

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Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music

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Barker, Andrew (November 1978). "Music and perception: a study in Aristoxenus".

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The Concise Oxford Dictionary of English Etymology in English Language Reference

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create symmetrical harmonies, which have been extensively used by the composers

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Qureshi, Regula (2001). "India, §I, 2(ii): Music and musicians: Art music". In

4087: 3732: 3710: 3603: 3388: 3348: 3308: 3175: 3090: 2938: 2762: 2295: 1021:, which include particularly the 9th, 11th, and 13th Intervals—widely used in 887: 453: 150: 2946: 2889: 2825: 2786: 2778: 2763:"The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads" 2739: 2692: 2635: 2570: 2453: 2444: 1816: 3643: 3613: 3408: 3353: 3273: 3205: 1557: 514: 324: 2964: 2907: 2843: 2700: 2471: 2428:"The Role of the Auditory Brainstem in Processing Musically Relevant Pitch" 1575: 310:

techniques separates them from the higher-standing works that use notation.

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Ito, Tetsufumi; Bishop, Deborah C.; Oliver, Douglas L. (26 October 2015).

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Bidelman, Gavin M.; Gandour, Jackson T.; Krishnan, Ananthanarayan (2011).

2643: 3944: 3678: 3628: 3608: 3473: 2923:"Functional organization of the local circuit in the inferior colliculus" 1460: 1412: 1361: 544:—four scale notes, or seven chromatic notes (a perfect fifth), above it. 430: 226: 79: 2747: 2531: 2007: 1250:

A number of features contribute to the perception of a chord's harmony.

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intervals were calculated relative to a chosen root frequency, such as

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So, intricate pitch combinations that sound simultaneously do occur in

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Chan, Paul Yaozhu; Dong, Minghui; Li, Haizhou (29 September 2019).

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As can be seen, no note will always be the same scale degree. The

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Drawing both from music theoretical traditions and the field of

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Whittall, Arnold (2002). "Harmony". In Latham, Alison (ed.).

1768: 1734: 185: 176: 1189:), etc. (For a more complete exposition of nomenclature see 4035: 1801:. Translated by Macran, Henry Stewart. Georg Olms Verlag. 850:

When tuning notes using an equal temperament, such as the

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She Ji: The Journal of Design, Economics, and Innovation

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unchanged regardless of the nature of the performance.

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Music Cultures of the Pacific, the Near East, and Asia

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coinciding with one another; harmonic objects such as

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The Work of Art in the Age of Mechanical Reproduction

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Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990).

1125:, the simplest chords, contain only two members (see 184:, meaning "joint, agreement, concord", from the verb 1907:

Dahlhaus, Carl (2001). "Historical development". In

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is a mid-brain structure which is the first site of

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Compound Intervals are formed and named as follows:

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Chord Geometry – Graphical Analysis of Harmony Tool

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The Piano Encyclopedia's "Music Fundamentals eBook"

1059:The consonant intervals are considered the perfect 2665:Schellenberg, E. Glenn; Trehub, Sandra E. (1994). 1875: 1873: 1871: 1869: 1798:Harmonika Stoicheia (The Harmonics of Aristoxenus) 1953:Garland Encyclopedia of World Music vol. I Africa 2598:The Journal of the Acoustical Society of America 26:"Disharmony" redirects here. For the episode of 2274:Harmony and Composition: Basics to Intermediate 2241:The New Grove Dictionary of Music and Musicians 2197:The New Grove Dictionary of Music and Musicians 2153:The New Grove Dictionary of Music and Musicians 2109:The New Grove Dictionary of Music and Musicians 2098:Wegman, Rob C. (2001). "Western art music". In 2069:The New Grove Dictionary of Music and Musicians 2029:The New Grove Dictionary of Music and Musicians 1987:The New Grove Dictionary of Music and Musicians 1918:The New Grove Dictionary of Music and Musicians 1621:The New Grove Dictionary of Music and Musicians 1375: 307: 243: 218: 4051: 3075: 8: 3800:The Literary Mind and the Carving of Dragons 3014:Nettles, Barrie & Graf, Richard (1997). 2400: 2398: 1675:Sachs, Klaus-Jürgen; Dahlhaus, Carl (2001). 1499:Lomas, J. Derek; Xue, Haian (1 March 2022). 1147:chord (pronounced A-flat), the members are A 208:that the listener's ear determines harmony. 2985:, p. 141. Princeton University Press. 2487:Artificial Perception and Music Recognition 4058: 4044: 4036: 3082: 3068: 3060: 2983:Studies in the Origin of Harmonic Tonality 540:, the second two notes would be the pitch 233:) composition, common in the music of the 2954: 2897: 2879: 2833: 2682: 2625: 2594:"Tonal Consonance and Critical Bandwidth" 2461: 2443: 2268: 2266: 1565: 1516: 2862:Bones, O.; Plack, C. J. (4 March 2015). 2545:Langner, Gerald; Ochse, Michael (2006). 2348:"Music and the Making of Modern Science" 2296:"The 12 Golden notes is all it takes..." 920: 549: 3016:The Chord Scale Theory and Jazz Harmony 2485:Tanguiane (Tangian), Andranick (1993). 1685:10.1093/gmo/9781561592630.article.06690 1488: 1211:a dissonant chord (chord with tension) 1132:A chord with three members is called a 299:Grove Dictionary of Music and Musicians 145:in relation to the bass. The notion of 2857: 2855: 2853: 2421: 2419: 2417: 2408:, pp. 20–43 (accessed 10 March 2009) 2319:STEFANUK, MISHA V. (7 October 2010). 2230:Dahlhaus, Carl (2001). "Harmony". In 7: 2592:Plomp, R.; Levelt, W. J. M. (1965). 1610:Dahlhaus, Car (2001). "Harmony". In 1372:Consonance and dissonance in balance 547:The following are common intervals: 433:or tonal harmony well known today. 1328:) and the perfect fourth (fifth). 14: 2671:Psychonomic Bulletin & Review 1316:, the major seventh. For typical 285:– but they are rarely studied as 4161: 4018: 3041:Harmony, its Theory and Practice 2927:Anatomical Science International 2378:"Intervals | Music Appreciation" 1955:. New York and London: garland. 1446:Peter Westergaard's tonal theory 341:no. 1 in G, BWV 1007, bars 1–2. 334:Example of implied harmonies in 1832:The Journal of Hellenic Studies 2881:10.1523/jneurosci.3214-14.2015 2627:11858/00-001M-0000-0013-29B7-B 377:Close position C major triad. 1: 1883:The Oxford Companion to Music 1428:Mathematics of musical scales 1358:Frequency following responses 1354:binaural auditory integration 414:(1990) distinguishes between 396:Open position C major triad. 3930:Aestheticization of politics 2818:10.1016/j.neulet.2011.08.036 1344:Neural correlates of harmony 1207:Typically, in the classical 1112:, which are combinations of 193:, "(Ι) fit together, join". 156:Typically, in the classical 136:, chords are named by their 3003:. Oxford: Clarendon Press. 2426:Bidelman, Gavin M. (2013). 1886:. Oxford University Press. 1679:. Oxford University Press. 1518:10.1016/j.sheji.2022.01.001 1423:List of musical terminology 1138:Quartal and quintal harmony 534:Twinkle Twinkle Little Star 495:quartal and quintal harmony 305:) identifies this clearly: 4221: 4128:List of chord progressions 2761:Parncutt, Richard (2011). 2714:Parncutt, Richard (1988). 2563:10.1177/102986490601000109 1769: 1735: 1121:interval above the root.) 1097: 186: 177: 25: 18: 4203:Consonance and dissonance 4159: 4073: 3998: 2939:10.1007/s12565-015-0308-8 2382:courses.lumenlearning.com 1715:. Oxford Reference Online 1651:"Musical building blocks" 1588:Malm, William P. (1996). 1388:The Real Frank Zappa Book 1360:(FFRs) recorded from the 1277:major-minor seventh chord 1104:Consonance and dissonance 852:12-tone equal temperament 164:Etymology and definitions 2779:10.1525/mp.2011.28.4.333 2445:10.3389/fpsyg.2013.00264 2325:. Mel Bay Publications. 2272:Jamini, Deborah (2005). 2244:(2nd ed.). London: 2200:(2nd ed.). London: 2156:(2nd ed.). London: 2112:(2nd ed.). London: 2072:(2nd ed.). London: 2032:(2nd ed.). London: 1990:(2nd ed.). London: 1921:(2nd ed.). London: 1624:(2nd ed.). London: 21:Harmony (disambiguation) 3950:Evolutionary aesthetics 3900:The Aesthetic Dimension 2868:Journal of Neuroscience 2432:Frontiers in Psychology 2404:Schejtman, Rod (2008). 1751:A Greek–English Lexicon 906:is the root. The notes 303:Oxford University Press 4188:Concepts in aesthetics 3880:Avant-Garde and Kitsch 3830:Lectures on Aesthetics 2076:. India, §III, 3(ii). 1393: 1247: 1215:to a consonant chord. 1209:common practice period 493:of harmony consist of 487:Close and open harmony 408: 389: 365: 312: 283:Indian classical music 248: 223: 197:wrote a work entitled 158:common practice period 51: 4025:Philosophy portal 2410:PianoEncyclopedia.com 1742:Liddell, Henry George 1558:10.34133/2019/2369041 1237: 395: 376: 333: 225:The view that modern 46: 3970:Philosophy of design 3850:In Praise of Shadows 3840:The Critic as Artist 3044:(1889, revised 1903) 2997:van der Merwe, Peter 2806:Neuroscience Letters 2557:(1_suppl): 185–208. 2246:Macmillan Publishers 2202:Macmillan Publishers 2158:Macmillan Publishers 2114:Macmillan Publishers 2074:Macmillan Publishers 2034:Macmillan Publishers 1992:Macmillan Publishers 1951:Stone, Ruth (1998). 1923:Macmillan Publishers 1626:Macmillan Publishers 1324:), the major third ( 1279:fuses better than a 1271:fuses better than a 1090:7 in that example). 19:For other uses, see 3980:Philosophy of music 3955:Mathematical beauty 2610:1965ASAJ...38..548P 1350:inferior colliculus 1285:minor-minor seventh 1281:major-major seventh 1226:by Richard Wagner. 1051:7th + Octave = 14th 1048:6th + Octave = 13th 1045:5th + Octave = 12th 1042:4th + Octave = 11th 1039:3rd + Octave = 10th 424:Subordinate harmony 420:subordinate harmony 200:Elements of Harmony 48:Barbershop quartets 3975:Philosophy of film 3965:Patterns in nature 3935:Applied aesthetics 3910:Why Beauty Matters 3696:Life imitating art 3557:Art for art's sake 2684:10.3758/bf03200773 1442:(polyphonic chant) 1434:Musica universalis 1318:spectral envelopes 1248: 1223:Tristan und Isolde 1094:Chords and tension 1036:2nd + Octave = 9th 1019:compound intervals 899:within the scale. 435:Coordinate harmony 409: 390: 366: 143:dissonant interval 104:chord progressions 52: 4170: 4169: 4103:Chord progression 4033: 4032: 3985:Psychology of art 3860:Art as Experience 3018:. Advance Music, 2618:10.1121/1.1909741 2551:Musicae Scientiae 2496:978-3-540-57394-4 2358:on 2 October 2021 2332:978-1-60974-315-4 2322:Jazz Piano Chords 2294:Ghani, Nour Abd. 2255:978-1-56159-239-5 2215:978-1-56159-239-5 2171:978-1-56159-239-5 2127:978-1-56159-239-5 2083:978-1-56159-239-5 2043:978-1-56159-239-5 2001:978-1-56159-239-5 1936:978-1-56159-239-5 1893:978-0-19-957903-7 1635:978-1-56159-239-5 1418:Homophony (music) 1408:Chromatic mediant 1011: 1010: 892:diminished fourth 848: 847: 462:Arnold Schoenberg 446:tonalité ancienne 172:derives from the 4210: 4165: 4060: 4053: 4046: 4037: 4023: 4022: 4021: 3915: 3905: 3895: 3885: 3875: 3865: 3855: 3845: 3835: 3825: 3815: 3805: 3795: 3785: 3084: 3077: 3070: 3061: 2969: 2968: 2958: 2918: 2912: 2911: 2901: 2883: 2874:(9): 4071–4080. 2859: 2848: 2847: 2837: 2797: 2791: 2790: 2767:Music Perception 2758: 2752: 2751: 2732:10.2307/40285416 2720:Music Perception 2711: 2705: 2704: 2686: 2662: 2656: 2655: 2629: 2589: 2583: 2582: 2542: 2536: 2535: 2524:10.2307/40285634 2512:Music Perception 2507: 2501: 2500: 2482: 2476: 2475: 2465: 2447: 2423: 2412: 2402: 2393: 2392: 2390: 2388: 2374: 2368: 2367: 2365: 2363: 2354:. Archived from 2343: 2337: 2336: 2316: 2310: 2309: 2307: 2305: 2291: 2285: 2270: 2261: 2259: 2227: 2221: 2219: 2183: 2177: 2175: 2139: 2133: 2131: 2095: 2089: 2087: 2055: 2049: 2047: 2015: 2009: 2005: 1973: 1967: 1966: 1948: 1942: 1940: 1904: 1898: 1897: 1877: 1864: 1863: 1827: 1821: 1820: 1789: 1783: 1772: 1771: 1765: 1759: 1738: 1737: 1731: 1725: 1724: 1722: 1720: 1705: 1699: 1698: 1672: 1666: 1665: 1663: 1661: 1647: 1641: 1639: 1607: 1601: 1586: 1580: 1579: 1569: 1537: 1531: 1530: 1520: 1496: 1451:Physics of music 1391: 1188: 1187: 1182: 1181: 1176: 1175: 1158: 1157: 1152: 1151: 1146: 1145: 1089: 1088: 1004: 1003: 987: 986: 921: 880:circle of fifths 861:well temperament 844: 843: 833: 832: 817: 816: 806: 805: 790: 789: 777: 776: 769: 768: 758: 757: 745: 744: 729: 728: 718: 717: 710: 709: 697: 696: 675: 674: 662: 661: 654: 653: 643: 642: 627: 626: 614: 613: 606: 605: 595: 594: 582: 581: 550: 407: 406: 405: 403: 388: 387: 386: 384: 364: 363: 362: 360: 352: 351: 350: 348: 319:Historical rules 189: 188: 180: 179: 4220: 4219: 4213: 4212: 4211: 4209: 4208: 4207: 4198:Psychoacoustics 4173: 4172: 4171: 4166: 4157: 4113:Harmonic rhythm 4069: 4064: 4034: 4029: 4019: 4017: 3994: 3918: 3913: 3903: 3893: 3890:Critical Essays 3883: 3873: 3863: 3853: 3843: 3833: 3823: 3813: 3803: 3793: 3783: 3767: 3540: 3454:Ortega y Gasset 3247: 3159: 3093: 3088: 3051: 3036:Prout, Ebenezer 3032: 3030:Further reading 2978: 2973: 2972: 2920: 2919: 2915: 2861: 2860: 2851: 2799: 2798: 2794: 2760: 2759: 2755: 2713: 2712: 2708: 2664: 2663: 2659: 2591: 2590: 2586: 2544: 2543: 2539: 2509: 2508: 2504: 2497: 2484: 2483: 2479: 2425: 2424: 2415: 2403: 2396: 2386: 2384: 2376: 2375: 2371: 2361: 2359: 2345: 2344: 2340: 2333: 2318: 2317: 2313: 2303: 2301: 2293: 2292: 2288: 2271: 2264: 2256: 2229: 2228: 2224: 2216: 2185: 2184: 2180: 2172: 2141: 2140: 2136: 2128: 2097: 2096: 2092: 2084: 2057: 2056: 2052: 2044: 2017: 2016: 2012: 2002: 1975: 1974: 1970: 1963: 1950: 1949: 1945: 1937: 1906: 1905: 1901: 1894: 1879: 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2100:Sadie, Stanley 2090: 2082: 2060:Sadie, Stanley 2050: 2042: 2020:Sadie, Stanley 2010: 2000: 1978:Sadie, Stanley 1968: 1961: 1943: 1935: 1909:Sadie, Stanley 1899: 1892: 1865: 1844:10.2307/630189 1822: 1807: 1784: 1760: 1726: 1700: 1693: 1667: 1642: 1634: 1612:Sadie, Stanley 1602: 1581: 1532: 1487: 1486: 1484: 1481: 1479: 1476: 1474: 1473: 1468: 1463: 1458: 1453: 1448: 1443: 1437: 1430: 1425: 1420: 1415: 1410: 1405: 1399: 1397: 1394: 1380: 1373: 1370: 1345: 1342: 1333: 1330: 1300: 1297: 1255: 1252: 1231: 1228: 1095: 1092: 1053: 1052: 1049: 1046: 1043: 1040: 1037: 1009: 1008: 1005: 997: 994: 991: 988: 980: 977: 973: 972: 969: 966: 963: 960: 957: 954: 951: 947: 946: 943: 940: 937: 934: 931: 928: 925: 897:borrowed chord 872:diatonic scale 846: 845: 837: 834: 826: 822: 821: 818: 810: 807: 798: 797: 794: 791: 783: 779: 778: 770: 762: 759: 750: 749: 746: 738: 735: 731: 730: 722: 719: 711: 702: 701: 698: 690: 687: 683: 682: 679: 676: 668: 664: 663: 655: 647: 644: 635: 634: 631: 628: 620: 616: 615: 607: 599: 596: 587: 586: 583: 575: 572: 568: 567: 564: 559: 554: 525: 522: 509:, a technique 370: 367: 320: 317: 272:fifth interval 270:, a held open 264:Carnatic music 165: 162: 15: 13: 10: 9: 6: 4: 3: 2: 4216: 4215: 4204: 4201: 4199: 4196: 4194: 4191: 4189: 4186: 4184: 4181: 4180: 4178: 4164: 4154: 4153:Voice leading 4151: 4149: 4146: 4144: 4141: 4139: 4136: 4134: 4131: 4129: 4126: 4124: 4121: 4119: 4118:Harmonization 4116: 4114: 4111: 4109: 4106: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4078:Accompaniment 4076: 4075: 4072: 4068: 4061: 4056: 4054: 4049: 4047: 4042: 4041: 4038: 4026: 4016: 4014: 4011: 4009: 4006: 4004: 4001: 4000: 3997: 3991: 3990:Theory of art 3988: 3986: 3983: 3981: 3978: 3976: 3973: 3971: 3968: 3966: 3963: 3961: 3958: 3956: 3953: 3951: 3948: 3946: 3943: 3941: 3938: 3936: 3933: 3931: 3928: 3927: 3925: 3921: 3912: 3911: 3907: 3902: 3901: 3897: 3892: 3891: 3887: 3881: 3877: 3871: 3867: 3862: 3861: 3857: 3852: 3851: 3847: 3841: 3837: 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Bach's 235:Renaissance 214:A. Whittall 195:Aristoxenus 4177:Categories 4088:Banjo roll 3733:Recreation 3711:Perception 3604:Creativity 3304:Baumgarten 3294:Baudelaire 3176:Classicism 3091:Aesthetics 2276:, p. 147. 1808:3487405105 1478:References 1230:Perception 1153:, C, and E 888:enharmonic 870:Using the 515:monophonic 454:Alban Berg 416:coordinate 260:Hindustani 151:polyphonic 115:consonance 80:tonalities 4108:Four-part 3738:Reverence 3644:Eroticism 3614:Depiction 3587:Masculine 3489:Santayana 3449:Nietzsche 3394:Hutcheson 3384:Heidegger 3369:Greenberg 3324:Coleridge 3289:Balthasar 3274:Aristotle 3236:Theosophy 3231:Symbolism 3206:Modernism 3191:Formalism 2976:Citations 2947:1447-6959 2890:0270-6474 2826:0304-3940 2787:0730-7829 2740:0730-7829 2693:1069-9384 2636:0001-4966 2579:144133151 2571:1029-8649 2454:1664-1078 2387:2 October 2362:2 October 2304:2 October 2208:, §I, 2. 1860:161552153 1817:123175755 1774: in 1660:2 October 1655:ISM Trust 1592:, p. 15. 1527:247870504 1483:Footnotes 1362:mid-brain 1314:inversion 1299:Roughness 524:Intervals 325:plainsong 168:The term 123:dissonant 119:consonant 4143:Sequence 4013:Category 3945:Axiology 3814:(c. 500) 3804:(c. 100) 3679:Judgment 3634:Emotions 3629:Elegance 3609:Cuteness 3582:Feminine 3545:Concepts 3514:Tanizaki 3494:Schiller 3479:Richards 3469:Rancière 3439:Maritain 3374:Hanslick 3314:Benjamin 3186:Feminism 3155:Theology 3135:Medieval 3125:Japanese 3120:Internet 2999:(1989). 2965:26497006 2908:25740534 2844:21906656 2748:40285416 2701:24203470 2652:15852125 2532:40285634 2472:23717294 2299:Skytopia 2238:(eds.). 2194:(eds.). 2150:(eds.). 2106:(eds.). 2066:(eds.). 2026:(eds.). 1984:(eds.). 1915:(eds.). 1838:: 9–16. 1795:(1902). 1618:(eds.). 1576:32043080 1552:: 1–22. 1546:Research 1461:Tonality 1413:Harmonie 1396:See also 1381:— 1378:cheese. 1312:and its 1213:resolves 1186:♭ 1180:♯ 1174:♭ 1156:♭ 1150:♭ 1144:♭ 1087:♭ 1002:♯ 985:♯ 842:♯ 831:♯ 815:♭ 804:♭ 788:♯ 775:♭ 767:♭ 756:♭ 743:♭ 727:♯ 716:♯ 708:♯ 695:♭ 673:♯ 660:♭ 652:♭ 641:♭ 625:♯ 612:♭ 604:♭ 593:♭ 580:♭ 530:interval 507:doubling 439:Medieval 431:tonality 252:European 182:harmonia 76:textures 4183:Harmony 4093:Cadence 4067:Harmony 4008:Outline 3923:Related 3790:Poetics 3758:Tragedy 3748:Sublime 3721:Quality 3706:Mimesis 3664:Harmony 3649:Fashion 3624:Ecstasy 3619:Disgust 3535:more... 3504:Scruton 3429:Lyotard 3364:Goodman 3344:Deleuze 3279:Aquinas 3269:Alberti 3242:more... 3221:Realism 3201:Marxism 3181:Fascism 3164:Schools 3150:Science 3105:Ancient 2956:4846595 2899:4348197 2835:3196385 2644:5831012 2606:Bibcode 2463:3651994 2438:: 264. 2120:, §II. 1927:Harmony 1776:Liddell 1754:at the 1736:ἁρμονία 1567:7006947 1440:Organum 1308:is the 1118:tertian 1029:Music. 426:is the 256:Western 191:harmozō 178:ἁρμονία 170:harmony 130:popular 64:pitches 60:harmony 3914:(2009) 3904:(1977) 3894:(1946) 3884:(1939) 3874:(1935) 3864:(1934) 3854:(1933) 3844:(1891) 3834:(1835) 3824:(1757) 3691:Kitsch 3669:Humour 3599:Comedy 3577:Beauty 3519:Vasari 3509:Tagore 3484:Ruskin 3424:Lukács 3414:Langer 3359:Goethe 3284:Balázs 3264:Adorno 3145:Nature 3110:Africa 3022: 3007: 2989: 2963: 2953: 2945: 2906: 2896: 2888: 2842: 2832: 2824: 2785: 2746: 2738: 2699: 2691: 2650: 2642: 2634: 2577: 2569: 2530: 2493: 2470: 2460: 2452: 2329: 2280: 2252: 2212: 2168: 2124: 2080: 2040: 1998: 1959: 1933: 1929:, §3. 1890: 1858: 1852:630189 1850: 1815: 1805: 1770:ἁρμόζω 1691: 1632: 1596: 1574: 1564: 1525: 1275:and a 1261:octave 1110:chords 1073:fourth 1065:octave 1061:unison 566:Fifth 502:unison 468:, and 187:ἁρμόζω 91:, and 89:timbre 85:melody 72:chords 30:, see 4193:Sound 4138:Pitch 4098:Chord 4003:Index 3772:Works 3753:Taste 3743:Style 3524:Wilde 3464:Plato 3459:Pater 3419:Lipps 3379:Hegel 3349:Dewey 3339:Danto 3319:Burke 3140:Music 3115:India 3098:Areas 2744:JSTOR 2648:S2CID 2575:S2CID 2528:JSTOR 2352:Issuu 1856:S2CID 1848:JSTOR 1780:Scott 1523:S2CID 1293:Ravel 1244:cents 1134:triad 1123:Dyads 1116:. In 1069:fifth 1027:blues 1015:tonic 553:Root 369:Types 276:Ragas 268:drone 227:tonal 174:Greek 68:tones 56:music 34:Angel 28:Angel 4133:Note 3727:Rasa 3685:Kama 3659:Gaze 3594:Camp 3474:Rand 3409:Klee 3399:Kant 3389:Hume 3309:Bell 3020:ISBN 3005:ISBN 2987:ISBN 2961:PMID 2943:ISSN 2904:PMID 2886:ISSN 2840:PMID 2822:ISSN 2783:ISSN 2736:ISSN 2697:PMID 2689:ISSN 2640:PMID 2632:ISSN 2567:ISSN 2491:ISBN 2468:PMID 2450:ISSN 2389:2021 2364:2021 2327:ISBN 2306:2021 2278:ISBN 2250:ISBN 2210:ISBN 2166:ISBN 2122:ISBN 2078:ISBN 2038:ISBN 1996:ISBN 1957:ISBN 1931:ISBN 1888:ISBN 1813:OCLC 1803:ISBN 1778:and 1721:2007 1689:ISBN 1662:2021 1630:ISBN 1594:ISBN 1572:PMID 1550:2019 1348:The 1263:and 1102:and 1025:and 1023:jazz 910:and 859:and 485:and 441:and 418:and 402:Play 383:Play 347:Play 262:and 254:(or 138:root 132:and 93:form 78:and 3654:Fun 3434:Man 3354:Fry 2951:PMC 2935:doi 2894:PMC 2876:doi 2830:PMC 2814:doi 2810:503 2775:doi 2728:doi 2679:doi 2622:hdl 2614:doi 2559:doi 2520:doi 2458:PMC 2440:doi 1840:doi 1681:doi 1562:PMC 1554:doi 1513:doi 1283:or 1193:.) 1183:, B 1167:". 1129:). 945:8° 942:7° 939:6° 936:5° 933:4° 930:3° 927:2° 924:1° 865:and 528:An 472:'s 353:or 128:In 66:or 54:In 4179:: 3882:" 3872:" 3842:" 3038:, 2959:. 2949:. 2941:. 2931:91 2929:. 2925:. 2902:. 2892:. 2884:. 2872:35 2870:. 2866:. 2852:^ 2838:. 2828:. 2820:. 2808:. 2804:. 2781:. 2771:28 2769:. 2765:. 2742:. 2734:. 2722:. 2718:. 2695:. 2687:. 2673:. 2669:. 2646:. 2638:. 2630:. 2620:. 2612:. 2602:38 2600:. 2596:. 2573:. 2565:. 2555:10 2553:. 2549:. 2526:. 2516:11 2514:. 2466:. 2456:. 2448:. 2434:. 2430:. 2416:^ 2397:^ 2380:. 2350:. 2265:^ 2248:. 2234:; 2204:. 2190:; 2160:. 2146:; 2116:. 2102:; 2062:; 2036:. 2022:; 1994:. 1980:; 1925:. 1911:; 1868:^ 1854:. 1846:. 1836:98 1834:. 1811:. 1748:; 1744:; 1740:. 1711:. 1687:. 1653:. 1628:. 1614:; 1570:. 1560:. 1548:. 1544:. 1521:. 1507:. 1503:. 1491:^ 1386:, 1159:. 1071:, 1067:, 1063:, 1007:D 996:B 993:A 990:G 979:E 976:D 971:C 968:B 965:A 962:G 959:F 956:E 953:D 950:C 876:or 836:D 825:B 820:F 809:D 796:E 793:C 782:A 761:C 748:D 737:B 734:G 721:A 700:C 689:A 686:F 681:B 678:G 667:E 646:G 633:A 630:F 619:D 598:F 585:G 574:E 571:C 520:. 500:A 497:. 489:. 478:. 464:, 460:, 456:, 422:. 241:: 216:: 95:. 87:, 74:, 58:, 4059:e 4052:t 4045:v 3878:" 3868:" 3838:" 3083:e 3076:t 3069:v 3011:. 2993:. 2967:. 2937:: 2910:. 2878:: 2846:. 2816:: 2789:. 2777:: 2750:. 2730:: 2724:6 2703:. 2681:: 2675:1 2654:. 2624:: 2616:: 2608:: 2581:. 2561:: 2534:. 2522:: 2499:. 2474:. 2442:: 2436:4 2391:. 2366:. 2335:. 2308:. 2284:. 2260:‎ 2258:. 2220:‎ 2218:. 2176:‎ 2174:. 2132:‎ 2130:. 2088:‎ 2086:. 2048:‎ 2046:. 2004:. 1965:. 1941:‎ 1939:. 1896:. 1862:. 1842:: 1819:. 1782:. 1758:. 1723:. 1697:. 1683:: 1664:. 1640:‎ 1638:. 1578:. 1556:: 1529:. 1515:: 1509:8 999:C 982:F 912:G 908:E 904:C 839:F 828:D 812:D 801:B 785:C 772:E 764:C 753:A 740:B 724:C 713:A 705:F 692:A 670:G 657:B 649:G 638:E 622:F 609:A 601:F 590:D 577:E 542:G 538:C 301:( 38:. 36:) 23:.

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