A History of 'Consonance' and 'Dissonance' by J. Tenney

By J. Tenney

First released in 1988. Routledge is an imprint of Taylor & Francis, an informa corporation.

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12. Morley, op. , p. 141. 13. Jean-Phiippe Rameau, Treatise on Harmony (1722), translated by Philip Gossett (New York: Dover, 1971), p. xli. 14. , p. xlii. 15. James W. , Indiana University, 1964), p. 25. 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.

P. 40. 66. Zarlino, op. , pp. 182-3. 67. Morlev. on. , P. 222. - , s. 69. , and Joel Lester, op. cir. 70. T. Arnold, The Art of Accompaniment from a 7horough-Bass (London: Oxford Universjty Press, 1931; reprint, New York: Dover, 1965, in two volumes), pp. 4 2 4 3 0'01. r). 7 1 . , p. 426, and in Amold, 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. Amold, op. , pp. 127-8. 77. Gasparini, op. , p.

Wory, Vol. 4 (1960), pp. 131-152. 49. Oliver Strunk, Essays on Music in the Western World (New York: Norton, 1974), DD. 70-78. 50. Zarlino, op. , pp. 186-88. 51. Benito V. Rivera, "The Isogoge of Johannes Avianius: An Early Formulation of Triadic Thwry," Journal of Music neory, Vol. 22 (1978), pp. 43-64. 52. Francesco Gasparini, ZXe Practical Hannonist at the Harpsichord, translated by Frank S. Stillings, edited by David L. Burrows (New Haven and London: Yale Univer- .. sity Press, 1968). ~ to Johann David Heinichen 53.

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