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Why Dissonant Music Sounds 'Wrong'
ananyo writes "Many people dislike the clashing dissonances of modernist composers such as Arnold Schoenberg. But what's our problem with dissonance? There has long been thought to be a physiological reason why at least some kinds of dissonance sound jarring. Two tones close in frequency interfere to produce 'beating': what we hear is just a single tone rising and falling in loudness. If the difference in frequency is within a certain range, rapid beats create a rattling sound called roughness. An aversion to roughness has seemed consistent with the common dislike of intervals such as minor seconds. Yet when cognitive neuroscientist Marion Cousineau of the University of Montreal in Quebec and her colleagues asked amusic subjects (who cannot distinguish between different musical tones) to rate the pleasantness of a whole series of intervals, they showed no distinctions between any of the intervals but disliked beating as much as people with normal hearing. Instead the researchers propose that harmonicity is the key (abstract). Notes contain many overtones — frequencies that are whole-number multiples of the basic frequency in the note. For consonant 'pleasant sounding' intervals the overtones of the two notes tend to coincide as whole-number multiples, whereas for dissonant intervals this is no longer the case. The work suggests that harmonicity is more important than beating for dissonance aversion in normal hearers."
in b4 Fourier
Or it's just two and a half millenia of enculturation for the heirs of Greek culture, Europe, North Africa, and the Middle East. Yet another attempt by folks who assume their music is the music that nature itself demands to find a universal in the brain. They should take a world music class first to realize that what sounds great to one group of people sounds shit to another. I think, for example, of Gamelan tunings which are not harmonious in the sense of the overtones lining up, but sure sound right to folks in Indonesia. Or some ancient Japanese gagaku.
Why knock Schoenberg? It's pretty tame stuff anyway. Beautiful though.
Also -- the equally tempered scale is not at all harmonious. It's based on a equal division of the octave, which does not occur in the harmonic series. Far from it. Play a fifth on a piano -- it will be off by a substantial margin instead of being a harmonious 3:2 ration. But, since we are used to it, it still sounds pretty great. (Although I do prefer meantone tunings for a lot of music, they just can't play in many keys) It's a problem that the ancients knew about though. We call the disjunction between a stack of 12 fifths (at which point we are back to the starting note) a pythagorean comma after all... (256:242 -- quite a significant difference) That to say, in some sort of pure natural harmoniousness, all Western music fails, because it involves playing multiple notes at the same time (since the 8th-9th century when theories began to develop, notably in the scholica enchiriadis). Nature doesn't like that, because the harmonic series will clash, even on the second best interval, the fifth (3:2)
Note to all geeks -- tuning theory is very cool. It tracks the history of mathematics too.
Schoenberg is relevant because he championed an opposing theory of dissonance. He claimed that people don't like dissonance because they are not used to it. If they heard it more, they would get used to it and like it (and thus, would also like his music).
Over the last century, we have found he is right, as more and more music is dissonant enough to horribly irritate people of a hundred years ago (think heavy metal or a lot of Jazz music). As a result it is very likely people didn't like his music because it's boring (not because of dissonance), a theory I fully subscribe to.
"First they came for the slanderers and i said nothing."
So does cutting. Your point?
Actually, he was only about half right. Used tastefully and in moderation, dissonance can create mood in ways that consonance cannot easily match. As with nearly all of the musical techniques that he argued were historically dissonant (with the exception of basic polyphony), however, used in excess, it sounds like crap.
IMO, the key to the tasteful use of dissonance is to make sure that the dissonance is not the focus. On the one extreme, you might have the subtle use of dissonant suspension and release in secondary parts of a complex orchestral work to set the mood. On the other extreme, you might have a highly dissonant piece of music used as the background sound behind a Civil War battle. In both cases, the listener is focused on something else, whether that something else is a traditional melodic line or a bunch of people shooting each other in a horrible, bloody battle.
Incidentally, most folks (statistically) don't like heavy metal, highly dissonant jazz, bebop, etc. even to this day. Those genres and subgenres all serve a useful purpose when it comes to expanding the musical universe, and over time, those experimental ideas will get incorporated into more mainstream music in much more subtle and toned-down ways, but that doesn't mean that most people will ever find the experimental music itself enjoyable to listen to.
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I'm a musician. What used to be considered dissonant in the past is acceptable and even pleasant today to our ears. Try playing jazz to a medieval musician. And there are musical systems based on notes not present in the Western 12-note scale (e.g. Indian music, the 'blues' note). Culture plays a big part in our perception of music. Also, a minor second by itself sounds bad, but in the presence of more notes it sounds wonderful, for example a major 7th chord. It's all in the context. So what's the point?
The first step towards getting better is admitting you have a problem.
Check out my sci-fi/humor trilogy at PatriotsBooks.
There's one part I find has some interest and the rest just sound like he's noodling idly while watching TV. My tracks aren't numbered properly so not sure which one it is. I wouldn't classify it as dissonant, though, not in the same sense as Schoenberg.
Musical taste is a moving target. Dissonance has somewhat been absorbed into our collective musical vocabulary. Witness the 'stab-scene' music from Psycho. We accept it has it's place and the mood it invokes, however audiences literally walked out of the initial microtonal performances.
Did you listen to Verklaerte Nacht (Transfigured Night)? It's one of his best known pieces and it's not the most dissonant or atonal (not the same thing). It probably requires some getting used to, stretching the limits of what you listen to, to appreciate it.
Stravinsky's "Rite of Spring" was so jarring to the audience when it was first played that they rioted. Now it is a staple of symphony programs, though still a challenge to play.
...the future crusty old bastards are already drinking the Kool-Aid.
it has a good beat, and it's easy to dance to (not).
Various tonalities are associated with the specific emotions that we find either enjoyable or displeasureable, and music provokes these emotions involuntarily.
As described in the summary, clashing tones create a vibration or beating (this is empirically known by anyone who tunes musical instruments by ear) and cause a sense of disresolution and unrest.
Yeah, a lot of modern music is just random, manufactured crap, but truely talented artists select their musical tones, both deliberately and subconsciously, to tie in very closely with the lyrics (if applicable) and the emotions they intent to provoke.
There are a number of problems with the study as presented in the abstract. But, I bet you didn't study amusia and how studying them may tease out additional information. That part is new, at least to me. Too bad you chose the "heard it before" line instead of pointing out obvious failures of the abstract.
People with amusia had no preference on the notes, and no "preference for harmonic over inharmonic tones". But they didn't appreciate the "beating" which is more predominant in dissonant notes.
If these are all true, they should have had some sense of the beating in the dissonance, and been able to at least detect with accuracy greater than chance dissonant notes. Or maybe the idea that beating and dissonance are related is incorrect.
And if there was no preference for harmonic tones with amusia, the study cannot exclude beating while including harmonicity as a foundation of musical preference. Being incapable of detecting both doesn't give any clue as to which is more important.
They have fallen back on the old psycho-acoustical models since the study failed to show anything at all. I didn't read they study, but if it shows something else, I'd dismiss the person who wrote the abstract. If anything, I would have concluded that beating is not the foundation of dissonance.
After all, a minor second can sound perfectly lovely as part of a Major 7th chord. I am thinking it has something to do with context, and I see no mention of context here. The entire reason for mentioning Schoenberg is that he wanted to take away the context that we relied on, and make us listen to the notes and the rhythms. A chord is no longer a chord, and it serves no function in a key, because there is no key. No leading tone, no major or minor, no context.
Given a lack of context, some people can enjoy the dissonance of Schoenberg because they expect a lack of context. Given context, the same sounds can be very jarring, even when heard by people who appreciate Schoenberg.
I agree it's horseshit, but at least I explained why.
It's perhaps not obvious but there is no such thing as perfect consonance in music:
- Tone C3 is an exact second harmonic of C2 and a fourth harmonic of C1. That's why the sound so nice together.
- Tone G2 is a third harmonic of C1, but (surprise) not an exact one. That's because if you take 13 third harmonics (C G D A E B F# C# G# D# A# F C') you are supposed to arrive at the same tone. But you don't, there is a slight frequency offset. In practice, this offset is distributed among all 13 intervals so we are generally unable to notice it.
- The fifth harmonic tone (C1 -> E3') is also inexact. It is fairly close to the sound (here E) obtained from the scale above but again there is a slight frequency offset.
- The sixth harmonic (C1 -> G3) is 2*3 times the fundamental frequency, so is as (in)exact as the third harmonic.
- The seventh harmonic (C1 -> ~A#3, noticeably lower) is not on the (twelve tone) scale but it still sounds nice.
- The eight harmonic is exact (2*2*2, C1 -> C4). And so on...
The twelve tone scale is a rather clever invention, it manages to approximate a rather large number of harmonics with a small number of tones. But it is still only an approximation - a perfect consonance can only be obtained for octaves.
It's funny, because I've always thought of Satie's use of the occasional dissonant notes as what makes the music "human". Check his Danses de Travers (http://www.youtube.com/watch?v=9x6nuiNN3JI) at 0:38, 0:52, 1:02, and so on and so forth... the dissonant elements are what breathe real life into an already impeccably beautiful piece.
(Disclaimer: I know nothing of music theory but know a lot of music.)
It's not about music taste. "Zero Tolerance For Silence" speaks for itself by the title alone. You can describe it as a direct rebuttal of John Cage's 4â33â - and possibly evidence that Cage did not suffer tinnitus, and Metheny to some extent does. But that last bit is only as an example of what one might learn.
I have "Secret Story" (1992) among others. To know that he did this just 2 years later is just mind-boggling. When a coworker plays Pat Metheny, I don't know what song or album it is, or if he's a guest on someone else's recording, like with Anna Maria Jopek. I can instantly recognize the sound. Through headphones, which are tinny, or an iPhone played at low volume.
He had a certain mindset when recording this, especially since it is overdubbed so he had to do multiple takes. If he heard something on the first track he didn't like, he would have overdubbed. But he didn't.
To watch Metheny improvise is like watching a Rembrandt being painted, if you know about jazz. To some, maybe Van Gogh, to others maybe Dali is more appropriate. In the context of his career, this is like watching Rembrandt invent pointillism, and then abandon it. Even his characteristic sound isn't there. It is much like he decided to take something and dissect it, live, with everyone allowed to watch.
Certainly it is not the same as Schoenberg, since Schoenberg allowed an element of restriction into his music. In fact, if you take Schoenberg's idea of the tone-row, this is completely the opposite. I have not analyzed it to be sure, but I don't sense the rigor of that limiting factor.
Pat Metheny was playing to something he heard, or felt, as an affront to silence. You can appreciate it for what it is, without musical taste being involved. As a statement against silence, it certainly doesn't specify what it is for
Most heavy metal is regular chords and melodies, played fast and hard on distorted guitars, with thrumming bass lines and staccato drums.
No dissonances there, strictly speaking.
No sig for the moment.
And then on the flip side of dissonance, you have Charles Ives, whose music often has a tonal center. In fact, quite often, it has three or four.
And sometimes none. For example, see (well, hear) several of his piano studies.
I don't think you could describe Ives' music as the "flip side" of dissonance. A good deal of his music could in fact be considered dissonant, but just in a different way than the music of Schoenberg. (BTW, I greatly admire the music of both men.)
Obligatory Ives quote:
Beauty in music is too often confused with something that lets the ears lie back in an easy chair.
- Charles Ives
If it weren't for deadlines, nothing would be late.
Strangely enough, I'm reading Schoenberg's Theory of Harmony right now. I recommend the opening chapter to everyone interested in this topic, because it's one of the most well-written rants in all of music theory.
What Schoenberg opposed was the idea, which he claimed to be prevalent among music theorists in the late 19th and early 20th century, that we could discover "laws of beauty" which could be applied to make beautiful art. Schoenberg argued that when you propose "rules" of making art (be it writing, drawing or music composition), those "rules" tend to be mostly exceptions. Moreover, these "rules" are almost always proposed by theorists, not art creators.
Now he may have been right about this view being common in the music theory community at the time. Today, we know better.
For a start, we now understand the role of culture.
We can only imagine what Palestrina sounded like to people brought up on Gregorian chant. Today, it still sounds beautiful, but it also sounds very old. We can't imagine what was in the minds of the people who rioted at the premiere of The Rite of Spring. Hell, most of us can't even imagine what the big deal was about Elvis Presley! Why did anyone think that old music was shocking and an affront to civilization?
And, of course, music theorists discovered traditions other than the European one, which sound odd to us, but normal to someone brought up in India or China or Indonesia or wherever the music comes from.
Secondly, we now understand that music theory, and the "rules" therein, are descriptive, not prescriptive. They are a language for understanding and talking about music in the tradition of the European common practice era.
In that sense, it's like category theory in mathematics or design patterns in software engineering. they're not recipes on how to write programs or do maths, they are a vocabulary for understanding, reasoning about and talking about programs or mathematical structure.
Schoenberg was a pioneer. Like all pioneers, he was wrong about quite a lot. But he did have a very good point to make, which in the modern context is moot.
Incidentally, in his book on counterpoint, Schoenberg also railed against modal tonality, judging it to be a poor imitation of the modern major and minor keys. If you haven't yet had your recommended daily intake of irony, you're welcome.
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I've read various explanations for Zero Tolerance. The difficulty is that it is radically different from his body of work both before and after, even his attempts at free jazz. Possibly it makes sense in the reactionary theory of music but I don't think that's what he was trying to achieve. The problem is that, as a piece of music, it doesn't stand alone from it's artist's statement, much like a simple black square on a white canvas. I feel bad for saying it but it barely works as entertainment and only has interest because of Metheny's stature.
While he had a high concept in mind when producing it I think it is too personal or individual to express to listeners. This is in contrast to Schoenberg where the outworkings of his radical theory were apparent. Perhaps Zero Tolerance requires recreating Metheny's mood at the time to understand it. Unfortunately most of my listening is done at work where there is little mental silence. I should try once again at home.
I've been fortunate enough to see Metheny play once. If I could somehow see Jim Hall I could die happy :)
Strangely enough, I'm reading Schoenberg's Theory of Harmony right now. I recommend the opening chapter to everyone interested in this topic, because it's one of the most well-written rants in all of music theory.
What Schoenberg opposed was the idea, which he claimed to be prevalent among music theorists in the late 19th and early 20th century, that we could discover "laws of beauty" which could be applied to make beautiful art.
Well, yes and no. Schoenberg certainly admits that certain intervals are more pleasing than others, and that perception was based on how closely they conform to the harmonic series. (Which, to stay on-topic, happens to be exactly what the researchers in this study contend). Schoenberg's argument was that "consonant" and "dissonant" tones are not opposites, as the words imply, but differ only by a matter of degree--how far out the series you go.
We can't imagine what was in the minds of the people who rioted at the premiere of The Rite of Spring.
Most reports, other than Stravinsky's self-aggrandizing story, point to the choreography, not the music, being the target of derision. For most of the performance, the audience couldn't even hear the music!
...we now understand that music theory, and the "rules" therein, are descriptive, not prescriptive. They are a language for understanding and talking about music in the tradition of the European common practice era.
I think no one understood that better (at the time) than Schoenberg, who wrote the Theory of Harmony from his own observation and not as a compilation of rules that he had been taught.
In that sense, it's like category theory in mathematics or design patterns in software engineering. they're not recipes on how to write programs or do maths, they are a vocabulary for understanding, reasoning about and talking about programs or mathematical structure.
And that is why we still read Theory of Harmony, today. It is important to note that Schoenberg did not turn against modal tonality until later.
It probably requires some getting used to, stretching the limits of what you listen to, to appreciate it.
Alternatively, you could just listen to stuff you like. It seems kind of backwards to go through effort just to make yourself like something, and then spend the time liking it with your new preferences?
If you're going to modify your preferences at all, why not modify them in a way that's actually useful, like making chores more enjoyable or something.
What would you think of someone who played World of Warcraft and decided he didn't like it, but make sure to play to level 20 anyway, just to make sure he got the full experience? Same idea.
Information theory is life. The rest is just the KL divergence.
As I understand it (from 'reading' the article very quickly), they are inching closer to knowing (scientifically, that is) *what* it is with unpleasant sounds that is unpleasant, not really why that is the case.
My best guess so far, having done several seconds of research into the matter, is that these sounds are commonly associated with 'alarm sounds' - things breaking, distress calls etc. Things that should make you afraid and run away from danger.
Harmonious sounds normally require things like voice control - they require a more relaxed environment, thus they are learned to be soothing.
your comment is wrong in too many levels. It's like deciding that you don't like sport because the first day you have pain in your muscles. Or like dumping a girl because the first time you dance with her is a dissaster Or never trying wine because coke tastes so much better... Most of the good things in life need getting used to them before enjoying. That's part of what makes us grow. But true: this is slashdot, you need to use a WOW analogy... why not a car one instead?: Automatic cars are better because manual ones are harder?
There's nothing wrong with your view, and it is one that the younger me would have endorsed, but it turns out that the range of music I like keeps on growing, without any effort on my part, and without making myself suffer through music that I am not enjoying. My collection of recorded music goes largely unplayed these days, as I often find it more satisfying to listen to something I have never heard before.