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[0.1] In Schumann's Kreisleriana, I actually hear no note, no theme, no contour, no grammar, no meaning, nothing which would permit me to reconstruct an intelligible structure of the work. No, what I ...
Much of Beethoven’s music—especially that of the late period—demands that the performer follow interpretive markings that seem to be musically counterintuitive. Conflict between the competing desires ...
Mashinter’s (2006) mathematical model of sensory dissonance neglects the dependence of roughness on waveform, the role of masking, the distribution of roughness across critical bands, the possible p...
The commentary asserts the importance of conducting additional research on additive dissonance, and points to the need for terminological precision in discussions of sensory versus systemic (i.e. le...
The phenomena of consonance and dissonance are thought to involve both learned and innate components. Work by Greenwood (1961) and Plomp and Levelt (1965) established that an aspect of dissonance pe...
This paper considers some of the issues involved in the analysis of rhythm and meter in electronic dance music. It begins by considering metrical dissonance and ambiguity within the context of a layer...
This article considers recent books on twentieth-century music by Lester (1989), Kostka (1990), Straus (1990), and Morgan (1991) and their exclusion of women composers' scores. Three hypotheses for th...

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