Conceptual dissonance
Considers dissonance (also Scheinkonsonanz ) is called in harmony
- all harmonies ( intervals or chords ) that contain only consonances , but are perceived as dissonances due to their musical context (e.g. the fourth as a lead before the third ; the sixth as a lead before the fifth ; the fourth chord as a lead before a Third quint chord ).
- all sounds that are confused enharmonically with consonants identical, but are intended as dissonances in the musical context. So is z. B. the interval c-d flat in the enharmonic confusion c-es has a consonance (minor third), but due to its musical context a dissonance (excessive second), which z. B. must resolve into the major third ce or b-dis .
The term conceptual dissonance was coined in 1907 by Rudolf Louis and Ludwig Thuille . The phrases " consonnant en apparence " or " consonnant apparent " already encounter in Traité d'harmonie of Charles Simon Catel (1802). The term pseudo-consonance comes from Hugo Riemann and plays an important role in his functional theory .
example
Carl Reinecke : Ave Maria (In: A new music book for little people. 30 easy piano pieces op. 107), beginning:
Since the g in the third measure of this example functions as a lead to the fifth f of the major triad b – d – f , according to Louis / Thuille the sixth chord at this point should be viewed as a dissonance of understanding and not as an inversion of the minor triad g – b – d .
Sources (chronological)
- Charles-Simon Catel: Traité d'harmonie . Imprimerie du Conservatoire, Paris 1802.
- Hugo Riemann: Simplified harmony theory or the theory of the tonal functions of chords . 1893. 2nd edition: Augener, London 1903; imslp.org .
- Rudolf Louis, Ludwig Thuille: Harmony . Klett & Hartmann, Stuttgart 1907. 7th edition: 1920; archive.org .