A Research Review on Perception of Consonance and Dissonance

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  • Yamamoto Yukiko
    SOKENDAI (The Graduate University for Advanced Studies)
  • Nishina Emi
    SOKENDAI (The Graduate University for Advanced Studies) The Open University of Japan
  • Ohnishi Hitoshi
    SOKENDAI (The Graduate University for Advanced Studies) The Open University of Japan

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Other Title
  • 協和感研究の動向と課題
  • 協和感研究の動向と課題 : 聴覚的協和感を中心として
  • キョウワカン ケンキュウ ノ ドウコウ ト カダイ : チョウカクテキ キョウワカン オ チュウシン ト シテ
  • －聴覚的協和感を中心として－
  • —As a Focus on Sensory Consonance—

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Description

In musicology consonance is defined as the state where two or more tones simultane-<br>ously presented sound pleasantly. Sensory consonance, which is perceived from tones<br> isolated from a musical context, is largely independent of listener’s cultural background<br> and musical experience. Several studies revealed that infants prefer consonant tones<br> to dissonant tones and that nonhuman animals discriminate between consonant and<br> dissonant tones. Since Helmholtz introduced the concept of sensory consonance in the<br> 19th century, sensory consonance has been studied actively. In the 1960s models became<br> able to estimate the perceived consonance of complex tones from the physical properties<br> of the tones. However, sensory consonance still contains a number of problems to be<br> solved and has been studied by multiple approaches. This paper reviews the advances<br> and issues in studies on consonance, especially sensory consonance.

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