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Article: Applying psychoacoustics in composition: "harmonic" progressions of "nonharmonic" sonorities.
- Article from:
- Perspectives of New Music
- Article date:
- June 22, 1994
- Author:
CopyrightCOPYRIGHT 1994 Perspectives of New Music. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)
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INTRODUCTION
DURING THE LAST TWO DECADES, a psychoacoustic theory of pitch, consonance, and harmony has been developed by Ernst Terhardt and his colleagues at the Institute of Electroacoustics, Technical University of Munich. Applications of the model in music theory (Terhardt 1974a and 1976) include estimation of the perceptual importance (salience) of specific pitches in musical chords (Terhardt, Stoll, and Seewann 1982) and estimation of the strength of the harmonic relationship perceived between successive pairs of tones or chords (Parncutt 1989 and 1993).
Terhardt's model, as formulated and extended by Parncutt, would appear to have considerable ...
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