emancipation of the dissonance


  • [6] Just as the harmonic series was and is used as a justification for consonance, such as by Rameau, among others,[citation needed] the harmonic series is often used as physical
    or psychoacoustic justification for the gradual emancipation of intervals and chords found further and further up the harmonic series over time, such as is argued by Henry Cowell in defense of his tone clusters.

  • The musicologist Jim Samson describes: As the ear becomes acclimatized to a sonority within a particular context, the sonority will gradually become ’emancipated’ from that
    context and seek a new one.

  • [5] Rudhyar gave the subtitle “A New Principle of Musical and Social Organization” to his book Dissonant Harmony, writing, “Dissonant music is thus the music of true and spiritual
    Democracy; the music of universal brotherhoods; music of Free Souls, not of personalities.

  • [citation needed] The musicologist Jacques Chailley,[7] cited by Jean-Jacques Nattiez,[8] gives the following diagram, a specific timeline he proposes: A 1996 book by Thomas
    J. Harrison, 1910, the Emancipation of Dissonance, uses Schoenberg’s “revolution” to trace other movements in the arts around that time.

  • Michael Broyles calls Ives’ tone-cluster-rich song “Majority” as “an incantation, a mystical statement of belief in the masses or the people”.

  • We are something apart, yet an integral part”.


Works Cited

[‘1. Schoenberg 1975, pp. 258–264.
2. ^ Samson 1977, pp. 146–147.
3. ^ Broyles 1996, p. 125.
4. ^ Ellington 1993, p. 150.
5. ^ Harrison 1946, p. 8.
6. ^ Rudhyar 1928, pp. 10–11.
7. ^ Chailley 1951, p. 12.
8. ^ Nattiez 1990.
9. ^ Cooper
1973, pp. 6–7.
2. Broyles, Michael. 1996. “Charles Ives and the American Democratic Tradition”, in Charles Ives and His World, ed. J. Peter Burkholder. Princeton, N.J.: Princeton University Press.
3. Chailley, Jacques. 1951. Traité historique
d’analyse musicale. Paris: Leduc.
4. Cooper, Paul. 1973. Perspectives in Music Theory: An Historical-Analytical Approach. New York: Dodd, Mead. ISBN 0-396-06752-2.
5. Ellington, Duke 1993. “Interview in Los Angeles: On Jump for Joy, Opera, and
Dissonance as a ‘Way of Life,'” reprinted in The Duke Ellington Reader, ed. Mark Tucker, 150. New York: Oxford University Press.
6. Harrison, Lou. 1946. About Carl Ruggles. Yonkers, N.Y.: Oscar Baradinsky at the Alicat Bookshop.
7. Nattiez,
Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologie, 1987). Translated by Carolyn Abbate. ISBN 0-691-02714-5.
8. Rudhyar, Dane. 1928. Dissonant Harmony: A New Principle of Musical and Social Organization.
Carmel, California: Hamsa Publications.
9. Samson, Jim. 1977. Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920. New York: W.W. Norton & Company. ISBN 0-393-02193-9.
10. Schoenberg, Arnold. 1975. Style and Idea: Selected
Writings of Arnold Schoenberg. Edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 0-520-05294-3. Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin.
The volume carries the note “Several of the essays … were originally written in German (translated by Dika Newlin)” in both editions.
Photo credit: https://www.flickr.com/photos/erix/13471273823/’]