摘要：Background in music theory. Consonance and dissonance (C/D)has been central to music theory since ancient Greece. It refers to both vertical and horizontal relationships in the musical score. On longer time scales, it refers to local and global relationships. Modern thinking about C/D has been influenced by theorists such as Pythagoras, Fux, Rameau, Riemann, Schenker and Schoenberg. Tenney (1988) gave a historical overview of C/D concepts in different periods, summarizing the contribution of culture (stylistic familiarity) and changing beliefs about the role of nature.Background in music psychology.The consonance of a sonority depends on its spectral harmonicity (cf. Stumpf, 1883), temporal smoothness (Helmholtz, 1863), and cultural familiarity (Cazden, 1945). The consonance of successive sonorities depends on their pitch commonality and proximity (Parncutt, 1989); of a tonal passage, on its perceived structure (Krumhansl, 1990). Many aspects of C/D are ultimately based on the learning and recognition of familiar pitch patterns in speech and music (Terhardt, 1974) and involve both sides of the nature/culture dichotomy.Aim.We develop a new conceptual structure for Western C/D that brings together, balances and synergizes relevant humanities (history of music, history of music theory) and sciences, (acoustics, psychology and psychoacoustics). We clarify terminology and develop a holistic approach.Main contribution.We cover a broad epistemological spectrum that includes the popular conception of C/D as pleasant/unpleasant and the history of C/D in Western music and music theory. We juxtapose terms, references and styles of musical and psychological discourse. We compare and contrast dichotomies that overlap or interact with the C/D concept such as tense/relaxed, primary/subordinate, centric/acentric, diatonic/chromatic, stable/unstable, close/distant, similar/different, rough/smooth, fused/segregated, related/unrelated, familiar/unfamiliar, implied/realized, tonal/atonal; our perception of these dichotomous pairs often intensifies, parallels or stands in for our perception of C/D. We consider the "atonal" music and theoretical writings of Arnold Schoenberg, and the radical interrogation of previous assumptions about C/D that he provoked. We conclude that vertically, consonance involves the creation of multiple incomplete harmonic series of partials, while dissonance involves roughness; horizontally, consonance involves perceived pitches in common while dissonance involves linear pitch distance; and in both cases consonance involves familiar patterns of pitch. The listed dichotomies lead us to perceive events separated in time either as part of a larger-scale consonant event or as a counter-foil against w hich such a harmonious whole is perceived. In music listening, C/D is generally holistic: it encompasses vertical and horizontal elements, which listeners have difficulty distinguishing.Implications.C/D will continue to constrain composition in the 21stCentury. Research on C/D should integrate humanities (questions about individual manifestations of music) and sciences (questions about music's nature and functions)
