By Ernst Levy, Siegmund Levarie
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Extra resources for A theory of harmony
Page 40 This seems to point to two different sorts of consonance quality and dissonance quality. The first is natural, inherent in the phenomenon, and our attitude toward it is therefore rather passive. The other springs from an active attitude on our part; its source is psychological. It is manifested in currents we imagine being inducted in the phenomenon. I suggest that the concept pair consonance-dissonance be reserved for the natural qualifies, and that the current pair ontic-gignetic be adopted for the parallel interpretive qualities.
In musical terms, we can say that a consonant chord is apt to be used as a closing chord (schlussfähig). Sometimes we observe, however, that chords which are not perfect triads and therefore do not posses that naturally consonant character are yet being used as closing chords and do give us an impression of restfulness: On the other hand, triads may be used in a way as to produce an impression of tension, hence of imperfection, as in a half-cadence: Summing up these observations, we say: The triad is consonant.
We shall have ample opportunity show its workings. (Kayser has applied the concept of telluric adaptation to the geotropism Page 16 of plants [Harmonia Plantarum, Basel, 1943]. ) In discussions about the two theories, a rather obvious fact is generally overlooked. The subdominant, not being present in the overtone series, cannot be found (when disregarding the undertones) except through an operation which is really illicit. A secondary interval (G-C) is being transposed to the tonic. With the same right one could transpose the minor third (E-G) to the tonic, which would then account for E-flat; but probably no turbidity theorist would agree, for on it would destroy his theory.
A theory of harmony by Ernst Levy, Siegmund Levarie