Changes

===Dissonance===

===Dissonance===

The idea that a chord presented not a mere combination of intervals but a unit, primary and indivisible, was associated with a far-reaching change in the concepts regarding the nature and the functions of dissonances. In counterpoint before 1600, a dissonance in strict writing was a relation between two voices; and the dissonant note was regarded as being the one that had to advance to the resolution of the dissonance, hence in ex.2a the lower note, in ex.2b the upper. (The second, or ‘reference’, voice could either remain on the same note or move to a new one at the resolution.) A suspension on the strong beat is produced by a step in the ‘reference’ voice (ex.2a), and a dissonant passing note on a weak beat by a step in the voice making the dissonance (ex.2b).

The idea that a chord presented not a mere combination of intervals but a unit, primary and indivisible, was associated with a far-reaching change in the concepts regarding the nature and the functions of dissonances. In counterpoint before 1600, a dissonance in strict writing was a relation between two voices; and the dissonant note was regarded as being the one that had to advance to the resolution of the dissonance, hence in ex.2a the lower note, in ex.2b the upper. (The second, or ‘reference’, voice could either remain on the same note or move to a new one at the resolution.) A suspension on the strong beat is produced by a step in the ‘reference’ voice (ex.2a), and a dissonant passing note on a weak beat by a step in the voice making the dissonance (ex.2b).

From the 17th century the formation of dissonances in strict counterpoint was complemented by new approaches that extended the system of contrapuntal writing without violating any of its fundamental characteristics. But at the same time it was confronted with phenomena grounded in basic principles of a different kind, relating to other categories of musical listening. Among the new approaches to dissonance that merely extended the system were some that characterized the modern counterpoint of the 17th century, the seconda pratica: for example, changing note quitted by downward leap (ex.3a), the suspension resolved by downward leap (ex.3b), and the accented passing note (ex.3c), which in Palestrina’s style was permitted only in a rudimentary form as a weakly accented passing note of the duration of a semiminima (ex.3d).

From the 17th century the formation of dissonances in strict counterpoint was complemented by new approaches that extended the system of contrapuntal writing without violating any of its fundamental characteristics. But at the same time it was confronted with phenomena grounded in basic principles of a different kind, relating to other categories of musical listening. Among the new approaches to dissonance that merely extended the system were some that characterized the modern counterpoint of the 17th century, the seconda pratica: for example, changing note quitted by downward leap (ex.3a), the suspension resolved by downward leap (ex.3b), and the accented passing note (ex.3c), which in Palestrina’s style was permitted only in a rudimentary form as a weakly accented passing note of the duration of a semiminima (ex.3d).

These dissonances, which are to be found in contrapuntal practice, in no way invalidate the strict rules of counterpoint. They require, if their intended effect is to be understood, an awareness of the norms with which they conflict. It is precisely as exceptions to the conventional rule, which they infringe and in so doing confirm as valid, that they gain their expressive or symbolic meaning: the downward-leaping suspension (ex.3b) owes its character of pathos to its very deviation from the normal resolution by step.

These dissonances, which are to be found in contrapuntal practice, in no way invalidate the strict rules of counterpoint. They require, if their intended effect is to be understood, an awareness of the norms with which they conflict. It is precisely as exceptions to the conventional rule, which they infringe and in so doing confirm as valid, that they gain their expressive or symbolic meaning: the downward-leaping suspension (ex.3b) owes its character of pathos to its very deviation from the normal resolution by step.