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ABSTRACT. Cook and Fujisawa argue that the fact that some chords sound stable, final and resolved, while others sound unstable, tense and unresolved cannot be explained solely on the basis of the summation of interval dissonance among tones and their upper partials. According to Thomson, empirical studies of our own cognitive-perceptual machinery point to rather basic and uniform processes that govern the way humans obtain a sense of dynamic wholes from successions of pitches. Huron argues that a composer might choose to use the minor key for purposes other than evoking or portraying a particular emotion (a composer might employ the minor mode to increase a compositional contrast, to add musical variety, or as a means of delineating formal divisions in a work).

 

Written by CARMEN STOIANOV
 
Written by PETRU STOIANOV
 

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