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Emancipation of the dissonance - Wikipedia

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The emancipation of the dissonance was a concept or goal put forth by composer Arnold Schoenberg and others, including his pupil Anton Webern, who styled it The Path to the New Music. The phrase first appears in Schoenberg's 1926 essay "Opinion or Insight?".[1] It may be described as a metanarrative to justify atonality. 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. The emancipation of the dominant-quality dissonances has followed this pattern, with the dominant seventh developing in status from a contrapuntal note in the sixteenth century to a quasi-consonant harmonic note in the early nineteenth. By the later nineteenth century the higher numbered dominant-quality dissonances had also achieved harmonic status, with resolution delayed or omitted completely. The greater autonomy of the dominant-quality dissonance contributed signific

Emancipation of the dissonance - Wikipedia Jump to content From Wikipedia, the free encyclopedia Musical concept by Arnold Schoenberg Chords, featuring chromatically altered sevenths and ninths and progressing unconventionally, explored by Debussy in a "celebrated conversation at the piano with his teacher Ernest Guiraud " (Lockspeiser 1962, 207). The emancipation of the dissonance was a concept or goal put forth by composer Arnold Schoenberg and others, including his pupil Anton Webern , who styled it The Path to the New Music . The phrase first appears in Schoenberg's 1926 essay "Opinion or

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