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Dissonance curves are the starting
point for an investigation into a psychoacoustically informed harmony.
Its main hypothesis is that harmony consists of two independent but
intertwined aspects operating simultaneously, namely proportionality and
linear pitch distance. The former aspect is related to intervallic
characters, the latter to ‘high’, ‘low’, ‘bright’ and ‘dark’, therefore
to timbre. This research derives from the development of tools for
algorithmic composition which extract pitch materials from sound
signals, analyzing them according to their timbral and harmonic
properties, putting them into motion through diverse rhythmic and
textural procedures. The tools and the reflections derived from their
use offer fertile ideas for the generation of instrumental scores,
electroacoustic soundscapes and interactive live-electronic systems.LEI Universiteit LeidenResearch in and through artistic practic
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