Construct · 3 fields · 6 citations
One name. Different field. Different construct. One map.
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In music theory, a relation between pitches sounded together or in succession that is heard as tense or unstable and conventionally calls for resolution to a consonance. Zarlino's 1558 Le istitutioni harmoniche codified how such dissonances are prepared and resolved in counterpoint, and Rameau's 1722 Traité de l'harmonie grounded consonance and dissonance in a theory of chord roots and functional harmony. The referent is a structural and aesthetic category defined within a musical grammar and its notation, not a measured perceptual roughness and not a state of mind.[1][2]
In psychoacoustics, the perceived roughness or unpleasantness that arises when two tones lie close enough in frequency for their partials to beat against one another within the ear's critical bandwidth. Helmholtz's 1863 Die Lehre von den Tonempfindungen traced this quality to the beating of adjacent partials, and Plomp and Levelt's 1965 Tonal Consonance and Critical Bandwidth measured how the transition from consonance to dissonance tracks the critical bandwidth of the cochlea. The referent is a psychophysical quantity predicted from the acoustic spectrum and the physiology of hearing, distinct from a rule of musical grammar and from any mental discomfort over beliefs.[3][4]
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Social psychology
Discomfort from holding conflicting cognitionsIn social psychology, the state of psychological discomfort a person feels on holding two or more cognitions that are inconsistent, which motivates efforts to reduce the inconsistency. Festinger's 1957 A Theory of Cognitive Dissonance introduced the construct, and Festinger and Carlsmith's 1959 Cognitive consequences of forced compliance demonstrated it by showing that people paid little to state a falsehood shifted their attitudes more than those paid well. The referent is a motivational state inside a person, measured through attitude change and self-report, and it has nothing to do with clashing pitches or the acoustic beating of tones.[5][6]