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The contents of the The perception of harmony page were merged into Harmony on 30 October 2020. For the contribution history and old versions of the redirected page, please see its history; for the discussion at that location, see its talk page. |
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This article was the subject of a Wiki Education Foundation-supported course assignment, between 25 August 2021 and 1 December 2021. Further details are available on the course page. Student editor(s): Abdl Ghani2003, Wajih Nasr. Peer reviewers: KhalilFYD.
Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT ( talk) 23:05, 16 January 2022 (UTC)
I find the tone (no pun intended) to be a bit colloquial at times. It also uses the second-person. It seems very unprofessional. 68.99.151.209 09:34, 29 December 2006 (UTC)MT
The article included the following:
I think mentioning dinergy here, which is a rather obscure concept, gives it too much prominence (besides which, the article on dinergy says it is "the pattern-forming process of the union of opposites", which isn't what harmony is, it seems to me). The Golden Mean sentence seems meaningless to me. The golden mean is a middle path; I don't see as this has anything to do with harmony. (There's also the mathematical meaning of course, which also has nothing to do with conventional harmony, though it's true a small number of people have written music using a tuning system based on the golden ratio.) -- Camembert
The following sentence:
confuses harmony with consonance. While this is in line with non-musical uses of the term (as opposed to disharmony), in music dissonances are considered harmony as well. Wahoofive 22:10, 8 Mar 2005 (UTC)
Much better. Wahoofive 06:56, 9 Mar 2005 (UTC)
The influence of churches on harmonic language is overstated. Developments in harmony were due to the taste of individual composers and listeners (and patrons); although some of them were church members or clergy, there was no consistent policy on harmony from either Catholic or Protestant churches. Other aspects of music were regulated, such as instrumental accompaniment, but I'm not aware than any churches banned diminished-seventh chords or augmented sixths or whatever as a matter of church policy. Wahoofive 22:18, 8 Mar 2005 (UTC)
Churches have often controlled music, but not specifically harmony, AFAIK. Wahoofive 06:56, 9 Mar 2005 (UTC)
But churches have better documented their rules and patterns, perhaps because of their status in society at the time, not necessarily because they tried harder. This is not saying they are more important to harmony, only that due to social circumstances, their approaches are better recorded in the historical record. -- 76.89.189.214 ( talk) 06:37, 23 July 2012 (UTC)
Harmony may also be distinguished as centrifugal or centripetal harmony, harmony which leads away from or to the tonic, respectively. For example, music of the classical era is most often centrifugal, while the ragtime progression is centripetal. (van der Merwe 1989)
I've never heard of this, which may not be relevant, but the examples are nonsensical. For one thing, the "ragtime progression" page states it derives from classical usage. Anyway, in what universe does harmony in classical music lead away from the tonic? Ever heard of a cadence? — Wahoofive ( talk) 00:25, 4 February 2006 (UTC)
How about a Google test? 36 results, none about music. That's for "centripedal". Centrifugal has only 4 results. I vote that the reference is a hoax, or at least the terms are not widely enough used to be included. — Wahoofive ( talk) 05:12, 4 February 2006 (UTC)
Let's break this down:
One can only and quickly conclude that it is "hoax". (Please note that I'm being facetious) Hyacinth 09:34, 4 February 2006 (UTC)
I changed "most" to "more" as I believe that was what van der Merwe meant (and it would seem that classical era music would be centrifugal only half the time). Hyacinth 09:37, 4 February 2006 (UTC)
Yes well, this is under review at the moment. Watch that space!-- Light current 23:45, 5 February 2006 (UTC)
I'm going to remove this passage for the reason that, as the difference between "centrifugal" and "centripetal" harmonies are not defined. The passage states:
It fails to explain what harmony that "leads toward a tonic" or away from it is. It's somewhat unreasonable to be making a statement like "classical music more often leads away from the tonic", because this is untrue. Even the example of a ragtime progression is a particularly common progression in classical music. There may be some distinction to be made, but there isn't even a hint of it in this article. Hyacinth, can you offer a passage from the book you have taken this material from? Does the book use it throughout, or do the words only appear once in reference to ragtime music? - Rainwarrior 17:18, 8 August 2006 (UTC)
the line about harmony being possible in a single harmonic line could really use some clarification. I think it is by definition impossible for a single melodic line to hit harmonies. If multiple notes are being sounded together, its no longer a single melodic line. The only thing I can think is that the "harmony" could be implied, for example by playing the root note of the implied chord on the downbeat and then playing as if within that chord, but I don't think that should really count, and if that is what is being described it certainly needs clarification. I guess the other possibility is that the sentence refers to the harmonics present in the notes of the melody, but that certainly shouldn't be mentioned as harmony as it more or less renders the term meaningless. Thoughts? Powrtoch 21:09, 18 August 2006 (UTC)
I propose that we develop some sort of standard or guideline as to what information goes on the Chord (music) and Harmony articles.
To that end I will start discussion on this talk page. It seems like the history section of Chord (music) may actually belong at Harmony, so the first change I propose is that it ( Chord (music)#History) be moved to or discussed more fully on Harmony. Hyacinth 00:11, 12 October 2006 (UTC) I propose to use "triad" only to refer to the harmonic idea about that Gestalt founded on two vertical intervals, named, the fifth from the row, and the third, also from the row or fundamental note. It is possible understand the two inversions or rotation of that structure, 6/3 and 6/4. The musical formations with another intervals distinct from the fifth, third, i.e.,fourths, produce another klangs but not triads. (Vid. Schachter and Aldwell, Harmony and Voice Leading) —Preceding unsigned comment added by 68.171.231.80 ( talk) 22:35, 21 March 2011 (UTC)
Harmony involves both vertical harmony (chords) and horizontal harmony (melody) [1].
References
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The Rainwarrior edits are aimed at his continued months-long stalking of Bob Fink, not the interest of the article. The Rainwarrior-censored citations have been restoreed. The edits include info on ancient harmony, 3rd-party-published by Archaeologia Musicalis journal, Feb., 1988. Fink, not yet 3,000 years old, did not author the vase and wall art from ancient Egypt and Greece in the citation. But even if he did draw that ancient art, Rainwarrior does not recognize nor honour wikipedia guidelines (because they don't serve his corrupt stalking campaign) such as:
1. "You may cite your own publications just as you'd cite anyone else's, but make sure your material is relevant and that you're regarded as a reliable source for the purposes of Wikipedia. Be cautious about excessive citation of your own work, which may be seen as promotional or a conflict of interest." (For Rainwarrior's obsessive targeting of Fink, perhaps even ONE citation would be "excessive." Greenwyk 07:38, 8 January 2007 (UTC)
100 links? Or 100 edits? Which? If links, add the URLs or names of the articles of where they are to prove your claim. 100 links seems exaggerated to me. Greenwyk 09:36, 8 January 2007 (UTC)
There is no justified reason to remove legitimate secondary citations, no matter who places them. They show the discovery of two recent items of evidence for ancient harmony. Citations cannot be removed for reasons of personal hostility to a single person. There must be a specific reason given relating to the good of the subject of the article, not based on the subject of Rainwarrior's sick, tortured, irrational hatred of Bob Fink's research, with no reasoned, cited justifications given for it. That censorship vandalism will be reverted until the end of time. 65.255.225.52 01:02, 12 January 2007 (UTC)
It clearly says in the "types of vandalism" you cited, right in the top paragraph: "Sometimes important verifiable references are deleted with no valid reason(s) given in the summary." Assertions of self-promotion are not "valid." That assertion is false. There is no evidence given. Unless you believe that ANY author who posts a link to a publication of his/her research relevant to the article is always to be considered "self-promoting"? Do you believe that? Look at the link and see. After all, Wiki goes on to say that "removals are usually not considered to be vandalism where the reason for the removal of the content is readily apparent by examination of the content itself." (Added italics.) What, in the readily apparent content, "promotes me?" That a peer-reviewed journal published my research (and Kilmer's) on harmony (which is the title of this wiki article)? Where in Wikipedia does only an authorship by-line of published content alone constitute self-promotion? Bob F. 65.255.225.38 03:40, 13 January 2007 (UTC)
(Okay -- will ask again. Moved down again, and updated): 2 titles (as published by secondary sources) in "Further Reading" could be usefully accessed on-line, at the webpages mentioned below. These would be:
Those publisheres have no on-line versions of those articles. But as I own the online website which reproduces those articles, in order to avoid COI, even though the content was published in 2nd or 3rd-party journals, I ask someone else to add the online content to "external links" as well.
Reasons to add: The "Evidence" link reports the Kilmer evidence in the "oldest known song" (+midi of that song version) and reports research finding new evidence of ancient harmony, from observing clues found in ancient art (wall art, vases, etc) showing musicians playing harps. This evidence is well-known and widely accepted in the music archaeology field, but far less known among those in the musicology fields. --Bob F. 65.255.225.37 10:24, 13 January 2007 (UTC)
Rainwarrior has again proved his interest is not in the article, but only in his desire to censor the research of Bob Fink. His last comment above contains two untruths, a common feature of his remarks.
He writes: "...there are plenty of other (less obscure) articles by other authors about these same subjects..." which is not true, and he cannot name them. Other authors may have written on the evidence I discovered from ancient art that show clues to harmony in antiquity, but he cannot name ANY. His claim that the evidence of ancient harmony is "tangentially relevant" to the subject of "harmony" is also untrue, on the face of it.
He is a troll who loves to repeatedly claim my actions as w/COI, and as violations of w/auto and wiki/POV and so on, that I am a rule-breaker & a spammer. But he himself rigidly and fixatedly interprets wiki-rules to suit his own personal obsessiveness with me as an author editing and citing my own sources (quoted above) -- even though, if I cite them using secondary sources they would be acceptable under the rules (also quoted above in the Talk).
But he has now violated my right to do that by censoring (from "Further Reading") even the secondary sources, thus writing his own Wikipedia rules to the effect that no author can ever edit or cite his/her own work ever!!! And now himself breaking the spirit of the rules he pretends to "respect."
Rainwarrior is therefore totally hypocritical and his judgement has apparently become deeply corrupted by his fanatic hatred of all things related to Bob Fink. What's THAT got to do with "Harmony"??
Here is how Wikipedia describes a troll (below), which can be compared to Rainwarrior by simply reading the (unfortunately, quite long) argumentative, untruthful, hostile, self-contradictory, sneakily abusive, provocatively slanderous, and "creative" writings by Rainwarrior on various Talk pages. (These are pages, which as a musicologist I have been mildly active, as has my publisher been earlier a year ago, when none of us were aware of all the rules ( Talk:Musical_acoustics, here, Talk:Divje_Babe Talk:Trio_theory) and some others).
http://en.wikipedia.org/wiki/Wikipedia:What_is_a_troll
When reading any of the TALK pages, note the similarity of the Wiki descriptions to Rainwarrior's approach. (Emph. added) --Bob Fink 65.255.225.47 14:16, 18 January 2007 (UTC)
Note -- from Wiki, re civility: "...incivility is roughly defined as personally targeted behavior that causes an atmosphere of greater conflict and stress..." That's a definition that Wikipedia seems to accept. If so, then Rainwarrior has been uncivil to me for months.
I have offered evidence of that, in the Talk pages I mentioned. Was that read by Victoriagirl? Or is the charge of incivility being hurled only at me without looking open-mindedly and fairly at ALL the evidence? As I quoted above: "The nature of trolling is to be disruptive, and one of the most disruptive things that can be done is to find new ways to cause trouble that aren't quite against the rules." Well, I think Rainwarrior has done that in this case. The three-revert rule is mentioned on many Wiki pages. Perhaps the page I read some time ago didn't include the full definition or the 24-hour limit. But Rainwarrior breaks more rules than that one.
Rainwarrior continually calling my motivations as "self-promotion" without offering any evidence and without assuming good faith (especially in light of me admitting that as newbies, mistakes were made about posting links a lonmg time ago) is evidence of provocation, no? And it's provoking especially since NO ONE can read minds and motivation, and especially since the evidence I ask to be read indicates when taken as a whole that self-promotion is inconsistent with my character and life history -- to an unbiased onlooker.
Rainwarrior has never written anywhere in all these thousands of words that it is even possible that self-promotion was not my motivation (as "good faith' would indicate). And considering that every edit war on the pages mentioned was started with bad-faith edits by Rainwarrior, by assuming the worst motivations on my part -- and which "wars" were never started by me -- check out the facts, and find out what is the whole truth, rather than seizing upon a "technicality" that captures the literal words of a guideline -- thus insisting "on the letter of a rule while grossly violating its spirit," which seems here to be used to protect Rainwarrior's bad-faith "mind-reading summaries" for his edits. So that means I too can revert as many times as Rainwarrior if I wait 25 hours for the third edit?
Interesting that none of the other points I made are considered or dealth with. Just the one defending how to "legally" get away with the reverts Rainwarrior targeted at me rather than for the good of the article. Very one-sided "cherry-picking" approach, don't you think? Please examine your arguments in the light of all the evidence and the spirit of the issue? Is that possible to do? The rules were not meant to be used as a weapon to chase scholars away, or to target individual editors. They are being used, however, exactly as such, whether you can see that or not. I've lived long enough, as a Jew, as a civil rights & social-justice activist to recognize when I am being screwed.
It is important to look at a situation as a whole, yes? Namely, keeping in mind, as the Wiki/troll page wrote: "the refusal (by Rainwarrior) to consider evidence and citations or to accept consensus or compromise." And mindful of basic ethics of seeing the spirit as well as ONLY the technicality of the issue and the rules. Anyway, in keeping with the technicality of "24 hours" that I missed up to now, I will remove my accusation. But the rest of my points remain unaddressed, unrecognized, unconsidered, marginalized or ignored. But. Suit yourselves. "The tree that cannot bend with the wind -- breaks." (anon.) --Bob Fink, 65.255.225.42 21:37, 18 January 2007 (UTC)
This subject interests me and I was hoping to find some discussion here. Harmony seems to be far more prevalent in western culture than it is in eastern culture. I've been told there are eastern languages that have no word for harmony in their vocabulary. If anyone could shed some insight on this subject, I believe it would improve the article. Grumpyoldgeek 03:28, 4 February 2007 (UTC)
This section is so odd. What exactly is anyone supposed to learn from this table? In addition, the characters used for sharp and flat do not adhere to the music guidlines. Matt.kaner 03:39, 20 February 2007 (UTC)
I think there are enough problems on this page to merit a complete rewrite. Though some of the info is factually accurate it is lacking in sources/references, and the overall structure of the article makes for very bad reading. I think it is a given that there will be some overlap between this article and 'Chords', but if you look at various musicological encyclopedias and dictionaries, this is perfectly normal. In fact articles on 'Harmony' usually form the bulk of the info on the subject. There doesn't seem to be (correct me if i'm wrong) a unified article on Western Harmonic Practice anywhere on Wikipedia; it's all very bitty - and while it's essential to have these specialised articles on Augmented Sixth chords, for example, there is nothing to explain the general application of the harmonic system in western art music. Matt.kaner 18:23, 23 February 2007 (UTC)
The article uses the term "chromatic" without adequate explanation. This term, along with "diatonic", is the cause of serious uncertainties at several other Wikipedia articles, and in the broader literature. Some of us thought that both terms needed special coverage, so we started up a new article: Diatonic and chromatic. Why not have a look, and join the discussion? Be ready to have comfortable assumptions challenged! – Noetica♬♩ Talk 22:14, 3 April 2007 (UTC)
harmony may be
accord, affinity, amicability, amity, compatibility, concord, conformity, consensus, consistency, cooperation, correspondence, empathy, fellow-feeling, friendship, good will, kinship, like-mindedness, peace, rapport, sympathy, tranquility, unanimity, understanding, unity
[Origin: 1350–1400; ME armonye < MF < L harmonia < Gk harmonía joint, framework, agreement, harmony, akin to hárma chariot, harmós joint, ararískein to join together]
1. agreement; accord; harmonious relations. 2. a consistent, orderly, or pleasing arrangement of parts; congruity. 3. Music. a. any simultaneous combination of tones. b. the simultaneous combination of tones, esp. when blended into chords pleasing to the ear; chordal structure, as distinguished from melody and rhythm. c. the science of the structure, relations, and practical combination of chords.
4. an arrangement of the contents of the Gospels, either of all four or of the first three, designed to show their parallelism, mutual relations, and differences. see http://dictionary.reference.com/browse/harmony
i think the Harmony page should start from a backgrounder if nobody has an objection then i will edit the background of this page please note that the harmony page is linked with the peace page —The preceding unsigned comment was added by Motegole ( talk • contribs) 08:50, 28 April 2007 (UTC).
Can I ask what the point of the Intervals section is, particularly from the passage beginning:
In the musical scale, there are twelve pitches...
I have not deleted it, however I am very tempted to do so, because it doesn't really seem to relate to this article. Perhaps in another article? Can we have a consensus? Madder 16:56, 25 May 2007 (UTC)
What may the study of harmony in non-Western music be called, if such a thing may be considered to exist (which it sometimes is)? Hyacinth 15:56, 27 June 2007 (UTC)
Is it just me, or does this article seem incredibly biased towards western harmony, and within that, towards historical harmony...i.e. not only does this article seem to include stuff most relevant to western music, but it doesn't even seem to encompass modern western music, jazz, etc, let alone anything that falls outside of the 12-tone equally tempered system (such as Indian classical music, Javanese Gamelan, very early western music, etc.)??? I am tempted to add another cleanup tag. Cazort 18:41, 5 November 2007 (UTC)
There is no musical tradition where the horizontal relations are not considered. I assume that "harmony as 'harmony'" means tonality, a page you should all consult (roughly: certain hierarchical relationships of pitches). Only one decision needs to be made:
All current sources assert that "harmony" applies to all horizontal relationships, not just tonal harmony. Hyacinth ( talk) 20:18, 17 November 2007 (UTC)
Hyacinth you are missing the point here. We are talking largely about vertical relationships for starts. Secondly the questions you are asking imply that we as Wikipedians make some serious value judgements. That is not our place. If this is to be a serious article all we need to do is cite the debates surrounding these ideas. We aren't meant to make any kinds of decisions at all. I do not know any sources currently in print that assert that "harmony" applies to all horizontal relationships. (The sound made by a car driving past your house then followed by a bus driving past would fall in to this category). However, I think you'll find that most of them say that harmony is a means of codifying vertical relationships and implied vertical relationships however. In many musics the consideration of vertical pitch is not considered to be particularly pertinent. What are you really digging at? Matt.kaner ( talk) 01:17, 18 November 2007 (UTC)
How can the note names ABC etc be 'intransigent' ie "Refusing to moderate a position, especially an extreme position; uncompromising" Is this a technical use of the word, or just the wrong word? I would have thought they were 'arbitrary"... or do you just mean they don't change? Wreader 20:48, 11 October 2007 (UTC)
Cited definitions of music:
Why does the metal band Blind Guardian link to this page? Seems pointless. —Preceding unsigned comment added by 70.65.9.247 ( talk) 04:45, 22 May 2008 (UTC)
In music the pitch allow pieces of music to come together when it is all finished. The pitch is considered to represent the perceived fundamental frequency of a sound. It is basically one of the three major auditory attributes of sounds along with loudness and timbre. The pitch broken apart is actually the harmony and melody. Before finding what allows harmony and melody to form music, there is a way that the two develop by themselves before joining. Harmony be consider “The clothing of melody”; which is considered rather too wide and calls for a little limitation. In this element the “voices” or “parts” that accompany the chief one inevitably produce, amongst themselves and with I, a succession of chords. This chordal aspect of the combination of voices or parts which is properly described as the elements of harmony. (SCHOLES, 444) The chords in harmony tend to exist in a scale-tonal infrastructure. It is said that certain chords project a quality and instability and tension as well as are known as dissonant chords while other chords project a quality of stability and respose are known as consonant chords. In harmony chords require at least three different tons in their structure. The three- tone chord is like a triad and can contain as few as three tones as well as many as seven or more. In developing harmony the commonly structured four-tone and five-tone chord which is called a 9th chord; a more elaborate chords are 11th chords(six-tone chords) and 13th chords(seven-tone chords). Harmony is basically constructed from the raw materials of scale tone, which in result has a scale infrastructure and tonal attributes of the major-minor tonal system. The chord in this element may be built on each scale degree (tone) of the equal-tempered scales of Western music. As the harmony is still in development each scale degree may serve as the root of a chord to be built on that particular scale degree. In the scales of western music of harmony there are seven different general interval distances (2nds, 3rds, 4ths, 5ths, 5ths, 7ths octaves) as well as four different specific interval qualities – major, minor, diminished, augmented. Also part of the development of harmony are two specific qualities of third intervals – major 3rd and minor 3rd. because of these two intervals, there are four different triad qualities – major, minor, diminished, augmented. Harmony can be subjected to the gravitational forces of the major –minor tonal system. Listed below are the different chords, scale degree and intervals use in putting together harmony.
• The tonic chord (I) – this is considered the major minor tonal system chord with the greatest stability and gravitational attraction, which is based upon the lowest scale degree (tone). • Dominant Chord (V) – this chord is considered the second greatest stability and gravitational attraction which is the fifth scale degree. • Subdominant Chord (IV) - this chord in harmony is the third greatest stability and gravitational attraction which is the fourth scale degree. —Preceding unsigned comment added by 74.206.73.205 ( talk) 15:12, 25 November 2008 (UTC)
One of the fundamental constructs in the study of harmony is Roman numeral analysis. Roman numeral analysis emerged in the 19th as a way to codify elements in earlier 18th century music, abstracting vertical relationships in music as chords. Modern scholarship has criticized this as being problematic in that it could be an oversimplistic account of vertical relationships in music (Parncutt 89). Nevertheless, Roman numeral analysis has proven quite effective as a tool for uncovering certain relationships in music and is quite interesting in its own right. We should therefore discuss it in the article.
I also propose an extended discussion on psychoacoustic models of harmony as well as sensory vs. syntactic accounts of harmony in music. (Parncutt, 89; Bigand 2003) Just a thought 165.124.212.109 ( talk) 03:12, 10 June 2010 (UTC)
"In tertian or tertial harmony, so named after the interval of a third. The members of chords are found and named by stacking intervals of major and minor thirds, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Note that chord members are named after their interval above the root, not by their numerical inclusion in the building of the chord.) Traditionally, a triad must have, or imply at least three members to be called a chord, although 2-member dyads are sometimes treated as chords, especially in rock (see power chords)."
Before I edit the sub-heading content, a note here is in consideration of any further discussion inclusive to the reasons for edits.
The first sentence is not complete.
Major intervals may be altered to be augmented, diminished and/or minor. It is suffice, especially for the divulgence into the specifics of tertian harmony, to introduce the stacking as purely a third relation.
It is also suffice to say "(Note that chord members are named after their interval above the root)." The use of "numerical inclusion" is vague, if not confusing and misleading. Having stated "starting with the 'root'", sufficient basis is presented with "(Note that chord members are named after their interval above the root)." to show the method of building chords in the order they are reckoned with respect to proper spelling.
The last sentence here is the worst. A triad is always a chord with three members. Dyads (or intervals), the simplest chords, always contain two members. The introduction of "rock", aside from being a bastardization of "rock 'n roll", the genre named after continental drift, may serve to bolster "power chords", which I have not read, it is not introduced thematically to support the previous statements except in error. Prophet of the Most High ( talk) 18:27, 25 October 2010 (UTC)
The use of width is more appropriate to shoe size. Concerning musical intervals we use size or magnitude. Prophet of the Most High ( talk) 18:43, 25 October 2010 (UTC)
Re this quotation: "The great power of this fact is that any song can be played or sung in any key—it will be the same song, as long as the intervals are kept the same, thus transposing the melody into the corresponding key." I know next to nothing, but I thought very simply minor key melodies couldn't be transposed into major keys and vice versa. —Preceding unsigned comment added by 173.22.229.254 ( talk) 23:11, 29 March 2011 (UTC)
Although I have music education I do not agree that music harmony is the main meaning of the word and in disambiguation page I dont see any type of issue reflecting the main meaning of harmony:
—Synonyms
-- Aleksd ( talk) 17:42, 31 July 2011 (UTC)
Ideally, these should either link to a topic, or be better explained. -- 76.89.189.214 ( talk) 06:32, 23 July 2012 (UTC)
"As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths." When, exactly? During the reign of one of the first four Edwards? During the Hundred Years War? Eldin raigmore ( talk) 05:25, 16 September 2014 (UTC)
Lots of potentially incorrect information here; see talk page for discussion. JZ CL 10:01, 16 May 2015 (UTC)
Unlikely search term, would be better off in main article Ifnord ( talk) 18:31, 27 December 2019 (UTC)
Certainly, I am unable to understand the definition of harmony given: "... harmony is the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing". Is harmony a process? Isn't it rather a fact? In this "process", is the composition of individual sounds, or superposition of sounds, analyzed by hearing? Although this can occur perceptually... it is not the harmony itself, I think. — Preceding unsigned comment added by Witrock ( talk • contribs) 07:15, 10 May 2020 (UTC)
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The contents of the The perception of harmony page were merged into Harmony on 30 October 2020. For the contribution history and old versions of the redirected page, please see its history; for the discussion at that location, see its talk page. |
This article may be too technical for most readers to understand.(September 2010) |
This article was the subject of a Wiki Education Foundation-supported course assignment, between 25 August 2021 and 1 December 2021. Further details are available on the course page. Student editor(s): Abdl Ghani2003, Wajih Nasr. Peer reviewers: KhalilFYD.
Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT ( talk) 23:05, 16 January 2022 (UTC)
I find the tone (no pun intended) to be a bit colloquial at times. It also uses the second-person. It seems very unprofessional. 68.99.151.209 09:34, 29 December 2006 (UTC)MT
The article included the following:
I think mentioning dinergy here, which is a rather obscure concept, gives it too much prominence (besides which, the article on dinergy says it is "the pattern-forming process of the union of opposites", which isn't what harmony is, it seems to me). The Golden Mean sentence seems meaningless to me. The golden mean is a middle path; I don't see as this has anything to do with harmony. (There's also the mathematical meaning of course, which also has nothing to do with conventional harmony, though it's true a small number of people have written music using a tuning system based on the golden ratio.) -- Camembert
The following sentence:
confuses harmony with consonance. While this is in line with non-musical uses of the term (as opposed to disharmony), in music dissonances are considered harmony as well. Wahoofive 22:10, 8 Mar 2005 (UTC)
Much better. Wahoofive 06:56, 9 Mar 2005 (UTC)
The influence of churches on harmonic language is overstated. Developments in harmony were due to the taste of individual composers and listeners (and patrons); although some of them were church members or clergy, there was no consistent policy on harmony from either Catholic or Protestant churches. Other aspects of music were regulated, such as instrumental accompaniment, but I'm not aware than any churches banned diminished-seventh chords or augmented sixths or whatever as a matter of church policy. Wahoofive 22:18, 8 Mar 2005 (UTC)
Churches have often controlled music, but not specifically harmony, AFAIK. Wahoofive 06:56, 9 Mar 2005 (UTC)
But churches have better documented their rules and patterns, perhaps because of their status in society at the time, not necessarily because they tried harder. This is not saying they are more important to harmony, only that due to social circumstances, their approaches are better recorded in the historical record. -- 76.89.189.214 ( talk) 06:37, 23 July 2012 (UTC)
Harmony may also be distinguished as centrifugal or centripetal harmony, harmony which leads away from or to the tonic, respectively. For example, music of the classical era is most often centrifugal, while the ragtime progression is centripetal. (van der Merwe 1989)
I've never heard of this, which may not be relevant, but the examples are nonsensical. For one thing, the "ragtime progression" page states it derives from classical usage. Anyway, in what universe does harmony in classical music lead away from the tonic? Ever heard of a cadence? — Wahoofive ( talk) 00:25, 4 February 2006 (UTC)
How about a Google test? 36 results, none about music. That's for "centripedal". Centrifugal has only 4 results. I vote that the reference is a hoax, or at least the terms are not widely enough used to be included. — Wahoofive ( talk) 05:12, 4 February 2006 (UTC)
Let's break this down:
One can only and quickly conclude that it is "hoax". (Please note that I'm being facetious) Hyacinth 09:34, 4 February 2006 (UTC)
I changed "most" to "more" as I believe that was what van der Merwe meant (and it would seem that classical era music would be centrifugal only half the time). Hyacinth 09:37, 4 February 2006 (UTC)
Yes well, this is under review at the moment. Watch that space!-- Light current 23:45, 5 February 2006 (UTC)
I'm going to remove this passage for the reason that, as the difference between "centrifugal" and "centripetal" harmonies are not defined. The passage states:
It fails to explain what harmony that "leads toward a tonic" or away from it is. It's somewhat unreasonable to be making a statement like "classical music more often leads away from the tonic", because this is untrue. Even the example of a ragtime progression is a particularly common progression in classical music. There may be some distinction to be made, but there isn't even a hint of it in this article. Hyacinth, can you offer a passage from the book you have taken this material from? Does the book use it throughout, or do the words only appear once in reference to ragtime music? - Rainwarrior 17:18, 8 August 2006 (UTC)
the line about harmony being possible in a single harmonic line could really use some clarification. I think it is by definition impossible for a single melodic line to hit harmonies. If multiple notes are being sounded together, its no longer a single melodic line. The only thing I can think is that the "harmony" could be implied, for example by playing the root note of the implied chord on the downbeat and then playing as if within that chord, but I don't think that should really count, and if that is what is being described it certainly needs clarification. I guess the other possibility is that the sentence refers to the harmonics present in the notes of the melody, but that certainly shouldn't be mentioned as harmony as it more or less renders the term meaningless. Thoughts? Powrtoch 21:09, 18 August 2006 (UTC)
I propose that we develop some sort of standard or guideline as to what information goes on the Chord (music) and Harmony articles.
To that end I will start discussion on this talk page. It seems like the history section of Chord (music) may actually belong at Harmony, so the first change I propose is that it ( Chord (music)#History) be moved to or discussed more fully on Harmony. Hyacinth 00:11, 12 October 2006 (UTC) I propose to use "triad" only to refer to the harmonic idea about that Gestalt founded on two vertical intervals, named, the fifth from the row, and the third, also from the row or fundamental note. It is possible understand the two inversions or rotation of that structure, 6/3 and 6/4. The musical formations with another intervals distinct from the fifth, third, i.e.,fourths, produce another klangs but not triads. (Vid. Schachter and Aldwell, Harmony and Voice Leading) —Preceding unsigned comment added by 68.171.231.80 ( talk) 22:35, 21 March 2011 (UTC)
Harmony involves both vertical harmony (chords) and horizontal harmony (melody) [1].
References
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The Rainwarrior edits are aimed at his continued months-long stalking of Bob Fink, not the interest of the article. The Rainwarrior-censored citations have been restoreed. The edits include info on ancient harmony, 3rd-party-published by Archaeologia Musicalis journal, Feb., 1988. Fink, not yet 3,000 years old, did not author the vase and wall art from ancient Egypt and Greece in the citation. But even if he did draw that ancient art, Rainwarrior does not recognize nor honour wikipedia guidelines (because they don't serve his corrupt stalking campaign) such as:
1. "You may cite your own publications just as you'd cite anyone else's, but make sure your material is relevant and that you're regarded as a reliable source for the purposes of Wikipedia. Be cautious about excessive citation of your own work, which may be seen as promotional or a conflict of interest." (For Rainwarrior's obsessive targeting of Fink, perhaps even ONE citation would be "excessive." Greenwyk 07:38, 8 January 2007 (UTC)
100 links? Or 100 edits? Which? If links, add the URLs or names of the articles of where they are to prove your claim. 100 links seems exaggerated to me. Greenwyk 09:36, 8 January 2007 (UTC)
There is no justified reason to remove legitimate secondary citations, no matter who places them. They show the discovery of two recent items of evidence for ancient harmony. Citations cannot be removed for reasons of personal hostility to a single person. There must be a specific reason given relating to the good of the subject of the article, not based on the subject of Rainwarrior's sick, tortured, irrational hatred of Bob Fink's research, with no reasoned, cited justifications given for it. That censorship vandalism will be reverted until the end of time. 65.255.225.52 01:02, 12 January 2007 (UTC)
It clearly says in the "types of vandalism" you cited, right in the top paragraph: "Sometimes important verifiable references are deleted with no valid reason(s) given in the summary." Assertions of self-promotion are not "valid." That assertion is false. There is no evidence given. Unless you believe that ANY author who posts a link to a publication of his/her research relevant to the article is always to be considered "self-promoting"? Do you believe that? Look at the link and see. After all, Wiki goes on to say that "removals are usually not considered to be vandalism where the reason for the removal of the content is readily apparent by examination of the content itself." (Added italics.) What, in the readily apparent content, "promotes me?" That a peer-reviewed journal published my research (and Kilmer's) on harmony (which is the title of this wiki article)? Where in Wikipedia does only an authorship by-line of published content alone constitute self-promotion? Bob F. 65.255.225.38 03:40, 13 January 2007 (UTC)
(Okay -- will ask again. Moved down again, and updated): 2 titles (as published by secondary sources) in "Further Reading" could be usefully accessed on-line, at the webpages mentioned below. These would be:
Those publisheres have no on-line versions of those articles. But as I own the online website which reproduces those articles, in order to avoid COI, even though the content was published in 2nd or 3rd-party journals, I ask someone else to add the online content to "external links" as well.
Reasons to add: The "Evidence" link reports the Kilmer evidence in the "oldest known song" (+midi of that song version) and reports research finding new evidence of ancient harmony, from observing clues found in ancient art (wall art, vases, etc) showing musicians playing harps. This evidence is well-known and widely accepted in the music archaeology field, but far less known among those in the musicology fields. --Bob F. 65.255.225.37 10:24, 13 January 2007 (UTC)
Rainwarrior has again proved his interest is not in the article, but only in his desire to censor the research of Bob Fink. His last comment above contains two untruths, a common feature of his remarks.
He writes: "...there are plenty of other (less obscure) articles by other authors about these same subjects..." which is not true, and he cannot name them. Other authors may have written on the evidence I discovered from ancient art that show clues to harmony in antiquity, but he cannot name ANY. His claim that the evidence of ancient harmony is "tangentially relevant" to the subject of "harmony" is also untrue, on the face of it.
He is a troll who loves to repeatedly claim my actions as w/COI, and as violations of w/auto and wiki/POV and so on, that I am a rule-breaker & a spammer. But he himself rigidly and fixatedly interprets wiki-rules to suit his own personal obsessiveness with me as an author editing and citing my own sources (quoted above) -- even though, if I cite them using secondary sources they would be acceptable under the rules (also quoted above in the Talk).
But he has now violated my right to do that by censoring (from "Further Reading") even the secondary sources, thus writing his own Wikipedia rules to the effect that no author can ever edit or cite his/her own work ever!!! And now himself breaking the spirit of the rules he pretends to "respect."
Rainwarrior is therefore totally hypocritical and his judgement has apparently become deeply corrupted by his fanatic hatred of all things related to Bob Fink. What's THAT got to do with "Harmony"??
Here is how Wikipedia describes a troll (below), which can be compared to Rainwarrior by simply reading the (unfortunately, quite long) argumentative, untruthful, hostile, self-contradictory, sneakily abusive, provocatively slanderous, and "creative" writings by Rainwarrior on various Talk pages. (These are pages, which as a musicologist I have been mildly active, as has my publisher been earlier a year ago, when none of us were aware of all the rules ( Talk:Musical_acoustics, here, Talk:Divje_Babe Talk:Trio_theory) and some others).
http://en.wikipedia.org/wiki/Wikipedia:What_is_a_troll
When reading any of the TALK pages, note the similarity of the Wiki descriptions to Rainwarrior's approach. (Emph. added) --Bob Fink 65.255.225.47 14:16, 18 January 2007 (UTC)
Note -- from Wiki, re civility: "...incivility is roughly defined as personally targeted behavior that causes an atmosphere of greater conflict and stress..." That's a definition that Wikipedia seems to accept. If so, then Rainwarrior has been uncivil to me for months.
I have offered evidence of that, in the Talk pages I mentioned. Was that read by Victoriagirl? Or is the charge of incivility being hurled only at me without looking open-mindedly and fairly at ALL the evidence? As I quoted above: "The nature of trolling is to be disruptive, and one of the most disruptive things that can be done is to find new ways to cause trouble that aren't quite against the rules." Well, I think Rainwarrior has done that in this case. The three-revert rule is mentioned on many Wiki pages. Perhaps the page I read some time ago didn't include the full definition or the 24-hour limit. But Rainwarrior breaks more rules than that one.
Rainwarrior continually calling my motivations as "self-promotion" without offering any evidence and without assuming good faith (especially in light of me admitting that as newbies, mistakes were made about posting links a lonmg time ago) is evidence of provocation, no? And it's provoking especially since NO ONE can read minds and motivation, and especially since the evidence I ask to be read indicates when taken as a whole that self-promotion is inconsistent with my character and life history -- to an unbiased onlooker.
Rainwarrior has never written anywhere in all these thousands of words that it is even possible that self-promotion was not my motivation (as "good faith' would indicate). And considering that every edit war on the pages mentioned was started with bad-faith edits by Rainwarrior, by assuming the worst motivations on my part -- and which "wars" were never started by me -- check out the facts, and find out what is the whole truth, rather than seizing upon a "technicality" that captures the literal words of a guideline -- thus insisting "on the letter of a rule while grossly violating its spirit," which seems here to be used to protect Rainwarrior's bad-faith "mind-reading summaries" for his edits. So that means I too can revert as many times as Rainwarrior if I wait 25 hours for the third edit?
Interesting that none of the other points I made are considered or dealth with. Just the one defending how to "legally" get away with the reverts Rainwarrior targeted at me rather than for the good of the article. Very one-sided "cherry-picking" approach, don't you think? Please examine your arguments in the light of all the evidence and the spirit of the issue? Is that possible to do? The rules were not meant to be used as a weapon to chase scholars away, or to target individual editors. They are being used, however, exactly as such, whether you can see that or not. I've lived long enough, as a Jew, as a civil rights & social-justice activist to recognize when I am being screwed.
It is important to look at a situation as a whole, yes? Namely, keeping in mind, as the Wiki/troll page wrote: "the refusal (by Rainwarrior) to consider evidence and citations or to accept consensus or compromise." And mindful of basic ethics of seeing the spirit as well as ONLY the technicality of the issue and the rules. Anyway, in keeping with the technicality of "24 hours" that I missed up to now, I will remove my accusation. But the rest of my points remain unaddressed, unrecognized, unconsidered, marginalized or ignored. But. Suit yourselves. "The tree that cannot bend with the wind -- breaks." (anon.) --Bob Fink, 65.255.225.42 21:37, 18 January 2007 (UTC)
This subject interests me and I was hoping to find some discussion here. Harmony seems to be far more prevalent in western culture than it is in eastern culture. I've been told there are eastern languages that have no word for harmony in their vocabulary. If anyone could shed some insight on this subject, I believe it would improve the article. Grumpyoldgeek 03:28, 4 February 2007 (UTC)
This section is so odd. What exactly is anyone supposed to learn from this table? In addition, the characters used for sharp and flat do not adhere to the music guidlines. Matt.kaner 03:39, 20 February 2007 (UTC)
I think there are enough problems on this page to merit a complete rewrite. Though some of the info is factually accurate it is lacking in sources/references, and the overall structure of the article makes for very bad reading. I think it is a given that there will be some overlap between this article and 'Chords', but if you look at various musicological encyclopedias and dictionaries, this is perfectly normal. In fact articles on 'Harmony' usually form the bulk of the info on the subject. There doesn't seem to be (correct me if i'm wrong) a unified article on Western Harmonic Practice anywhere on Wikipedia; it's all very bitty - and while it's essential to have these specialised articles on Augmented Sixth chords, for example, there is nothing to explain the general application of the harmonic system in western art music. Matt.kaner 18:23, 23 February 2007 (UTC)
The article uses the term "chromatic" without adequate explanation. This term, along with "diatonic", is the cause of serious uncertainties at several other Wikipedia articles, and in the broader literature. Some of us thought that both terms needed special coverage, so we started up a new article: Diatonic and chromatic. Why not have a look, and join the discussion? Be ready to have comfortable assumptions challenged! – Noetica♬♩ Talk 22:14, 3 April 2007 (UTC)
harmony may be
accord, affinity, amicability, amity, compatibility, concord, conformity, consensus, consistency, cooperation, correspondence, empathy, fellow-feeling, friendship, good will, kinship, like-mindedness, peace, rapport, sympathy, tranquility, unanimity, understanding, unity
[Origin: 1350–1400; ME armonye < MF < L harmonia < Gk harmonía joint, framework, agreement, harmony, akin to hárma chariot, harmós joint, ararískein to join together]
1. agreement; accord; harmonious relations. 2. a consistent, orderly, or pleasing arrangement of parts; congruity. 3. Music. a. any simultaneous combination of tones. b. the simultaneous combination of tones, esp. when blended into chords pleasing to the ear; chordal structure, as distinguished from melody and rhythm. c. the science of the structure, relations, and practical combination of chords.
4. an arrangement of the contents of the Gospels, either of all four or of the first three, designed to show their parallelism, mutual relations, and differences. see http://dictionary.reference.com/browse/harmony
i think the Harmony page should start from a backgrounder if nobody has an objection then i will edit the background of this page please note that the harmony page is linked with the peace page —The preceding unsigned comment was added by Motegole ( talk • contribs) 08:50, 28 April 2007 (UTC).
Can I ask what the point of the Intervals section is, particularly from the passage beginning:
In the musical scale, there are twelve pitches...
I have not deleted it, however I am very tempted to do so, because it doesn't really seem to relate to this article. Perhaps in another article? Can we have a consensus? Madder 16:56, 25 May 2007 (UTC)
What may the study of harmony in non-Western music be called, if such a thing may be considered to exist (which it sometimes is)? Hyacinth 15:56, 27 June 2007 (UTC)
Is it just me, or does this article seem incredibly biased towards western harmony, and within that, towards historical harmony...i.e. not only does this article seem to include stuff most relevant to western music, but it doesn't even seem to encompass modern western music, jazz, etc, let alone anything that falls outside of the 12-tone equally tempered system (such as Indian classical music, Javanese Gamelan, very early western music, etc.)??? I am tempted to add another cleanup tag. Cazort 18:41, 5 November 2007 (UTC)
There is no musical tradition where the horizontal relations are not considered. I assume that "harmony as 'harmony'" means tonality, a page you should all consult (roughly: certain hierarchical relationships of pitches). Only one decision needs to be made:
All current sources assert that "harmony" applies to all horizontal relationships, not just tonal harmony. Hyacinth ( talk) 20:18, 17 November 2007 (UTC)
Hyacinth you are missing the point here. We are talking largely about vertical relationships for starts. Secondly the questions you are asking imply that we as Wikipedians make some serious value judgements. That is not our place. If this is to be a serious article all we need to do is cite the debates surrounding these ideas. We aren't meant to make any kinds of decisions at all. I do not know any sources currently in print that assert that "harmony" applies to all horizontal relationships. (The sound made by a car driving past your house then followed by a bus driving past would fall in to this category). However, I think you'll find that most of them say that harmony is a means of codifying vertical relationships and implied vertical relationships however. In many musics the consideration of vertical pitch is not considered to be particularly pertinent. What are you really digging at? Matt.kaner ( talk) 01:17, 18 November 2007 (UTC)
How can the note names ABC etc be 'intransigent' ie "Refusing to moderate a position, especially an extreme position; uncompromising" Is this a technical use of the word, or just the wrong word? I would have thought they were 'arbitrary"... or do you just mean they don't change? Wreader 20:48, 11 October 2007 (UTC)
Cited definitions of music:
Why does the metal band Blind Guardian link to this page? Seems pointless. —Preceding unsigned comment added by 70.65.9.247 ( talk) 04:45, 22 May 2008 (UTC)
In music the pitch allow pieces of music to come together when it is all finished. The pitch is considered to represent the perceived fundamental frequency of a sound. It is basically one of the three major auditory attributes of sounds along with loudness and timbre. The pitch broken apart is actually the harmony and melody. Before finding what allows harmony and melody to form music, there is a way that the two develop by themselves before joining. Harmony be consider “The clothing of melody”; which is considered rather too wide and calls for a little limitation. In this element the “voices” or “parts” that accompany the chief one inevitably produce, amongst themselves and with I, a succession of chords. This chordal aspect of the combination of voices or parts which is properly described as the elements of harmony. (SCHOLES, 444) The chords in harmony tend to exist in a scale-tonal infrastructure. It is said that certain chords project a quality and instability and tension as well as are known as dissonant chords while other chords project a quality of stability and respose are known as consonant chords. In harmony chords require at least three different tons in their structure. The three- tone chord is like a triad and can contain as few as three tones as well as many as seven or more. In developing harmony the commonly structured four-tone and five-tone chord which is called a 9th chord; a more elaborate chords are 11th chords(six-tone chords) and 13th chords(seven-tone chords). Harmony is basically constructed from the raw materials of scale tone, which in result has a scale infrastructure and tonal attributes of the major-minor tonal system. The chord in this element may be built on each scale degree (tone) of the equal-tempered scales of Western music. As the harmony is still in development each scale degree may serve as the root of a chord to be built on that particular scale degree. In the scales of western music of harmony there are seven different general interval distances (2nds, 3rds, 4ths, 5ths, 5ths, 7ths octaves) as well as four different specific interval qualities – major, minor, diminished, augmented. Also part of the development of harmony are two specific qualities of third intervals – major 3rd and minor 3rd. because of these two intervals, there are four different triad qualities – major, minor, diminished, augmented. Harmony can be subjected to the gravitational forces of the major –minor tonal system. Listed below are the different chords, scale degree and intervals use in putting together harmony.
• The tonic chord (I) – this is considered the major minor tonal system chord with the greatest stability and gravitational attraction, which is based upon the lowest scale degree (tone). • Dominant Chord (V) – this chord is considered the second greatest stability and gravitational attraction which is the fifth scale degree. • Subdominant Chord (IV) - this chord in harmony is the third greatest stability and gravitational attraction which is the fourth scale degree. —Preceding unsigned comment added by 74.206.73.205 ( talk) 15:12, 25 November 2008 (UTC)
One of the fundamental constructs in the study of harmony is Roman numeral analysis. Roman numeral analysis emerged in the 19th as a way to codify elements in earlier 18th century music, abstracting vertical relationships in music as chords. Modern scholarship has criticized this as being problematic in that it could be an oversimplistic account of vertical relationships in music (Parncutt 89). Nevertheless, Roman numeral analysis has proven quite effective as a tool for uncovering certain relationships in music and is quite interesting in its own right. We should therefore discuss it in the article.
I also propose an extended discussion on psychoacoustic models of harmony as well as sensory vs. syntactic accounts of harmony in music. (Parncutt, 89; Bigand 2003) Just a thought 165.124.212.109 ( talk) 03:12, 10 June 2010 (UTC)
"In tertian or tertial harmony, so named after the interval of a third. The members of chords are found and named by stacking intervals of major and minor thirds, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Note that chord members are named after their interval above the root, not by their numerical inclusion in the building of the chord.) Traditionally, a triad must have, or imply at least three members to be called a chord, although 2-member dyads are sometimes treated as chords, especially in rock (see power chords)."
Before I edit the sub-heading content, a note here is in consideration of any further discussion inclusive to the reasons for edits.
The first sentence is not complete.
Major intervals may be altered to be augmented, diminished and/or minor. It is suffice, especially for the divulgence into the specifics of tertian harmony, to introduce the stacking as purely a third relation.
It is also suffice to say "(Note that chord members are named after their interval above the root)." The use of "numerical inclusion" is vague, if not confusing and misleading. Having stated "starting with the 'root'", sufficient basis is presented with "(Note that chord members are named after their interval above the root)." to show the method of building chords in the order they are reckoned with respect to proper spelling.
The last sentence here is the worst. A triad is always a chord with three members. Dyads (or intervals), the simplest chords, always contain two members. The introduction of "rock", aside from being a bastardization of "rock 'n roll", the genre named after continental drift, may serve to bolster "power chords", which I have not read, it is not introduced thematically to support the previous statements except in error. Prophet of the Most High ( talk) 18:27, 25 October 2010 (UTC)
The use of width is more appropriate to shoe size. Concerning musical intervals we use size or magnitude. Prophet of the Most High ( talk) 18:43, 25 October 2010 (UTC)
Re this quotation: "The great power of this fact is that any song can be played or sung in any key—it will be the same song, as long as the intervals are kept the same, thus transposing the melody into the corresponding key." I know next to nothing, but I thought very simply minor key melodies couldn't be transposed into major keys and vice versa. —Preceding unsigned comment added by 173.22.229.254 ( talk) 23:11, 29 March 2011 (UTC)
Although I have music education I do not agree that music harmony is the main meaning of the word and in disambiguation page I dont see any type of issue reflecting the main meaning of harmony:
—Synonyms
-- Aleksd ( talk) 17:42, 31 July 2011 (UTC)
Ideally, these should either link to a topic, or be better explained. -- 76.89.189.214 ( talk) 06:32, 23 July 2012 (UTC)
"As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths." When, exactly? During the reign of one of the first four Edwards? During the Hundred Years War? Eldin raigmore ( talk) 05:25, 16 September 2014 (UTC)
Lots of potentially incorrect information here; see talk page for discussion. JZ CL 10:01, 16 May 2015 (UTC)
Unlikely search term, would be better off in main article Ifnord ( talk) 18:31, 27 December 2019 (UTC)
Certainly, I am unable to understand the definition of harmony given: "... harmony is the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing". Is harmony a process? Isn't it rather a fact? In this "process", is the composition of individual sounds, or superposition of sounds, analyzed by hearing? Although this can occur perceptually... it is not the harmony itself, I think. — Preceding unsigned comment added by Witrock ( talk • contribs) 07:15, 10 May 2020 (UTC)