Abstract
Dissonance and consonance are basic attributes of any music whether it be modal, tonal, atonal, or twelve-tone, etc. The decision processes required of the listener for recognizing a particular sound event as a dissonance (and distinguishing its components) will be different for the various musical styles (presumably, those processes will not be too different between some modal and tonal music). This study represents an effort to formalize, in a computer program, a sequence of possible processes for the recognition of component elements of selected dissonant structures in the modal music of the Renaissance composer, Josquin Desprez.' Voice-Leading in Dissonances. Assuming the intervals of a 2nd, 7th, 4th (with lowest sounding voice), and their octave equivalents to be dissonant, we addressed ourselves initially to the following problem: Given two pitches, e.g., G and A (Ex. 1), that form a dissonance, which is the dissonant pitch?
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