Abstract
The commentary asserts the importance of conducting additional research on additive dissonance, and discusses the need for terminological precision in discussions of sensory versus systemic (i.e. learned, context-dependent) dissonance.
Abstract
The author responds to points raised in David Temperley's commentary, which appeared in Vol. 1, No. 2 of Empirical Musicology Review. The response includes a discussion of strengths and limitations of atemporal models of musical perception, with particular attention to presentations such as those of Carol Krumhansl and Fred Lerdahl.
