Scalar Dissonance and the Analysis of Polytonal/Modal Mismatch in Twentieth-Century Music

Abstract

Building on early-century intuitions and inclusive views about polytonality/
polymodality as modulation in simultaneity and layered dissonance by Milhaud (1923),
Koechlin (1924), Casella (1924) and Bártok (1943), the article proposes the notion
of scalar dissonance as an analytical model for multilayered scale interactions. The
model develops a conceptual framework and graphic representation for the combined
musical structure whose workings draw on the analogy to metric dissonance theory.
The framework set up stands as a regulatory principle for the interpretation of scale
relations. Scalar dissonance proposes a measuring tool for the degree of mismatch
or friction as well as the degree of porosity/permeability between distinct scale- segments. The analytical approach is set apart from other scale theory measuring tools such as voice leading. It grounds a listening strategy for reorientation across
layers and forms the basis for an experiential approach to contrapuntal textures of
polytonality, examining aspects of layer interaction and syntax in music by Milhaud,
Bartók, and Ravel.