This beat theory of dissonance was first put forward by Joseph Sauveur (1653-1716) in 1700.
The frequency of beats giving maximum dissonance rises as we rise higher in the musical scale, and falls as we descend.
He had published in 5539 his Kriegbi chlein des Friedens (pseudonymous), his Schrifftliche and ganz gri ndliche Auslegung des 64 Psalms, and his Das verbiitschierte mit sieben Siegeln verschlossene Buck (a biblical index, exhibiting the dissonance of Scripture); in 1541 his Spruchworter (a collection of proverbs, several times reprinted with variations); in 1542 a new edition of his Paradoxa; and some smaller works.
In the same year appeared Evanson's work entitled The Dissonance of the four generally received Evangelists, to which replies were published by Priestley and David Simpson (1793).
The first symptom of dissonance was a proclamation by the commander of the Upper Danube division, Arthur Gdrgei, from his camp at Vacz (Jan.
The two tones are now dissonant, and, as we have seen, about the middle of the scale the maximum dissonance is when there are between 30 and 40 beats per second.
When two sources emit only pure tones we might expect that we should have no dissonance when, as in the major seventh, the beat frequency is greater than the range of harshness.
The very marked dissonance of the major seventh is thus explained.
This tone may be within dissonance range of one of the primaries.
If the pitch is raised still further the dissonance lessens, and when there are about 130 beats per second the interval is consonant.