> If you apply this procedure to intervals using harmonic timbres (timbres composed of partials with frequency an integer multiple of the fundamental frequency), the dissonance curve has minima that happen to be at small integer frequency ratios.
In practice that's pretty much "the ear cares about ratios" isn't it? Sure, it's caring about the ratios because they align with harmonic timbres in non-percussive instruments, but various human cultures do listen to a wide variety of instruments and voice with harmonic timbres, and perceive melody and chords based around [reasonably close approxiaations] of simple integer ratios sounding more consonant.
The implications for creating chordal music with synthesised inharmonic timbres designed to be consonant are interesting, but not widely applicable to what we actually listen to as music; and much of what we hear that goes outside simple ratios with the express intent of sounding dissonant...
In practice that's pretty much "the ear cares about ratios" isn't it? Sure, it's caring about the ratios because they align with harmonic timbres in non-percussive instruments, but various human cultures do listen to a wide variety of instruments and voice with harmonic timbres, and perceive melody and chords based around [reasonably close approxiaations] of simple integer ratios sounding more consonant.
The implications for creating chordal music with synthesised inharmonic timbres designed to be consonant are interesting, but not widely applicable to what we actually listen to as music; and much of what we hear that goes outside simple ratios with the express intent of sounding dissonant...