Chapter 7 will examine the question of consonance and dissonance of musical ratios and intervals in the medieval Islamic world and the growing importance of the human soul in the discussions pertaining to this question. The Pythagoreans, having conceptualized the relationship between two notes as a numerical ratio, insisted that the key to consonance and dissonance lay in the mathematical neatness of these ratios. The Aristoxenians, however, insisted that consonance and dissonance were a matter of human experience. A third group of synthesizers emerged that aimed at reconciling the two approaches: Neoplatonic philosophers. Inheriting the works of these philosophers, scholars of music in the Islamic world set about the task of explaining the mechanisms of apprehension of consonance by human ears according to mathematical rules. In this process, the role of the soul as the link between humanity and the cosmos – with its mathematical underpinnings – gradually grew in emphasis.

This section of the book takes a holistic approach by exploring elements of the compositional lingua franca that catalyzed a new musical poetics. Chapter 7 identifies approximately eight parameters (e.g., text-setting, cadences, and harmony) that in tandem can be used to create dramatic arcs.

This chapter reassesses how norm studies around the three moves have advanced and limited our understanding of ambiguous and conflictive relations between norms. It focuses on a specific type of norm relation, a norm collision. Conflicting or incompatible social expectations regarding the appropriate behaviour of actors in a given situation characterise a norm collision. Adherence to one norm may then result in the breach of another. First, the chapter engages with the neglect or limited perspective of norm collisions in the three moves of norm research. Second, it illustrates how choosing a specific norm concept – as connected to each of the three ‘moves’ in norm research – matters for theorising and identifying norm collisions in and between dense and complex institutional frameworks and as a result of contestation. Third, it discusses how crises nurture norm collisions by destabilising agreed-upon norm balances. It uses the most recent transnational and domestic policy responses to the outbreak of the COVID-19 pandemic as an example of how norms interact in practice and how a prioritisation of one norm may (negatively) affect another.

This chapter explores the ways that the concept of a “disharmonic constitution” provides a useful analytic lens for the comparative study of constitution making in religiously divided societies. We consider constitutional design strategies that enable and allow for disharmonies – including choices to include ambiguity and even contradiction within a constitutional text, as well as to defer certain questions for incremental resolution through ordinary politics rather than textual entrenchment. These strategies demonstrate the utility and even centrality of dissonances in interpreting the “unfinished symphony” that is constitutional identity. In the chapter, we explore these themes by considering constitutional design in the Turkish and Israeli cases. We highlight the ways in which the concept of “disharmonic constitutionalism” and the significance of dissonance in constitutional design point towards a toolkit of options for religiously divided societies that seek to draft constitutions that manage rather than resolve underlying tensions over questions of constitutional identity. We share with Jacobsohn an appreciation for constitutionalism as an expression of contingent and local identities, negotiated across historical processes of contestation and meaning-making with more of an evolutionary than a revolutionary character, even in countries that may undergo moments of sharp political rupture, reversal or transformation.

The Laws makes clear its commitment to a form of Socratic paradox: no one who is unjust is so voluntarily. I show first how its protagonist – the Athenian Visitor – maintains this position, without resorting to the Socratic thesis that knowingly acting against one's beliefs about what is best is some sort of impossibility, and indeed recognizing the phenomenon of cognitive dissonance. My main concern, however, is with the Athenian's treatment – near the outset of the penology of Book 9 – of what is presented as a serious threat posed by the paradox to any viable theory of criminal behaviour and its punishment; or as he puts it, to the distinction drawn 'in every city and by every legialator there has ever been between two sorts of wrongdoing (adikêmata), voluntary and involuntary'. The Athenian's strategy for resisting the threat (as most commentators note) relies on distinguishing between volutarily harming someone, which requires compensation and often purification, and involuntary commission of injustice, which merits punishment, reconceptualized however as treatment for psychic disease. How far this distinction is successful in defusing the problem is then explored.

This essay aims to show how one remarkable practitioner of vernacular scholastic literary theory, Reginald Pecock (d. c. 1361), Bishop of Chichester, deployed it to service diverse orders of worth in his works by at once upending and apparently re-accepting authorised ecclesiastical discourses, including the Ten Commandments, the Apostles’ Creed and orthodox definitions of God as creator or as infinite. Focusing especially on the theoretical category of ordinatio, it investigates how Pecock both upsets and re-accommodates such discourses in places where the articulation and control of spiritual authority in this world and the tapping of divine authority from the next were at stake. In both his rejection of standard doctrinal discourses and his (re)accommodation of them in his own new system, Reginald deploys a full repertoire of scholastic terms, practices and attitudes. Pecock’s novel and astoundingly ambitious reconfiguration of Christian knowledge and doctrine was a gargantuan programme, endeavouring to efface and outdo traditional discourses of the Church whilst at the same time taking pains palpably, even anxiously, to be equivalent or answerable to that which it would displace. Pecock, in attempting re-cognition of the familiar, ended up recognising it dissonantly within his own unfamiliar discourse.

Chapter 10 explores the challenges of representing dissonant historical narratives related to questionable practices of incarceration, particularly of civilians. Heritage sites and institutions have preserved and interpreted the histories of these many sites through encounters with former captives and collection of their stories, objects and artworks, onsite at the physical locations of former captivity. Revisiting the major case studies in Canada, Australia, Japan and Singapore, the chapter examines the construction of physical memorials, cemeteries and peace gardens as a reparative practice, with ensuing tensions for national memory-making, asking what lessons might be drawn regarding settler citizenship.

This chapter is the first of three that set out the basic building blocks of musical syntax in Renaissance music, beginning with those connected to pitch. The first section sets out the key concepts of music theory dating back to the time of Guido of Arezzo in the eleventh century, whose pertinence endures into the Renaissance (thus, the gamut, mode, the species of fourth and fifth, the so-called Guidonian Hand, and the hexachord). The next section lays out the complex (and at time fraught) relationship between these concepts and composed polyphony, laying bare in particular the tension between modes (which were initially adapted from Greek theory to classify plainchant) and polyphony. This is seen most obviously in the functioning of the most fundamental element of counterpoint, the cadence. The chapter concludes by considering other key elements of pitch-treatment, including musica ficta, dissonance treamtment, and enhanced or expanded chromatic practice.

Prosodic dissonance marks out those most difficult and most stimulating poetic works in rhythm. Poems that do dissonance, from Gerard Manley Hopkins to successive waves of avant-garde poetry over the last century, have confounded commentators and exposed certain analogical faultlines. Recourses to ‘musicality’ in poetry have long assumed that the ‘music’ of a poem must mean, in a word, euphony. Yet a musical poem, as Northrop Frye noted, would withhold rhythmic or rhymic resolve, sporting rugged, crabbed accents and lumbering polysyllables, a sequence of discords only ending with a harmony. Such analogies further do not take into account the centrality of dissonance in twentieth-century music. We therefore need new models and new ways of talking about prosodic dissonance that can take into account a fuller range of poetics. Prosody that attempts such dissonance can be found in the works of Jackson Mac Low, who greatly admired Hopkins. In a reading that follows Frye on Hopkins’s ‘inscape’ I claim that Mac Low seeks ‘outscape’, an emancipation of dissonant potential. Instress becomes outstress, a poetics of clashing exteriors; ‘pure projected detachment’, energy thrown outward and away from the poet, or starting out and finding in.