The Exploration of Adoptee Dissonance In the Discontinuity of Child & Adult Adoptee's Lives
In the Adoptee's search for truth the diluted truth is the norm of what we must sift through to reconstruct the puzzle of the displaced, the discarded and the silenced truths.
The adopted child's world is filled with conflict, taboo and silence. The adoptee's silence is seen as mental health and well-adjustment in the social culture, which is contradictory to the adoptee's self-truth, self-satisfaction, self-acceptance. The truth of the adoptee's plight, if silence is maintained is seen as a healthy and normal mental status.
as long as the adoptee remains silent the adoptive family and social community sees the adopted child as acceptable behavior, but "not public or social acceptance".
Dissonance has several meanings, all related to conflict or incongruity:
- Cognitive Dissonance is a state of mental conflict.
- Dissonance in poetry is the deliberate avoidance of assonance, i.e. patterns of repeated vowel sounds. Dissonance in poetry is similar to cacophony and the opposite of euphony.
- Cultural Dissonance is an uncomfortable sense experienced by people in the midst of change in their cultural environment.
- In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion: a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. Consonance and dissonance define a level of sweetness / harshness, pleasantness / unpleasantness, acceptability / unacceptability, of the sounds or intervals under consideration. As Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied" (Hindemith 1942, p. 85).The opposition can be made in different contexts:
In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second is heard. For this reason, consonance and dissonance have been considered particularly in the case of polyphonic Occidental music, and the present article is concerned mainly with this case.Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psycho-physiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context – which is one of the reasons why the musical definition of consonance/dissonance cannot match the psycho-physiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of 'dissonance' and of 'noise'.While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself the dissonance: it is this tone in particular that needs "resolution" through a specific voice leading.
- In acoustics or psycho-physiology, the distinction may be objective. In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).
- In music, even if the opposition often is founded of the preceding, objective distinction, it more often is subjective, conventional, cultural, and style-dependent. Dissonance can then be defined as a combination of sounds that does not belong to the style under consideration; in recent music, what is considered stylistically dissonant may even correspond to what is said consonant in the context of acoustics (e.g. a major triad in atonal music).