As to why some sets of notes sound good or harmonious and others sound "bad" or dissonant, we find that frequencies with the simplest mathematical ratios tend to sound the most harmonious, while frequencies with more complex ratios sound more dissonant.
So for example the simplest ratio 2:1 corresponds to an octave interval. Notes which are an octave apart sound so similar that we describe them with same letter. So concert A is 440Hz and the "A" note one octave higher is 880Hz.
The next simplest ratio, 3:2 corresponds to the interval known as a perfect fifth. So given the example of concert A at 440Hz again, one perfect fifth above concert A is the note E which has a frequency of 660Hz as (440 * 3) / 2 = 660.
We find the simplest ratios of frequency intervals present in music from cultures the world over. The traditional classical Western twelve-note scale consists of the 12 simplest frequency ratios. In some Eastern music we hear a pentatonic or five note scale, which consists of the five simplest frequency ratios.
So this aspect of music we can attribute to innate psycho-acoustics or even physics rather than cultural bias.
So for example the simplest ratio 2:1 corresponds to an octave interval. Notes which are an octave apart sound so similar that we describe them with same letter. So concert A is 440Hz and the "A" note one octave higher is 880Hz.
The next simplest ratio, 3:2 corresponds to the interval known as a perfect fifth. So given the example of concert A at 440Hz again, one perfect fifth above concert A is the note E which has a frequency of 660Hz as (440 * 3) / 2 = 660.
We find the simplest ratios of frequency intervals present in music from cultures the world over. The traditional classical Western twelve-note scale consists of the 12 simplest frequency ratios. In some Eastern music we hear a pentatonic or five note scale, which consists of the five simplest frequency ratios.
So this aspect of music we can attribute to innate psycho-acoustics or even physics rather than cultural bias.