is a result of brain's response to unusual or rare sound perceptions. The brain is remembering and ranking the sound patterns that usually enters the ears, and if an unusual (rare occurring) sound is listened to, a well known EEG pattern emerges (P300/P3b) indicating an oddball event. This causes slight stress in the listener, which is causing the sensation of dissonance. In the same paper, Pankovski and Pankovska show by a software simulated neural network that the brain is capable of such remembering and ranking of the sound patterns, thus perfectly reproducing the well known Helmholtz's list of two-tone intervals ordered by consonance/dissonance, for the first time in the history of studying these phenomena. As a consequence, Pankovski and Pankovska suggest that the consonance and dissonance are biologically dependent for the more consonant sounds, and culturally dependent for the more dissonant sounds. Generally, the sonance (i.e., a continuum with pure consonance at one end and pure dissonance at the other) of any given interval can be controlled by adjusting the timbre in which it is played, thereby aligning its partials with the current tuning's notes (or vice versa). The sonance of the interval between two notes can be maximized (producing consonance) by maximizing the alignment of the two notes' partials, whereas it can be minimized (producing dissonance) by mis-aligning each otherwise nearly aligned pair of partials by an amount equal to the width of the critical band at the average of the two partials' frequencies.( Controlling the sonance of pseudo-harmonic timbres played in pseudo-just tunings in real time is an aspect of dynamic tonality. For example, in William Sethares' piece C to Shining C] (discussed at ), the sonance of intervals is affected both by tuning progressions and timbre progressions, introducing tension and release into the playing of a single chord. The strongest homophonic (harmonic) cadence, the authentic cadence, dominant to tonic (D-T, V-I or V7-I), is in part created by the dissonant tritone created by the seventh, also dissonant, in the dominant seventh chord, which precedes the tonic. Instruments producing non-harmonic overtone series Musical instruments like bells and xylophones, called Idiophones, are played such that their relatively stiff, non-trivial mass is excited to vibration by means of a blow. This contrasts with violins, flutes, or drums, where the vibrating medium is a light, supple string, column of air, or membrane. The overtones of the inharmonic series produced by such