In music, a consonance (Latin ''com-'', "with" + ''sonare'', "to sound") is a harmony, chord, or interval considered stable, as opposed to a dissonance (Latin ''dis-'', "apart" + ''sonare'', "to sound"), which is considered to be unstable (or temporary, transitional). In more general usage, a ''consonance'' is a combination of notes that sound pleasant to most people when played at the same time; ''dissonance'' is a combination of notes that sound harsh or unpleasant to most people.

Consonance

Consonance has been defined variously through: With ratios of lower simple numbers being more consonant than those that are higher (Pythagoras). Many of these definitions do not require ''exact'' integer tunings, only approximation.

''Coincidence of partials'': with consonance being a greater coincidence of partials (called harmonics or overtones when occurring in harmonic timbres) (Helmholtz, 1877/1954). By this definition, consonance is dependent not only on the width of the interval between two notes (i.e., the musical tuning), but also on the combined spectral distribution and thus sound quality (i.e., the timbre) of the notes (see the entry under critical band). Thus, a note and the note one octave higher are highly consonant because the partials of the higher note are also partials of the lower note. Although Helmholtz's work focused almost exclusively on harmonic timbres and tunings, subsequent work has generalized his findings to embrace non-harmonic tunings and timbres.

''Fusion or pattern matching'': fundamentals may be perceived through pattern matching of the separately analyzed partials to a best-fit exact-harmonic template (Gerson & Goldstein, 1978) or the best-fit subharmonic (Terhardt, 1974). Harmonics may be perceptually fused into one entity, with consonances being those include:

Perfect consonances:

*unisons and octaves

*perfect fourths⁺ and perfect fifths

Imperfect consonances:

*major thirds and minor sixths

*minor thirds and major sixths

⁺The perfect fourth is considered a dissonance in most classical music when its function is contrapuntal.

Note that in the Western Middle Ages, only the octave and perfect fifth were considered consonant harmonically (see Interval (music) or Just Intonation for the explanation).

Dissonance

In Western music, dissonance is the quality of sounds that seems "unstable" and has an aural "need" to "resolve" to a "stable" consonance. Both ''consonance'' and ''dissonance'' are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Although there are physical and neurological facts important to understanding the idea of dissonance, the precise definition of dissonance is culturally conditioned — definitions of and conventions of usage related to dissonance vary greatly among different musical styles, traditions, and cultures. Nevertheless, the basic ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony, or tonality.

Additional confusion about the idea of dissonance is created by the fact that musicians and writers sometimes use the word ''dissonance'' and related terms in a precise and carefully defined way, more often in an informal way, and very often in a metaphorical sense ("rhythmic dissonance"). For many musicians and composers, the essential ideas of dissonance and resolution are vitally important ones that deeply inform their musical thinking on a number of levels.

Despite the fact that words like ''unpleasant'' and ''grating'' are often used to explain the sound of dissonance, all music with a harmonic or tonal basis—even music perceived as generally harmonious—incorporates some degree of dissonance. The buildup and release of tension (dissonance and resolution), which can occur on every level from the subtle to the crass, is partially responsible for what listeners perceive as beauty, emotion, and expressiveness in music.

Dissonance and musical style

Understanding a particular musical style's treatment of dissonance — what is considered dissonant and what rules or procedures govern how dissonant intervals, chords, or notes are treated — is key in understanding that particular style. For instance, harmony is generally governed by chords, which are collections of notes defined to be tolerably consonant by the style. (Though there is likely to be a hierarchy of chords, with some considered more consonant and some more dissonant.) Any note that does not fall within the prevailing harmony is considered dissonant. Particular attention is paid to how dissonances are approached (approach by step is less jarring, approach by leap more jarring), and even more to how they are resolved (almost always by step), to how they are placed within the meter and rhythm (dissonances on stronger beats are more emphatic and those on weaker beats less vital), and to how they lie within the phrase (dissonances tend to resolve at phrase's end). In short, dissonance is not used willy-nilly but is used in a very careful, controlled, and well-circumscribed way. The subtle interplay of different levels of dissonance and resolution is vital to understanding the tonal and harmonic language of any style.

Dissonance in history of Western music

Dissonance has been understood and heard differently in different musical traditions, cultures, styles, and time periods.

Relaxation and tension have been used as analogy since the time of Aristotle till the present (Kliewer, p. 290).

In early Renaissance music, intervals such as the perfect fourth were considered dissonances that must be immediately resolved. The ''regola delle terze e seste'' ("rule of thirds and sixths") required that imperfect consonances should resolve to a perfect one by a half-step progression in one voice and a whole-step progression in another (Dahlhaus 1990, p. 179). Anonymous 13 allowed two or three, the ''Optima introductio'' three or four, and Anonymous 11 (15th century) four or five successive imperfect consonances. By the end of the 15th century, imperfect consonances were no longer "tension sonorities" but, as evidenced by the allowance of their successions argued for by Adam von Fulda, independent sonorities; according to Gerbert (vol.3, p. 353), "Although older scholars once would forbid all sequences of more than three or four imperfect consonances, we who are more modern allow them." (ibid, p. 92)

In the common practice period all dissonances were required to be prepared and then resolved, giving way or returning to a consonance. There was also a distinction between melodic and harmonic dissonance. Dissonant melodic intervals then included the tritone and all augmented and diminished intervals. Dissonant harmonic intervals included:

minor second and major seventh

augmented fourth and diminished fifth (enharmonically equivalent, tritone)

Thus, Western musical history can be seen as starting with a quite limited definition of consonance and progressing towards an ever wider definition of consonance. Early in history, only intervals low in the overtone series were considered consonant. As time progressed, intervals ever higher on the overtone series were considered as such. The final result of this was the so-called "emancipation of the dissonance" (the words of Arnold Schoenberg) by some 20th-century composers. Early 20th-century American composer Henry Cowell viewed tone clusters as the use of higher and higher overtones.

Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over important developments in the history of Western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism.

One example of imperfect consonances previously considered dissonances in Guillaume de Machaut's "Je ne cuit pas qu'onques":

One example of baroque dissonance:

One example of classical-era dissonance:

One example of modernist dissonance:

The West's progressive embrace of increasingly dissonant intervals occurred almost entirely within the context of harmonic timbres, as produced by vibrating strings and columns of air, on which the West's dominant musical instruments are based. By generalizing Helmholtz's notion of consonance (described above as the "coincidence of partials") to embrace non-harmonic timbres and their related tunings, consonance has recently been "emancipated" from harmonic timbres and their related tunings (Milne et al., 2007, 2008; Sethares et al., 2009). Using electronically controlled pseudo-harmonic timbres, rather than strictly harmonic acoustic timbres, provides tonality with new structural resources such as Dynamic tonality. These new resources provide musicians with an alternative to pursuing the musical uses of ever-higher partials of harmonic timbres and, in some people's minds, may resolve what Arnold Schoenberg described as the "crisis of tonality".

The Middle Ages

''According to Johannes de Garlandia'':

Perfect consonance: unisons and octaves

Mediocre consonance: fourths and fifths

Imperfect consonance: minor and major thirds

Perfect dissonance: minor seconds, tritonus, and major sevenths

Mediocre dissonance: major seconds and minor sixths

Imperfect dissonance: major sixths and minor sevenths

Physiological basis of dissonance

Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated.

For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound that is very audible. Musical styles such as traditional European classical music consider this effect to be objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound (Vassilakis, 2005).

Sensory dissonance and its two perceptual manifestations (beating and roughness) are both closely related to a sound signal's amplitude fluctuations. Amplitude fluctuations describe variations in the maximum value (amplitude) of sound signals relative to a reference point and are the result of wave interference. The interference principle states that the combined amplitude of two or more vibrations (waves) at any given time may be larger (constructive interference) or smaller (destructive interference) than the amplitude of the individual vibrations (waves), depending on their phase relationship. In the case of two or more waves with different frequencies, their periodically changing phase relationship results in periodic alterations between constructive and destructive interference, giving rise to the phenomenon of amplitude fluctuations.

Amplitude fluctuations can be placed in three overlapping perceptual categories related to the rate of fluctuation. Slow amplitude fluctuations (≈≤20 per second) are perceived as loudness fluctuations referred to as beating. As the rate of fluctuation is increased, the loudness appears to be constant, and the fluctuations are perceived as "fluttering" or roughness. As the amplitude fluctuation rate is increased further, the roughness reaches a maximum strength and then gradually diminishes until it disappears (≈≥75-150 fluctuations per second, depending on the frequency of the interfering tones).

Assuming the ear performs a frequency analysis on incoming signals, as indicated by Ohm's acoustic law (see Helmholtz 1885; Plomp 1964), the above perceptual categories can be related directly to the bandwidth of the hypothetical analysis filters (Zwicker et al. 1957; Zwicker 1961). For example, in the simplest case of amplitude fluctuations resulting from the addition of two sine signals with frequencies ''f''₁ and ''f''₂, the fluctuation rate is equal to the frequency difference between the two sines |''f''₁-''f''₂|, and the following statements represent the general consensus:

a) If the fluctuation rate is smaller than the filter bandwidth, then a single tone is perceived either with fluctuating loudness (beating) or with roughness.

b) If the fluctuation rate is larger than the filter bandwidth, then a complex tone is perceived, to which one or more pitches can be assigned but which, in general, exhibits no beating or roughness.

Along with amplitude fluctuation rate, the second most important signal parameter related to the perceptions of beating and roughness is the degree of a signal's amplitude fluctuation, that is, the level difference between peaks and valleys in a signal (Terhardt 1974; Vassilakis 2001). The degree of amplitude fluctuation depends on the relative amplitudes of the components in the signal's spectrum, with interfering tones of equal amplitudes resulting in the highest fluctuation degree and therefore in the highest beating or roughness degree.

For fluctuation rates comparable to the auditory filter bandwidth, the degree, rate, and shape of a complex signal's amplitude fluctuations are variables that are manipulated by musicians of various cultures to exploit the beating and roughness sensations, making amplitude fluctuation a significant expressive tool in the production of musical sound. Otherwise, when there is no pronounced beating or roughness, the degree, rate, and shape of a complex signal's amplitude fluctuations are variables that continue to be important through their interaction with the signal's spectral components. This interaction is manifested perceptually in terms of pitch or timbre variations, linked to the introduction of combination tones (Vassilakis, 2001, 2005, 2007).

The beating and roughness sensations associated with certain complex signals are therefore usually understood in terms of sine-component interaction within the same frequency band of the hypothesized auditory filter, called critical band.

Frequency ratios: ratios of higher simple numbers are more dissonant than lower ones (Pythagoras).

In human hearing, the varying effect of simple ratios may be perceived by one of these mechanisms:

*Fusion or pattern matching: fundamentals may be perceived through pattern matching of the separately analyzed partials to a best-fit exact-harmonic template (Gerson & Goldstein, 1978) or the best-fit subharmonic (Terhardt, 1974), or harmonics may be perceptually fused into one entity, with dissonances being those intervals less likely to be mistaken for unisons, the imperfect intervals, because of the multiple estimates, at perfect intervals, of fundamentals, for one harmonic tone (Terhardt, 1974). By these definitions, inharmonic partials of otherwise harmonic spectra are usually processed separately (Hartmann et al., 1990), unless frequency or amplitude modulated coherently with the harmonic partials (McAdams, 1983). For some of these definitions, neural firing supplies the data for pattern matching; see directly below (e.g., Moore, 1989; pp. 183–187; Srulovicz & Goldstein, 1983).

*Period length or neural-firing coincidence: with the length of periodic neural firing created by two or more waveforms, higher simple numbers creating longer periods or lesser coincidence of neural firing and thus dissonance (Patternson, 1986; Boomsliter & Creel, 1961; Meyer, 1898; Roederer, 1973, pp. 145-149). Purely harmonic tones cause neural firing exactly with the period or some multiple of the pure tone.

Dissonance is more generally defined by the amount of beating between partials (called harmonics or overtones when occurring in harmonic timbres) (Helmholtz, 1877/1954). Terhardt (1984) calls this "sensory dissonance". By this definition, dissonance is dependent not only on the width of the interval between two notes' fundamental frequencies, but also on the widths of the intervals between the two notes' non-fundamental partials. Sensory dissonance (''i.e.'', presence of beating and/or roughness in a sound) is associated with the inner ear's inability to fully resolve spectral components with excitation patterns whose critical bands overlap. If two pure sine waves, without harmonics, are played together, people tend to perceive maximum dissonance when the frequencies are within the critical band for those frequencies, which is as wide as a minor third for low frequencies and as narrow as a minor second for high frequencies (relative to the range of human hearing). If harmonic tones with larger intervals are played, the perceived dissonance is due, at least in part, to the presence of intervals between the harmonics of the two notes that fall within the critical band.

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 (''ibid.'', Sethares 2009).

Controlling the sonance of more-or-less non-harmonic timbres in real time is an aspect of dynamic tonality. For example, in Sethares' piece ''C To Shining C'' (discussed here), the sonance of intervals is affected both by tuning progressions and timbre progressions.

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.

George Russell's theory

There is some disagreement on this consonance to dissonance chart, stemming from George Russell's ''Lydian Chromatic Concept of Tonal Organization''. The theorist regards the tritone over the tonic as a rather consonant interval, contrary to slightly popular belief.

See also

Chord factor

Dissonant counterpoint

Limit (music)

Phonoaesthetics

Semitone

Beat (acoustics)

Roughness (psychophysics)

References

Further reading (partial list)

Burns, Edward M. (1999). "Intervals, Scales, and Tuning", in ''The Psychology of Music'' second edition. Deutsch, Diana, ed. San Diego: Academic Press. ISBN 0-12-213564-4.

Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). ''Studies in the Origin of Harmonic Tonality''. Princeton University Press. ISBN 0-691-09135-8.

Helmholtz, H. L. F. (1885 [1954]). ''On the Sensations of Tone as a Physiological Basis for the Theory of Music''. 2nd English edition. New York: Dover Publications. [Die Lehre von den Tonempfindungen, 1877. 4th German edition, trans. A. J. Ellis.]

Kliewer, Vernon (1975). "Melody: Linear Aspects of Twentieth-Century Music", ''Aspects of Twentieth-Century Music''. Delone, et. al. (eds.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.

Sethares, W. A. (1993). "Local consonance and the relationship between timbre and scale". ''Journal of the Acoustical Society of America'', 94(1): 1218. (A non-technical version of the article is available at )

Tenney, James. (1988). ''A History of "Consonance" and "Dissonance"''. White Plains, NY: Excelsior; New York: Gordon and Breach.

Vassilakis, P.N. (2001). ''Perceptual and Physical Properties of Amplitude Fluctuation and their Musical Significance''. Doctoral Dissertation. University of California, Los Angeles.

Vassilakis, P.N. (2005). "Auditory roughness as means of musical expression". ''Selected Reports in Ethnomusicology'', 12: 119-144.

Vassilakis, P.N. and Fitz, K. (2007). SRA: A Web-based Research Tool for Spectral and Roughness Analysis of Sound Signals. Supported by a Northwest Academic Computing Consortium grant to J. Middleton, Eastern Washington University.

External links

Atlas of Consonance

Consonance and Dissonance — Index to Notes by David Huron at Ohio State University School of Music

*Bibliography of Consonance and Dissonance

The Keyboard Tuning of Domenico Scarlatti

"Music has teeth! (Dissonance in music)" A simple explanation of dissonance with short examples

Category:Harmony Category:Melody Category:Musical composition Category:Musical techniques

ca:Consonància de:Konsonanz et:Konsonants el:συμφωνία και διαφωνία es:Consonancia es:Disonancia eo:Dissonantaĵo eo:Kunsonantaĵo it:Consonanza e dissonanza he:דיסוננס pt:Consonância e dissonância ru:Консонанс и диссонанс sl:Konsonanca in disonanca fi:Dissonanssi sv:Dissonans uk:Дисонанс (музика)

Coordinates	33°51′35.9″N151°12′40″N
name	Shaun Micallef
birth name	Shaun Patrick Micallef
birth date	July 18, 1962
birth place	Adelaide, South Australia, Australia
medium	Television, radio, books, internet
nationality	Australian
active	1987-present
genre	Sketch comedy, surrealism, dadaism
subject	humour
influences	The Goons, Peter Sellers, Marx Brothers, S. J. Perelman, James Thurber, Spike Milligan, Barry Humphries, Frank Muir, Monty Python, Woody Allen
influenced	Sammy J
spouse	Leandra (1988-present) 3 children
notable work	''The Micallef P(r)ogram(me)''''Welcher & Welcher''''Micallef Tonight''''Newstopia''''Thank God You're Here''''Talkin' 'Bout Your Generation''
footnotes	}}

Shaun Patrick Micallef (born 18 July 1962) is an Australian comedian, actor and writer. After ten years of working in insurance law as a solicitor in Adelaide, Micallef moved to Melbourne to pursue a full-time comedy career in 1993. He first gained recognition as a cast member of the sketch comedy show ''Full Frontal'', which in turn led to a number of television roles including his own sketch show, ''The Micallef P(r)ogram(me)'', the sitcom ''Welcher & Welcher'' and the variety show ''Micallef Tonight''. He also fronted the satirical news comedy series ''Newstopia'' on SBS and currently hosts the game show ''Talkin' 'Bout Your Generation'' on Network Ten.

In addition to his television work Micallef has appeared on stage, most notably in the Australian production of Boeing Boeing, and radio as the co-host of Melbourne station Vega 91.5 FM's morning program. He is also a published author; his book ''Smithereens'' was released in 2004, and re-released in January 2011. His other book, a novella by the name of ''Preincarnate'', was released in 2010.

Personal life

Micallef was born in Adelaide, South Australia and is of Maltese and Irish descent. His father worked for a company that sold parts for Volvos and his mother was employed at the Bank of Adelaide. As a child he lived in Clovelly Park and attended St Bernadette's School in St. Marys then St Joseph’s Catholic School in Mitchell Park (now Sacred Heart College Middle School) before moving on to Sacred Heart Senior College where he was the College Captain. He studied law at the University of Adelaide, where he was frequently involved in comedy revues, often involving Francis Greenslade and Gary McCaffrie, with whom he continues to work. He was a practising solicitor for ten years in the field of insurance law before making the decision to move to Melbourne and pursue a full-time career in comedy in 1993. He currently lives in Williamstown, Victoria with his wife Leandra (whom he married in 1988) and their three sons. He relates the story that while working as a solicitor, he talked so much about making a career change and becoming a comedian that his wife gave him an ultimatum. She circled a date in the near future on a calendar and told Shaun to quit his job and become a comedian by that date, or never talk about it again.

Career

Early theatre

In 1972, having three younger sisters taking ballet classes, ten year old Micallef was often asked to help out when a dance routine required a boy. The following year he auditioned for the Bunyip Children's Theatre and over the next four years participated in plays that they performed in the Scott Theatre during school holidays. In 1976 he doubled for Humphrey B. Bear for personal appearances.

Television and film

Following early TV appearances on ''Theatre Sports'' (1987) and ''The Big Gig'' (1989), in early 1993 Micallef was offered a job writing for the ''Jimeoin'' show which was soon followed by an offer to also write for the sketch comedy show ''Full Frontal'' where six months later he took on the role as co-producer with Gary McCaffrie. In 1994, Micallef became a full time cast member of ''Full Frontal'', where he became well-known for characters such as Milo Kerrigan, Nobby Doldrums and a send-up of Italian male model Fabio. Micallef recalls that the show was a good introduction to television comedy because, with an ensemble cast, its success did not hinge on his performance and he had more freedom to make and learn from mistakes. However, he was frustrated with the lack of control he had over his work in the series as well as the repetition of characters and gags.

Micallef's role on ''Full Frontal'' led to a 1996 special ''Shaun Micallef's World Around Him'' and three seasons of the two-time Logie Award-winning ABC series ''The Micallef Program'' (1998–2001), which he co-wrote and produced with long-time writing partner Gary McCaffrie. Since the series' end he has created and starred in two short-lived television series—the sitcom ''Welcher & Welcher'' (2003) and the variety show ''Micallef Tonight'' (2003)—and devised a series of telemovies, ''BlackJack'' (2003–present).

He has also had acting roles on the television series ''SeaChange'' (2000), ''Through My Eyes'' (2004) and "Offspring" (2010), and supporting roles in the films ''Bad Eggs'' (2003), ''The Honourable Wally Norman'' (2003), ''The Extra'' (2005), ''Aquamarine'' (2006), and The King (2007). In 2006, Micallef was a recurring guest on the Network Ten Improvisational theatre show ''Thank God You're Here''.

In 2007, along with partners McCaffrie and Michael Ward, Micallef developed the satirical comedy program ''Newstopia'', which he hosted. The show began airing 10 October 2007 on SBS, and in August 2008 it was announced that a third series had been commissioned. In 2009, Micallef joined the Ten Network and is now hosting "Talkin' 'Bout Your Generation", which has been a hit on Australian television screens.

Other work

In September 2005, Micallef began hosting the breakfast show on Melbourne radio station Vega 91.5 FM, ''Shaun, Beverley and Denise'', with comedian Denise Scott and television presenter Beverley O'Connor. In July 2006, comedian Dave O'Neil took over as host and the show was renamed ''Dave and Denise with Shaun Micallef''. Micallef left the network on 23 November 2007.

He has also released a book, ''Smithereens'', which was published in 2004 and contains a collection of prose, poetry and plays. Micallef describes it as a collection of "all sorts of bits and pieces I have written".

Mainstream popularity

With Micallef's 2009 move to the Ten Network's Talkin' 'Bout Your Generation, a sudden and unprecedented rise in his popularity within the Australian mainstream has been observed. His contract with the program marks his first long-term position in a commercial network and has raised his profile in commercial television. The extent of this has been demonstrated with celebrity appearances on Rove McManus' ''Rove'' and ''Are You Smarter Than a 5th Grader?'', and on ''9am with David & Kim''. In 2010, he was voted most popular presenter at the Annual Logie Awards.

List of works

Films

''The King'' (2007) - Colin Bednall

''Aquamarine'' (2006) - Storm Banks

''The Extra'' (2005) - Paul Ridley

''Bad Eggs'' (2003) - Premier Cray

''The Honourable Wally Norman'' (2003) - Ken Oats

''The 13th House'' (2003) - Sir

''Silly Billy Don't Touch That!'' (Unknown)

Television

''Laid'' (2011–present) - G-Bomb

''A Quiet Word With ...'' (2011) - Himself (guest)

''Offspring'' (2010) - Lachlan

''Shaun Micallef's New Year's Rave'' - Host

''Are You Smarter Than a 5th Grader?''

''Chaser's War on Everything'' (2009) - Himself (guest in the Rudd song sketch)

''Rove'' (2009) - Himself (guest)

''Melbourne International Comedy Festival'' (2009) - Host

''Talkin' 'Bout Your Generation'' (2009–present) - Host

''Good News Week'' (2009) - Himself (Guest)

''Spicks and Specks'' (2008) - Himself (guest)

''Newstopia'' (2007–2008) - Himself

''Dogstar'' (2007) - Narrator

''Thank God You're Here'' (2006–present) - Various (semi-regular guest)

''The Shambles'' (2006) - (guest cameo)

''Through My Eyes'' (2005) - Jack Winneke

''BlackJack'' (2003–2007) (writer)

''Micallef Tonight'' (2003) - Himself (also writer)

''Welcher & Welcher'' (2003) - Quentin Welcher (also writer/producer)

''SeaChange'' (2000) - Warwick Munro

''The Micallef Program'' (1998–2001) - Various (also writer/producer)

''Shaun Micallef's World Around Him'' (1996) - Various (also writer/producer)

''The Glynn Nicholas Show'' (1996) (writer)

''Full Frontal'' (1994–1996) - Various (also writer/producer)

''Jimeoin'' (1994) - Various (also writer)

''The Big Gig'' (1989) (writer)

Theatre

''Boeing Boeing'' (2008) - Bernard

''Good Evening - Sketches from Dudley Moore and Peter Cook'' (2010)

Radio shows

''Dave and Denise with Shaun Micallef'' on Vega 91.5 FM (2005–2007)

''Hamish & Andy'' on Fox FM (a guest twice)

''Pete and Myf'' (with ''Newstopia'' writer Richard Marsland on Triple M (guest two times)

''Get This'' appeared on the final show in the first hour

Books

''Preincarnate'' (2010)

''Smithereens'' (2004)

Music

''His Generation'' (2009)

Awards

2008: Won Aria Award Best Comedy Release - ''The Expurgated Micallef Tonight: The Very Best of Shaun Micallef's Short-Lived but Brilliant Tonight Show''

2010: Won Most Popular Presenter and nominated for the Gold Logie at the Logie Awards for his role on Talkin' 'Bout Your Generation.

References

External links

Unofficial Shaun Micallef Fansite

Unofficial Shaun Micallef Fansite

Category:1962 births Category:Australian comedians Category:Australian film actors Category:Australian lawyers Category:Australian television presenters Category:Living people Category:Australian people of Maltese descent Category:People from Adelaide Category:Comedians from Melbourne Category:University of Adelaide alumni Category:ARIA Award winners Category:Australian culture Category:People from Williamstown, Victoria

ga:Shaun Micallef