Why the Vocal Dissonance? He's speaking to them telepathically - in a voice that they are comfortable hearing - the voice of the ten year old boy who has been with them all along.
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but he still has the voice of a ten-year-old boy despite being a massive dragon.
In the ending, one bit that becomes somewhat Narmtastic is when Maotelus speaks to the party. Velvet did just what Heldalf would do later. Think about how someone who didn't know about Kamoana and the Abbey might interpret this: The Lord of Calamity brings about malevolence that brings ill effects to the people caught in her path. One action Velvet and company do during the course of the story is basically cause an entire town to turn into werewolves due to the malevolence. but later on she becomes much more enthusiastic about it. At the very start, she says "Food's ready. Velvet goes entirely off of feedback from others, and when the feedback turns more positive, becomes more and more confident with her cooking. Velvet's big sidequest is all about cooking - exactly how does she get better at cooking if she can't even taste her own cooking? Easy - the others can. 
Just like with Aifread, it's a Mercy Kill - you've chased Shenlong all around the world, its tired and Malaks turned into dragons can't commit suicide. But when you finally confront Shenlong for real, even despite the fact that your party is now at least in the mid 50s, it's still much much easier to strafe around and stagger. When the player first tries to fight Shenlong, it's a Hopeless Boss Fight.
The same can be said about Shenlong to a lesser extent. Informed Ability? Yes - but it's actually justified in that you're clearly not fighting Aifread at his best and you are performing a Mercy Kill. Throughout the entire game, Eizen, Zaveid, and the crew talk about how powerful Aifread is, yet once you actually fight him he's weak to void damage and is actually somewhat of an Anti-Climax Boss. Melchior's theme, Unwavering Reason is Power is slightly slower than the above themes but is more menacing to compensate, symbolizing Melchior's overwhelming power and the important role he holds in performing Abbey's dirty work in the shadows. The guitar and the Japanese instruments naturally reflect Shigure's position as head of the Rangetsu clan and his connection to Rokurou (whose Leitmotif also features a guitar and a Japanese flute), but the differences in instruments also symbolize how Shigure himself is not interested in the plans of Artorius or the Abbey and thus doesn't play by their rules. Shigure's theme, Beat of Rangetsu is unique, prominently featuring a guitar and a Japanese flute and koto which is heard nowhere in the Abbey's main theme. 
However, compared to his sister's battle theme above, this theme is much more orderly but no less intense, as the pounding orchestra makes it clear that Oscar won't take his sister's defeat lying down and will resort to using armatization to finish the job. Oscar's theme, Justice of the Knight, also prominently features the One-Woman Wail heard in the Abbey's main theme in combination with Ominous Latin Chanting to cement his staunch beliefs in the Abbey and his connection to the person who possesses the theme above.
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