"I think the origin of all this clamour for tonality is not so much the need to sense a relationship to the tonic, as a need for familiar chords: let us be frank and say "for the triad"; and I believe I have good reason to say that just so long as a certain kind of music contains enough such triads, it causes no offence, even if in other ways it most violently clashes with the sacred laws of tonality."
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Alban Berg, quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p.34. Translated by Leo Black.Alban Berg
I think there are some objective [musical] qualities... how complex something is, how melodic, how diverse the tonality is, et cetera. But I could also make a piece of music that contains all of those and yet isn't "good" from a subjective viewpoint. For example, take Beethoven's "Moonlight Sonata", Beatles "Yesterday", and Underworld's "Born Slippy", and play them all on top of each other at the same time. Great music in their own right, but terrible sounding together.
Andrew Sega
The concept of 'tonality' signifies the unified relationship of chords to a central tonic and hence comprises two different assumptions: first, the existence of unifying factors, and second, the existence of, or at least the hypothetical ability to reconstruct, a tonal center.
Ernst Kurth
"In the passage quoted here from Monteverdi's madrigal [Cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant."
Francois-Joseph Fetis
For the past fifty years at least, Western scholars have approached the study of myth from a viewpoint markedly different from, let us say, that of the nineteenth century. Unlike their predecessors, who treated myth in the usual meaning of the word, that is, as "fable," "invention," "fiction," they have accepted it as it was understood in archaic societies, where, on the contrary, "myth" means a "true story" and, beyond that, a story that is a most precious possession because it is sacred, exemplary, significant. This new semantic value given the term "myth" makes its use in contemporary parlance somewhat equivocal. Today, that is, the word is employed both in the sense of "fiction" or "illusion" and in that familiar especially to ethnologists, sociologists, and historians of religions, the sense of "sacred tradition, primordial revelation, exemplary model." ... the Greeks steadily continued to empty mythos of all religious and metaphysical value. Contrasted both with logos and, later, with historia, mythos came in the end to denote "what cannot really exist." On its side, Judaeo-Christianity put the stamp of "falsehood" and "illusion" on whatever was not justified or validated by the two Testaments.
Mircea Eliade
"Tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire."
Susan McClary
Berg, Alban
Bergen, Edgar
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