,TONALITY & ,TOTALITY 

#aiid 

,PEOPLE 3 

,AU?OR 3 ,JOHN ,Z]ZAN 

,TEXT 3 

,! DEF9+ ( S5TIM5TS HAS ALWAYS BE5 A PREOCCUPATION ( RELIGIONS & GOV]NM5TS4 ,BUT = QUITE SOME TIME MUSIC1 ) ITS APP>5T 9DIFF]5CE TO EXT]NAL REALITY1 HAS BE5 DEVELOP+ AN IDEOLOGICAL P[] ( EXPRESSION HI!RTO UNKN[N4 ,ORIG9ALLY MUSIC WAS A UTILITY TO E/ABLI% ! RHY?MS ( WORK1 ! RHY?MS ( DANCES :I* W]E RITUAL OBS]VANCES4 ,& WE KN[ ?AT IT WAS TREAT$ AS A VITAL SYMBOLIC RE9=CEM5T ( ! 0H>MONY0 ( ANCI5T ,*9ESE HI]>*ICAL SOCIETY1 JU/ AS TO ,PLATO & ,>I/OTLE IT EMBODI$ KEY MORAL FUNCTIONS 9 ! SOCIAL ORD]4 ,! PY?AGOREAN BELIEF ?AT 0! :OLE COSMOS IS A H>MONY & A NUMB]0 LEAP$ FROM ! FACT ( NATURAL SONIC PH5OM5A TO AN ALL-5COMPASS+ PHILOSOPHICAL IDEALISM1 & WAS E*O$ AB\T A ?\S& YE>S LAT] BY ! SEV5? C5TURY 5CYCLOP$I/ LSADORE ( ,SEVILLE1 :O ASS]T$ ?AT ! UNIV]SE 0IS HELD TOGE!R BY A C]TA9 H>MONY ( S\NDS1 & ! HEAV5S !MSELVES >E MADE TO REVOLVE0 BY ITS MODULATIONS4 ,AS ,SAN*O ,PANZA SAID TO ! DU*ESS 7ANO!R ?\S& YE>S D[N ! ROAD71 :O WAS DI/RESS$ AT HE>+ ! DI/ANT S\ND ( AN OR*E/RA 9 ! =E/1 0,:]E !RE IS MUSIC1 ,MADAM1 !RE C\LD BE NO MIS*IEF40 

,9DE$1 MANY ?+S HAVE BE5 SAID TO *>ACT]IZE ! ELUSIVE ELEM5T WE KN[ AS MUSIC4 ,/RAV9SKY1 = EXAMPLE1 WAS QUITE S]I\S 9 D5Y+ ITS EXPRESSIVE1 EMOTIONAL ASPECT3 0,! PH5OM5ON ( MUSIC IS GIV5 TO US = ! SOLE PURPOSE ( E/ABLI%+ ORD] 9 ?+S1 & *IEFLY BETWE5 MAN & TIME40 ,IT DOES SEEM CLE> ?AT MUSIC CALMS ! S5SE ( TIME'S OPPRESSIV5ESS1 BY (F]+1 9 ITS PATT]NS ( T5SIONS & RESOLUTIONS1 A TEMPORAL C\NT]WORLD4 ,AS ,LEVI-,/RAUSS PUT IT1 0,BECAUSE ( ! 9T]NAL ORGANIZATION ( ! MUSICAL WORK1 ! ACT ( LI/5+ TO IT IMMOBILIZES PASS+ TIME2 IT CAT*ES & 5FOLDS IT AS ONE CAT*ES & 5FOLDS A CLO? FLAPP+ 9 ! W9D40 

,BUT1 CONTRA ,/RAV9SKY1 !RE IS CLE>LY MORE TO MUSIC1 MORE TO ITS COMPELL+ APPEAL1 ( :I* ,HOM] SAID1 0,WE ONLY HE>1 WE KN[ NO?+40 ,P>T ( ITS MY/]I\S RESONANCE1 IF Y\ WILL1 IS ITS SIMULTANE\S UNIV]SALITY & IMM$IACY4 ,H]E9 LIES ALSO ITS AMBIGUITY1 A C>D9AL FEATURE ( ALL >T4 ,AN ,EIS5/ADT PHOTOGRAPH ( #a#i#c#d1 5TITL$ 0,! ,ROOM 9 :I* ,BEE?OV5 WAS ,BORN10 TE/IFIES TO ! LATT] PO9T2 JU/ AS HE WAS AB\T TO TAKE ! PICTURE1 A P>TY ( ,NAZIS >RIV$ & PLAC$ A COMMEMORATIVE WREA? -- %[N 9 ! =EGR\ND -- BE=E ! ROOM'S BU/ ( ,BEE?OV54 

,SO ! GREAT G5RE ( 9W>DNESS ?AT IS MUSIC HAS BE5 APPROPRIAT$ TO MANY PURPOSES & PHILOSOPHIES4 ,TO ! ,M>XI/ ,BLO*1 IT IS A REALM :]E ! UTOPIAN HORIZON ALREADY 0BEG9S AT \R FEET40 ,IT LETS US HE> :AT WE DO NOT HAVE1 AS 9 ,M>CUSE'S POETIC =MULATION ?AT MUSIC IS 0A REMEMBRANCE ( :AT C\LD BE40 ,AL?\< REPRES5TATION IS ALREADY RECONCILIATION ) SOCIETY1 !RE IS ALWAYS A MOM5T ( LONG+ 9 MUSIC4 0,SOME?+ IS LACK+1 & S\ND AT LEA/ /ATES ?IS LACK CLE>LY4 ,S\ND HAS ITSELF SOME?+ D>K & ?IR/Y AB\T IT & BL[S AB\T 9/EAD ( /OPP+ 9 ONE PLACE1 LIKE PA9T10 TO QUOTE ,BLO* ONCE MORE4 ,ADORNO 9SI/$ ?AT ! TRU? ( MUSIC IS 0GU>ANTE$ MORE BY ITS D5IAL ( ANY MEAN+ 9 ORGANIZ$ SOCIETY10 CONSONANT ) A RETREAT 9TO ES!TICS AS HIS *OICE = ! LA/ REPOSITORY ( NEGATION 9 AN ADM9I/]$ WORLD4 

,MUSIC1 H[EV]1 LIKE ALL >T1 [ES ITS EXI/5CE TO ! DIVISION ( LABOR 9 SOCIETY4 ,AL?\< IT IS /ILL G5]ALLY SE5 9 ISOLATION1 AS P]SONAL CREATION & AUTONOM\S SPH]E1 SOCIAL MEAN+ & VALUES >E ALWAYS 5COD$ 9 MUSIC4 ,?IS TRU? COEXI/S ) ! FACT ?AT MUSIC REF]S TO NO?+ O!R ?AN ITSELF AS IS (T5 SAID1 & ?AT :AT IT SIGNIFIES IS1 AT BASE1 ALWAYS DET]M9$ SOLELY BY ITS 9N] RELATION%IPS4 ,IT IS VALID TO PO9T \T1 AFT] ,ADORNO1 ?AT MUSIC CAN BE UND]/OOD AS 0A K9D ( ANALOG TO ?AT ( SOCIAL !ORY40 ,IF IT KEEPS OP5 0! IRRATIONAL DOORWAYS0 ?R\< :I* WE GLIMPSE 0! WILDNESS & ! PANG ( LIFE10 ACCORD+ TO ,A>ON ,COPL&1 ITS IDEOLOGICAL COMPON5T MU/ ALSO BE RECOGNIZ$1 ESPECIALLY :5 IT CLAIMS TO TRANSC5D SOCIAL REALITY & ITS ANTAGONISMS4 

,9 0,! ,RATIONAL & ,SOCIAL ,F\NDATIONS ( ,MUSIC0 ,WEB] 7AS ELSE:]E7 CONC]N$ HIMSELF ) ! DIS5*ANTM5T ( ! WORLD1 9 ?IS CASE SE>*+ \T ! IRRATIONAL MUSICAL ELEM5TS 7E4G4 ! #g? *ORD7 :I* SEEM$ TO HIM TO HAVE ESCAP$ ! RATIONALI/IC EQUALIZATION ?AT *>ACT]IZES ! DEVELOPM5T ( MOD]N BUREAUCRATIC SOCIETY4 ,BUT IF NON-RATIONALIZ$ NATURE IS A REBUKE TO EQUIVAL5CE1 A REM9D] & REMA9D] ( NONID5TITY1 MUSIC1 ) ITS OBSESSIVE RULES1 IS NOT SU* A REM9D]4 

,RESE>* C>RI$ \T AT ! ,UNIV]SITY ( ,*ICAGO DEMON/RAT$ ?AT !RE >E MORE ?AN ?IRTE5 HUNDR$ DISC]NIBLE PIT*ES AVAILABLE TO MELODIC CONSCI\SNESS1 YET ONLY A V]Y SMALL FRACTION ( !M >E ALL[$4 ,NOT EV5 ! EI<TY-EI<T TONES ( ! PIANO REALLY COME 9TO PLAY1 CONSID]+ ! REPETITION ( ! OCTAVE /RUCTURE -- ANO!R ASPECT ( ! ABS5CE ( FREE OR NATURAL MUSIC4 

,NOT R$UCIBLE TO WORDS1 AT ONCE 9TELLIGIBLE & UNTRANSLATABLE1 MUSIC CONT9UES TO REFUSE US COMPLETE ACCESS4 ,LEVI-,/RAUSS1 9TRODUC+ ,! ,RAW & ! ,COOK$1 EV5 W5T SO F> AS TO ISOLATE IT AS 0! SUPREME MY/]Y ( ! SCI5CE ( MAN 7SIC71 A MY/]Y ?AT ALL ! V>I\S DISCIPL9ES COME UP AGA9/ & :I* HOLDS ! KEY TO !IR PROGRESS40 ,?IS ESSAY LOCATES ! FUNDAM5TALS RA!R MORE SIMPLY1 NAMELY 9 ! QUE/ION ( MUSIC'S P]5NIAL COMB9ATION ( FREE EXPRESSION ) SOCIAL REGULATION2 MORE PRECISELY 9 ?IS CASE1 ) AN HI/ORICAL TREATM5T ( ?AT :I* IS \R S5SE ( MUSIC1 ,WE/]N TONALITY4 ,PUT 9 CONTEXT1 ITS /&>DIZ$ GRAMM> TO A L>GE EXT5T ANSW]S ! QUE/ION ( :AT IT IS ?AT MUSIC SAYS4 ,& ! DEP? ( ITS AU?ORITY MAY BE UND]/OOD AS APPLICABLE TO ,NIETZS*E'S FE> ?AT 0,WE %ALL NEV] BE RID ( ,GOD SO LONG AS WE /ILL BELIEVE 9 GRAMM>40 

,BUT BE=E SITUAT+ TONALITY HI/ORICALLY1 A FEW WORDS >E 9 ORD] T[>D DEF9+ ?IS BASIC MUSICAL SYNTAX1 A CULTURAL PRACTICE :I* HAS BE5 T]M$ ONE ( ! GREATE/ 9TELLECTUAL A*IEVEM5TS ( ,WE/]N CIVILIZATION4 ,FIR/1 IT MU/ BE /RESS$ ?AT1 CONTR>Y TO ! ASS]TION ( MAJOR !ORI/S ( TONAL H>MONICS FROM ,RAMEAU TO ,S*5K]1 TONALITY WAS NOT DE/9$ BY ! PHYSICAL ORD] ( S\NDS4 ,TONE1 ALMO/ NEV] F\ND FIX$ AT ! SAME PIT* 9 NATURE1 IS DIVE/$ ( ANY NATURAL QUALITY & %AP$ ACCORD+ TO >BITR>Y LAWS2 ?IS /&>DIZATION & /RICT DI/ANC+ >E ELEM5T>Y TO H>MONIC PROGRESS1 & T5D T[>D AN 9/RUM5TAL OR ME*ANICAL EXPRESSION & AWAY FROM ! HUMAN VOICE4 ,AS A RESULT ( ! SELECTION MADE 9 ! S\ND CONT9UUM BY AN >BITR>ILY IMPOS$ SCALE1 HI]>*ICAL RELATIONS >E E/ABLI%$ AMONG ! NOTES4 

,S9CE ! ,R5AISSANCE 7& UNTIL ,S*O5B]G71 ,WE/]N MUSIC HAS BE5 CONCEIV$ ON ! BASIS ( ! DIATONIC SCALE1 :OSE C5TRAL ELEM5T IS ! TONIC TRIAD1 OR DEF9$ KEY1 :I* SUBORD9ATES ! O!R NOTES TO IT4 ,TONALITY ACTUALLY MEANS ! /ATE ( HAV+ A PIT* -- ! TONIC1 AS IT IS MO/ SIMPLY CALL$ -- ?AT HAS AU?ORITY OV] ALL ! O!R TONES2 ! SY/EMATICS ( ?IS LEAD+-NOTE QUALITY HAS BE5 ! PREOCCUPATION ( \R MUSIC4 ,S*5K] WROTE ( ! TONIC'S 0DESIRE TO DOM9ATE ITS FELL[ TONES03 9 HIS *OICE ( WORDS WE CAN ALREADY BEG9 TO SEE A CONNECTION BETWE5 TONALITY & MOD]N CLASS SOCIETY4 ,! LEAD+ !ORI/ ( TONAL AU?ORITY1 HE REF]R$ TO IT 9 #aif AS 0A SORT ( HI<] COLLECTIVE ORD]1 SIMIL> TO A /ATE1 BAS$ ON ITS [N SOCIAL CONTRACTS BY :I* ! 9DIVIDUAL TONES >E B\ND TO ABIDE40 

,!RE >E MANY :O /ILL HOLD ?AT ! EM]G5CE ( A TONAL C5T] 9 A WORK IS AN 9EVITABLE PRODUCT ( NATURAL H>MONIC FUNCTION & CANNOT BE SUPPRESS$4 ,H]E WE HAVE AN EXACT P>ALLEL TO IDEOLOGY1 :]E ! HEGEMONY ( ! FRAME ( REF]5CE ?AT IS TONALITY IS TREAT$ AS M]ELY SELF-EVID5T4 ,! IDEOLOGICAL MIASMA :I* HELPS MAKE O!R SOCIAL CON/RUCTS SEEM NATURAL & OBJECTIVE ALSO HIDES ! RUL+ PREJUDICES ?AT >E EMB$D$ 9 ! ESS5CE ( TONALITY4 ,IT IS1 NONE!LESS1 AS ,>NOLD ,S*O5B]G SUGGE/$1 A 'DEVICE' TO PRODUCE UNITY4 ,9 FACT1 TONAL MUSIC IS FULL ( ILLUSION1 SU* AS ?AT ( FALSE COMMUNITY1 9 :I* ! :OLE IS PORTRAY$ AS BE+ MADE UP ( AUTONOM\S VOICES2 ?IS IMPRESSION TRANSC5DS MUSIC TO PROVIDE A LEGITIMIZ+ REFLECTION ( ! G5]AL DIVISION ( LABOR 9 DIVID$ SOCIETY4 

,DYNAMICALLY SPEAK+1 TONALITY CREATES A S5SE ( T5SION & RELEASE1 ( MOTION & REPOSE1 ?R\< ! USE ( *ORDAL DISSONANCE & CONSONANCE4 ,MOVEM5T AWAY FROM ! TONIC IS EXP]I5C$ AS T5SION1 RETURN+ AS A HOMECOM+1 A RESOLUTION4 ,ALL TONAL MUSIC MOVES T[>D RESOLUTION 9 ! CAD5CE OR CLOSE1 ) ! TONIC *ORD RUL+ ALL O!R H>MONIC COMB9ATIONS1 DRAW+ !M TO ITSELF1 & EMBODY+ AU?ORITY1 /ABILITY1 REPOSE4 ,SUPRAMUSICALLY1 A NO/ALGICALLY PA9FUL ATTITUDE ( W&]+ & RETURN+ RUNS ?R\< ! :OLE C\RSE ( B\RGEOIS CULTURE1 & IS ABLY EXPRESS$ BY ! V]Y MOVEM5T BASIC TO TONALITY4 

,?IS P]IODIC CONV]G5CE T[>D A PO9T ( REPOSE 5ABL$ 9CREAS+LY EXT5D$ MUSICAL /RUCTURES1 & ! >EAS ( TONAL EXPECTATION & FULFILLM5T CAME TO BE PLAC$ FUR!R AP>T4 ,IT IS NOT SURPRIS+ ?AT AS ! DOM9ANT SOCIETY MU/ /RIVE = AGREEM5T1 ASS5T -- H>MONY -- FROM ITS SUBJECTS ?R\< GREAT] DI/ANCES ( ALI5ATION1 TONALITY DEVELOPS MORE DI/ANT DEP>TURES FROM ! C]TA9TY & REPOSE ( ! TONIC & ?US L5G?I] DELAYS 9 GRATIFICATION4 ,! =C$ M>* ( PROGRESS F9DS ITS CORRESPOND5CE 9 ! RATIONALIZ$ DIRECTION-COMPULSION ( TONIC-DOM9ANT H>MONY1 COMPLETE ) A P]SI/5T PATRI>*AL *>ACT]4 

,?REE C5TURIES ( TONALITY ALSO T5D TO BURY AW>5ESS ( ITS SUPPRESSION ( E>LI] RHY?MIC POSSIBILITIES1 ITS N>R[+ ( ! GREAT 9N] V>IETY ( ! RHY?M TO A S*EMATIC ALT]NATION ( '/RESS$' & 'UN/RESS$'4 ,! RISE ( TONALITY SIMIL>LY CO9CID$ ) ! COM+ TO P[] ( SYMMETRICAL ?9K+ & ! RECAPITULAT+ MUSICAL /RUCTURE1 ! POSSIBILITY ( ATTA9+ A C]TA9 CLOSURE BY MEANS ( A C]TA9 UNI=MITY4 ,*5NEVI]E1 9 DISCUSS+ TONALITY'S NEWLY SIMPLIFI$ & 9TELLECTUALIZ$ SY/EM ( NOTATION1 DISC]N$ 0A MO/ RADICAL IMPOV]I%M5T ( OCCID5TAL MUSIC10 REF]R+ MA9LY TO ! SYMMETRICAL BALANC+ ( CLAUSE AGA9/ CLAUSE & ! EMPHASIS ON *ORDAL REPETITION4 

,9 ! E>LY N9ETE5? C5TURY1 ,WILLIAM ,*APPELL PUBLI%$ A COLLECTION ( 0NATIONAL ,5GLI% AIRS0 7POPUL> SONGS7 9 :I* ACADEMIC H>MONIC PATT]NS W]E IMPOS$ ON SURVIV+ FOLK MELODIES1 OLD] MELODIES SUPPRESS$ & 0IRREGUL> TUNES SQU>$ (F40 ,! B9>ISM ( ! BASIC MAJOR KEY-M9OR KEY HAD COME TO PREVAIL &1 AS ,BUSONI CONCLUD$1 0,! H>MONIC SYMBOLS HAVE F5C$ 9 ! EXPRESSION ( MUSIC40 ,! EM]G5CE ( TONALITY CORRESPOND$ TO ?AT ( NATIONALIZ$ & C5TRALIZ$ HI]>*Y :I* CAME TO P]VADE ECONOMIC1 POLITICAL & CULTURAL LIFE4 ,READY-MADE /RUCTURES ( EXPRESSIVITY MONOPOLIZE MUSICAL SUBJECTIVITY & PATT]NS ( DESIRE4 ,CLIF=D ,GE]TZ MAKES ?IS P]T95T JUDGM5T3 0,ONE ( ! MO/ SIGNIFICANT FACTS AB\T US MAY F9ALLY BE ?AT WE ALL BEG9 ) ! NATURAL EQUIPM5T TO LIVE A ?\S& LIVES BUT 5D 9 ! 5D HAV+ LIV$ ONLY ONE40 

,TONALITY 9 MUSIC MAY BE LIK5$ TO REALISM 9 LIT]ATURE & P]SPECTIVE 9 PA9T+1 BUT IT IS MORE DEEPLY +RA9$ ?AN EI!R4 ,?IS FACILITATES A W\LD-BE TRANSC5D5CE ( CLASS DI/9CTIONS & SOCIAL DIFF]5CES UND] ! SIGN ( A 'UNIV]SAL' KEY-C5T]$ MUSIC1 TRIUMPHANT S9CE TONALITY DEF9$ ! REALM ( MASS MUSICAL APPRECIATION & CONSUMPTION4 ,!RE IS NO SPOK5 LANGUAGE ON ! PLANET :I* EV5 BEG9S TO COMPETE ) ! ACCESSIBILITY TONALITY HAS PROVID$ AS A MEANS ( HUMAN EXPRESSION4 

,ANY HI/ORICAL /UDY ?AT OMITS MUSIC RISKS A DIM9I%$ UND]/&+ ( SOCIETY4 ,CONSID]1 = EXAMPLE1 ! N9?-C5TURY EF=TS ( ,*>LEMAGNE TO E/ABLI% UNI=MITY 9 LITURGICAL MUSIC ?R\<\T HIS EMPIRE = POLITICAL REASONS1 OR ! T5?-C5TURY ORGAN 9 ,W9*E/] ,CA!DRAL ) ITS F\R HUNDR$ PIPES3 ! HEI<T ( ,WE/]N TE*NOLOGY TO ?AT TIME4 ,IT IS AT LEA/ >GUABLE ?AT MUSIC1 9 FACT1 PROVIDES A BETT] KEY' ?AN ANY O!R TO ! UND]/&+ ( ! *ANG+ SPIRIT ( ?IS CIVILIZATION4 ,TO REFOCUS ON TONALITY1 ONE CAN1 US+ CONV5TIONAL P]IODIZATION1 LOCATE P]HAPS ITS E>LIE/ ROOTS 9 ! TRANSITION BETWE5 ! ,MIDDLE ,AGES & ! ,R5AISSANCE ]A4 

,IF ! EM95T M$IEVALI/ ,BLO* IS CORRECT 9 *>ACT]IZ+ M$IEVAL SOCIETY AS UNEQUAL RA!R ?AN HI]>*ICAL1 !RE IS A DEF9ITE COG5CY TO ,JOHN ,%EPH]D'S 9T]PRETATION ( ! FA9T BEG9N+S ( ! TONAL SY/EM AS ! 5COD+ ( A NEW HI]>*ICAL MUSICAL IDEOLOGY \T ( A MORE MUTUAL ONE :I* IDEALIZ$ ITS [N1 E>LI] SOCIETY4 ,! M$IEVAL \TLOOK1 BAS$ ON ITS DEC5TRALIZ$ & LOCALIZ$ *>ACT]1 WAS RELATIVELY TOL]ANT ( V>Y+ WORLD VIEWS & MUSICAL =MS1 & DID NOT CONSID] !M AS BASICALLY DE/RUCTIVE ( ITS FEUDAL IDEOLOGICAL F\NDATION4 ,! EM]G+ MOD]N WORLD1 H[EV]1 WAS TYPIFI$ BY GREAT] DIVISION ( LABOR1 AB/RACTION1 & AN 9TOL]ANT1 TOTALIZ+ *>ACT]4 ,UNI=M PR9T+1 & A PR9T LIT]ACY CORROSIVE ( ORAL1 FACE-TO-FACE TRADITIONS1 EXPLA9S SOME ( ! %IFT1 AS MOVABLE TYPE PROVID$ A MODEL = ! PROTO-9DU/RIAL USE ( 9DIVIDUALS AS ME*ANICALLY 9T]ACT+ P>TS ( A MA*9E4 ,9DE$ ! 9V5TION ( PR9T+ AT AB\T #ae GAVE MUSICAL NOTATION GREAT SCOPE1 :I* MADE POSSIBLE ! ROLE ( COMPOS]1 BY ! SEP>ATION ( CREATOR & P]=M] & ! D[NGRAD+ ( ! LATT]4 ,WE/]N CULTURE ?US SOON PRODUC$ ! COMPLETELY NOTAT$ MUSICAL WORK1 FACILITAT+ A =MAL !ORY ( COMPOSITION AT ! EXP5SE ( AN E>LI] PR$OM9ANCE ( IMPROVIZATION ALONG C]TA9 GUIDEL9ES4 ,9 ?IS WAY PR9T LIT]ACY & ITS DYNAMIC UNI=MITY L$ TO A GR[+ H>MONIC EXPLICITNESS4 

,SOME MUSICOLOGI/S HAVE EV5 LOCAT$ A RECURR5T URGE TO CURB ! 0RECALCITRANT 9DEP5D5CE0 ( ! 9DIVIDUAL P>TS ( POLYPHONIC MULTI-VOIC$ MUSIC 9 ! 9T]E/S ( H>MONY & ORD]1 DAT+ BACK TO ! LATE ?IRTE5? C5TURY4 ,>S NOVA1 ! PR9CIPAL MUSICAL =M ( ! F\RTE5? C5TURY1 ILLU/RATES SOME ( ! T5D5CIES AT WORK 9 ?IS LONG TRANSITIONAL P]IOD ( PRE-H>MONIC POLYPHONY4 ,E>LY ON1 & ESPECIALLY 9 ,FRANCE1 ,>S NOVA REA*$ A /UNN+ DEGREE ( RHY?MIC COMPLEXITY ?AT ,EUROPEAN MUSIC W\LD NOT A*IEVE AGA9 UNTIL ,/RAV9SKY'S ,RITE ( ,SPR+ FIVE C5TURIES LAT]4 ,BUT ?IS V]Y COMPLEXITY1 9CREAS+LY BAS$ ON AN AB/RACT CONCEPTION ( TIME1 L$ TO AN EXTRAORD9>Y REF9EM5T ( NOTATION1 & H5CE PO9T$ AWAY FROM A MUSIC BAS$ ON ! S++ VOICE & AWAY FROM MELODIC SUBTLETY & RHY?MIC FLEXIBILITY4 ,=MALIZATION SEEMS ALWAYS TO IMPLY R$UCTION1 & 9 TURN A NASC5T FEEL+ = TONIC-DOM9ANT RELATION%IPS WAS MANIFE/ BY ! MID FIFTE5? C5TURY4 

,! CONSID]ABLE LOSS ( A SPONTANE\S RHY?MIC S5SE AFT] ! ,MIDDLE ,AGES IS EVID5CE ( 9CREAS$ DOME/ICATION1 JU/ AS TWO BASIC ,R5AISSANCE *>ACT]I/ICS1 SPECIALIZATION ( & )9 ! OR*E/RA & ! =MATION ( A CLASS ( N>R[LY FOCUS$ VIRTUOSI1 ALSO BESPOKE A GREAT] DIVISION ( LABOR AT L>GE4 ,SIMIL>LY1 NEW EMPHASIS HAD BE5 PLAC$ ON ! SPECTATOR1 & BY ! LATE #a#eS1 MUSIC 9VOLV+ NO SPECTACLE O!R ?AN ?AT ( M5 AT WORK1 NOT 9T5D$ = PROVOK+ MOVEM5T OR = S++ BUT MADE ONLY = BE+ PASSIVELY CONSUM$1 FIR/ APPE>$4 

,R5AISSANCE MUSIC REMA9$ = ! MO/ P>T & MO/ IMPORTANTLY VOCAL1 BUT DUR+ ?IS P]IOD 9/RUM5TAL MUSIC BECAME 9DEP5D5T & FIR/ DEVELOP$ A NUMB] ( AUTONOM\S =MS KN[N COLLECTIVELY AS 0ABSOLUTE MUSIC40 ,MORE & MORE SECUL>IZ$ AS WELL1 ,EUROPEAN MUSIC UND] ! UNQUE/ION$ LEAD]%IP ( ! ,NE!RL&S BETWE5 #ad & #af TOOK ON A MA!MATICIZ$ ASPECT QUITE COMPATIBLE ) ! ,DUT* ASC5DANCY )9 ! RISE ( E>LY M]CANTILE CAPITALISM4 ,! P[] ( S\ND A*IEV$ AN 9TOXICATION BORN ( ! *ORAL MASS EFFECTS ?AT >E MADE POSSIBLE :5 ! MANY1 =M]LY 9DEP5D5T VOICES ( A COMPOSITION JO9 9TO ONE BODY ( H>MONY4 

,BUT A TONAL H>MONICS PRES5T 9 SOME PLACES WAS NOT YET A TONALITY PRES5T ?R\<\T4 ,! MODAL SCALES1 SUFFICI5T FROM ! E>LY ,MIDDLE ,AGES TO ! LATT] P>T ( ! SIXTE5? C5TURY1 EXP&$ FROM EI<T TO TWELVE MODES & !N BEGAN TO BREAK D[N & YIELD TO TWO LESS FLUID MODES1 MAJOR_/M9OR SCALE B9>ISM4 0,! RE/LESSNESS & DIS5*ANTM5T ( ! LATE ,R5AISSANCE10 9 ,$W>D ,L[9SKY'S WORDS1 CALL$ =? ! COH]5CE & UNITY ( TONIC-DOM9ANT /RUCTURE AS MUSIC'S CONTRIBUTION TO CLASS SOCIETY'S CULTURAL HEGEMONY4 ,\R MOD]N H>MONIC S5SE1 ! CONCEPTION ( TONE AS ! SUM ( MANY V]TICALLY GR\P$ TONES1 IS AN IDEALIZATION ( HI]>*IZ$ SOCIAL H>MONY4 

,PET] ,CL>K'S ,! ,EUROPEAN ,CRISIS ( ! #a#e#iS QUOTES A ,SPANI% WRIT] ( #a#e#i#b3 0,5GL& )\T ,GOD1 ,G]MANY 9 S*ISM1 ,FL&]S 9 REBELLION1 ,FRANCE ) ALL !SE TOGE!R40 ,AS ! C5TURY DREW TO A CLOSE1 SURVEY$ ,H5RY ,K>M51 0,PROBABLY NEV] BE=E 9 ,EUROPEAN HI/ORY HAD SO MANY POPUL> UPRIS+S CO9CID$ 9 TIME40 ,TONALITY WAS NOT YET VICTORI\S BUT W\LD1 FAIRLY SOON1 COME TO REIGN AMONG ! DOM9ANT IDEAS ( SOCIETY1 PLAY+ ITS P>T TO *ANNEL & !REBY PACIFY DESIRE4 

,AS POLYPHONY FAD$1 ! MOD]N KEY SY/EM BEGAN TO EM]GE MORE DI/9CTLY 9 A NEW =M 9 ! OP5+ YE>S ( ! #a#fS2 NAMELY1 OP]A1 FIR/ BR\<T =? 9 ,ITALY BY ,MONTEV]DI4 ,! CONSCI\S RHETORICAL PRES5TATION ( EMOTION1 IT WAS ! FIR/ SECUL> MUSICAL /RUCTURE 9 ! ,WE/ CONCEIV$ ON A SCALE SUFFICI5TLY GR& TO RIVAL ?AT ( RELIGI\S MUSIC4 ,) OP]A & ELSE:]E1 ! E>LY PHASES ( 0! DEVELOP+ FEEL+ = TONALITY10 ACCORD+ TO ,H4,C4 ,COLLES1 0ALREADY GAVE ! NEW WORKS AN APPE>ANCE ( ORD]L9ESS & /ABILITY :I* M>K$ ! 9AUGURATION ( A NEW ]A 9 >T40 

,! GR[+ CONC]N = A C5TRAL TONALITY 9 ! SEV5TE5? C5TURY ?RIV$ ON ,DESC>TES4 ,) HIS MA!MATIZ$1 ME*ANI/IC RATIONALISM & HIS SPECIFIC ATT5TION TO MUSICAL /RUCTURE1 ,DESC>TES ADVANC$ ! NEW TONAL SY/EM 9 ! SAME SPIRIT AS HE CONSCI\SLY PUT HIS SCI5TIFIC PHILOSOPHY 9 ! S]VICE ( /RONG C5TRAL GOV]NM5T4 ,TO ,ADORNO1 POLYPHONIC MUSIC CONTA9$ NONREIFI$1 AUTONOM\S ELEM5TS :I* MADE IT P]HAPS BE/ SUIT$ TO EXPRESS ! 'O!RNESS' ,C>TESIAN CONSCI\SNESS WAS DESIGN$ TO ELIM9ATE4 

,! BACKGR\ND TO ?IS DEVELOPM5T WAS A M>K$ R5EWAL ( ! SOCIAL /RIFE ( ! V]Y LATE #a#eS4 ,HOBSBAWM F\ND 9 ! #a#fS ! CRISIS P> EXCELL5CE2 ,P>K] & ,SMI? 7,! ,G5]AL ,CRISIS ( ! ,SEV5TE5? ,C5TURY7 SAW ?IS 0EXPLOSION ( POLITICAL 9/ABILITY0 9 ,EUROPE AS 0DIRECT$ OV]:ELM+LY AGA9/ ! ,/ATE1 P>TICUL>LY DUR+ ! P]IOD #a#f#b#e-#a#f#g#e40 ,! PREVI\S C5TURY HAD BE5 L>GELY ! GOLD5 AGE ( C\NT]PO9T1 REA*+ ITS APOGEE ) ,PALE/R9A & ,LASSUS1 ITS IDEAL A /ATIC SOCIAL H>MONY TO BE IMITAT$ 9 MUSIC4 ,! ,B>OQUE ES!TIC CORRESPOND$ TO ! CRISES BEG9N+ 9 ! #a#e#iS1 & RESUM+ 9 E>NE/ ) ! G5]AL ECONOMIC BREAKD[N ( #a#f#b2 IT'S NO?+ IF NOT A REJECTION ( CLASSICAL CALM & ITS POLYPHONIC REF9EM5TS4 ,! ESS5CE ( ,B>OQUE IS TO MOVE ) ! TURBUL5CE SO AS TO CONTROL IT2 H5CE IT COMB9ES RE/LESS MOVEM5T ) =MALISM4 ,H]E ! CONC]TO COMES ( AGE1 L9K$ BY MORE ?AN ETYMOLOGY TO CONS5T1 CONS5SUS4 ,D]IV$ FROM ! ,LAT9 CONC]T>E1 AGREEM5T REA*$ ) DISSONANT ELEM5TS1 IT REFLECT$1 AS A WELL-H>MONIZ$ 5SEMBLE1 ! GREAT DEM& ( ! SY/EM = AU?ORITY EQUAL TO ! SOCIAL /RUGGLES4 

,H>MONY IS HOMOPHONY NOT POLYPHONY2 POLYPHONY & H>MONY >E 9 !MSELVES IRRECONCILABLE4 ,9/EAD ( A =M 9 :I* MANY VOICES >E COMB9$ SO ?AT EA* RETA9S ITS [N *>ACT]1 ) H>MONY WE REALLY HE> ONLY ONE TONE4 ,9 ! ,B>OQUE AGE ( CONFLICT HOMOPHONY OV]TAKES & SUPPLANTS POLYPHONY1 ) OBVI\S IDEOLOGICAL 'OV]TONES'4 ,9DEP5D5T S\NDS M]GE TO =M A UNIT$ BLOCK1 :OSE FUNCTION IS BACKGR\ND = ! MELODY & ALSO TO REGI/] ! TUNE 9 MOTION 9 ITS PLACE )9 ! TONAL SY/EM4 ,AT ?IS TIME H>MONY FIR/ E/ABLI%$ ITSELF AS ESS5TIAL TO MUSIC1 EV5 *ANG+ ! NATURE ( MELODY 9 ! PROCESS4 ,RHY?M TOO WAS AFFECT$ BY H>MONY2 9DE$ ! DIVISION ( MUSIC 9TO B>S WAS DICTAT$ BY ! NEW1 EV]-PRES5T H>MONIC RHY?M4 

,SP5GL] JUDG$ ?AT MUSIC OV]TOOK PA9T+ AS ! *IEF ,EUROPEAN >T AT AB\T #a#f#g4 ,IT PREVAIL$ AT ! V]Y TIME :5 TONALITY WAS DEF9ITIVELY REALIZ$2 MUSIC WAS H5CE=? TO BE WRITT5 9 ! IDIOM ( FULLY E/ABLI%$ TONALITY1 )\T *ALL5GE1 = AB\T TWO & A HALF C5TURIES4 ,! EXT]NALIZATION ( IMM$IATE SUBJECTIVE 9T]E/S ACCORD+ TO TONALITY'S G5]ALIZ+ CODE CORRESPONDS1 FROM ?IS TIME AS WEIL1 TO ! LEGAL CONCEPTION ( ! 0REASONABLE MAN10 ,DUNWELL 9=MS US1 ?\< ONE IS TEMPT$ TO REPHRASE IT AS 0MOD]N1 DOME/ICAT$10 RA!R ?AN 0REASONABLE40 

,!RE >E O!R /RIK+ TEMPORAL CO9CID5CES4 ,JOHN ,WOLF'S ,! ,EM]G5CE ( ! ,GREAT ,P[]S1 #a#f#h#e-#a#g#a#e1 AMONG O!R HI/ORICAL /UDIES1 SETS ! MOM5T ( ASC5DANT /ATE P[] AS P>ALLEL+ ?AT ( C5TRAL TONALITY4 ,& AS ,BUKH(Z] WROTE1 0,BO? TONALITY & GRAVITATION W]E DISCOV]IES ( ! B>OQUE P]IOD MADE AT EXACTLY ! SAME TIME40 ,! SIGNIFICANCE ( ,NEWTONIAN PHYSICS IS ?AT UNIV]SAL GRAVITATION (F]$ A MODEL EMPHASIZ+ IMMUTABLE LAW & RESI/ANCE TO *ANGE2 ITS UNIV]SALLY PREVAIL+1 ORD]$ MOTIONS PROVID$ A UNIFI$ COSMOLOGICAL EXEMPL> = POLITICAL & ECONOMIC ORD] -- AS DID TONALITY4 ,9 ! NEW H>MONIC SY/EM ! PR9CIPAL TONE1 ! ONE /RONGE/ & MO/ DOM9ANT1 GRAVITATES D[NW>D & ?R\<1 & BECOMES ! BASS1 ! FUNDAM5TAL TONE ( ! *ORD2 ! LAWS ( TONALITY CAN BE READ ALMO/ 9T]*ANGEABLY1 9CR$IBLE AS IT MAY S\ND1 ) ?OSE ( GRAVITATION4 

,MID TO LATE SEV5TE5? C5TURY ,5GL& EXEMPLIFI$ MORE G5]AL SOCIAL TR5DS 9 MUSIC4 ,! CRITICS ,NOR? & ,MACE WROTE ( ! DECL9E ( ! AMATEUR VIOL PLAY]1 & ! T5D5CY 9 COMPOSITION :]E9 0,P>T WRIT+ GAVE WAY TO FIREWORKS & PATT]N MAK+10 TO CITE ,PET] ,W>LOCK4 ,FAMILY *AMB] MUSIC DECREAS$2 ! HABIT ( PASSIVE LI/5+ 9CREAS$1 AGA9/ ! BREAKUP ( VILLAGE COMMUNALISM ) ITS SONGS & DANCES4 ,VICTORI\S TONALITY WAS A V]Y IMPORTANT P>T ( A MAJOR SOCIAL & SYMBOLIC RE/RUCTUR+1 & C]TA9LY NOT JU/ 9 ,5GL&4 

,BEG9N+ 9 ! ,B>OQUE ]A1 ! MA9 VEHICLE ( TONALITY WAS ! SONATA 7I4E4 'PLAY$' AS OPPOS$ TO ! E>LI]1 S+LE MOVEM5T CANZONA OR 'SUNG'71 :I* CAME TO COV] VIRTUALLY ANY 9/RUM5TAL1 MULTIMOVEM5T COMPOSITION ?AT PROCE$S ACCORD+ TO A =MAL PLAN4 ,! SONATA =M WAS AN ORGANIC \TGR[? ( H>MONIC TONALITY 9 ?AT ITS SYMMETRICS W]E BASICALLY RELAT$ TO ! 9T]NAL SYMMETRICAL ORGANIZATION ( ! GRAMM> ( TONALITY2 ITS FUNDAM5TAL /RUCTURE REQUIRES ?AT MUSIC :I* APPE>S FIR/ AS A MOVE AWAY FROM ! TONIC T[>D A NEWLY POL>IZ$ KEY BE RE9T]PRET$ F9ALLY ) ! ORIG9AL TONIC >EA 9 ORD] TO RE/ORE ! BALANCE4 ,EV5 ! *ALL5G+ F9ALES ( ,MOZ>T'S OP]AS1 ,ROS5 REM9DS US1 HAVE ! SYMMETRICAL TONAL /RUCTURE ( A SONATA4 ,BY ! 5D ( ! ,B>OQUE 9 ! LATE EI<TE5? C5TURY1 SYMMETRY )HELD & !N F9ALLY GRANT$ HAD BECOME ONE ( MUSIC'S C>D9AL SATISFACTIONS4 

,) ITS CONFLICT ( TWO !MES1 ITS KEYNOTE1 DEVELOPM5T & REPRISE1 ! SONATA =M PRESUPPOSES A CAPITALI/ DYNAMICS2 ! EQUILIBRIUM-ORI5T$ & TOTALLY UNDRAMATIC FUGUE1 HI< WAT] M>K ( AN E>LI] C\NT]PO9T1 REFLECT$ A MORE /ATIC HI]>*ICAL SOCIETY4 ,FUGAL /YLE WAS FULFILL$ JU/ AS TONALITY CAME TO COMPLETE PR$OM9ANCE & ITS MOVEM5T IS L>GELY ONE ( SEQU5CE4 ,A CLASSICAL SONATA1 ON ! O!R H&1 IS SELF-G5]AT+1 MOV+ =W>D AS A REVELATION ( ITS 9ITIALLY UNSE5 9N] POT5TIAL4 ,! FUGUE GOES ON OBEY+ ITS 9ITIAL LAW1 LIKE A CALCULATION1 AS BEFITS RATIONALI/ ,5LI<T5M5T1 :]EAS SONATA !MES EXHIBIT A DYNAMIC CONDITION ANN\NC+ ! QUALITATIVE LEAP 9 DOM9ATION ( NATURE 9AUGURAT$ BY 9DU/RIAL CAPITALISM4 

,9 ! E>LY #a#g? C5TURY ,RUB5S' /UDIO BECAME A FACTORY2 HIS \TPUT ( OV] #ab PA9T+S WAS UNPREC$5T$ 9 ! HI/ORY ( >T4 ,ONE HUNDR$ FIFTY YE>S LAT]' UTILIZ+ ! PREORDA9$ SONATA =M1 ,HAYDN & ,MOZ>T C\LD TURN \T #ae SYMPHONIES BETWE5 !M4 ,P]HAPS IT IS NOT SUGGE/+ TOO MU*1 OR D5Y+ ! G5IUS ( SOME CREATORS1 TO SEE 9 ?IS ME*ANISM A CULTURAL PREFIGUR+ ( MASS PRODUCTION4 ,A FUR!R *>ACT]I/IC IS ?AT SONATA MUSIC1 UNLIKE ! COMPLICAT$ LATE FUGAL /YLE1 HAD TO BE PR$ICTABLE1 PLEAS+4 ,REM9D+ ONE ( TONALITY ITSELF1 0,! SONATA CYCLE AFFIRMS ! HAPPY 5D+1 L5DS ITSELF TO RECONCILIATION1 TO SALVATION FROM FIR/ & SECOND MOVEM5T /RIV+S1 TORM5TS1 9N] D\BTS0 BE=E IT CONCLUDES1 9 ! WORDS ( ,ROB]T ,SOLOMON4 

,! SONATA-=M PR9CIPLE ALSO 9VOLVES ! IDEA ( GRADUALLY 9CREAS+ ACTIVITY1 A CUMULATIVE DYNAMISM ?AT REA*ES \T TO EXCLUDE SPECIFICITY1 TO DOM9ATE VIA G5]ALIZATION4 ,IT IS = ?IS EFFECT ?AT IT EMBODIES ! CR[N+ A*IEVEM5T ( ! EM]G5CE ( G5]ALIZ+ =MS 9 B\RGEOIS EVOLUTION & SO WELL EXPRESSES ! DRIVE T[>D 'UNIV]SAL' VALUES & WORLD HEGEMONY ( ,EUROPEAN CULTURE & CAPITAL4 

,9 ! EI<TE5? C5TURY ! MOD]N NOTION ( MUSIC'S AUTONOMY BEGAN TO =M1 ) ! CLAIM 7P]SI/+ TODAY7 TO TRANSC5D5TAL TRU? ?AT ATTA*ES TO ,BA* & ,MOZ>T ESPECIALLY4 ,! PR\D SOLEMNITY ( ,H&EL'S ORATORIOS SPEAKS ( ! RISE ( IMP]IALI/ ,5GL& & A DESIRE TO LEZITIMATE ?AT RISE1 BUT ,BA* 9 P>TICUL> MO/ EFFECTIVELY >TICULAT$ ! SOCIAL VALUES ( ! EM]G+ B\RGEOISIE AS UNIV]SAL RATIONALITY1 OBJECTIVITY1 TRU?4 

,! PRECURSORS ( ,BA* HAD MADE EVID5T A /RUCTURATION PROP] TO TONALITY1 BUT IT WAS HE :O BR\<T ?AT /RUCTURATION TO A PRECISE P]FECTION1 COMB9+ ! DRAMA & GOAL ORI5TATION ( ! LATE ,B>OQUE ) ASPECTS ( ! E>LI]1 SOB]] CONTRAPUNTAL IDEAL4 ,IT IS WOR? NOT+ ?AT ! OLD]1 MORE /ATICALLY MA!MATIZ$ =MS SURVIVE 9 ! EI<TE5? C5TURY1 ?\< !Y DO NOT REIGN2 ?IS SURVIVAL ACC\NTS = ?OSE SEQU5TIAL DEVELOPM5TS :I* ,CON/ANT ,LAMB]T DISRESPECTFULLY SPEAKS ( AS ! ,BA* 0SEW+ MA*9E10 JU/ AS ,WAGN] REF]R$ TO ,MOZ>T AS POSSESS$ ( 0SOMETIMES AN ALMO/ TRIVIAL REGUL>ITY0 

,BUT IF ,BA* REPRES5TS ! VIRTUAL APO!OSIS ( H>MONICALLY BAS$ TONALITY !RE W]E SOME D\BTS EXPRESS$ REG>D+ ?IS :OLE ?RU/4 ,R\SSEAU = EXAMPLE1 SAW H>MONY AS ONLY ANO!R SYMPTOM ( ,EUROPE'S CULTURAL DECAY 9DE$ AS ! DEA? ( MUSIC4 ,HE BAS$ ?IS EXTREME VIEW ON H>MONY'S DEPRECIATION ( MELODY ITS DELIMITATION ( ! P]CEPTION ( MUSICAL S\NDS TO ! 9T]NAL /RUCTUR+ ( ITS ELEM5TS & H5CE ITS TRUNCATION ( ! LI/5]'S EXP]I5CE4 ,GOE! TOO HAD MISGIV+S 9 T]MS ( ! >TIFICIALITY & REIFICATION ( FULLY DEVELOP$ TONALITY1 BUT !Y W]E LESS CLE>LY /AT$ ?AN ,R\SSEAU'S4 

,BY AB\T #a#h1 TONAL 9/RUM5TAL MUSIC REA*$ ! FULL COMM& ( ITS P[]S1 A PO9T ?AT PA9T+ HAD >RIV$ AT ALMO/ ?REE HUNDR$ YE>S E>LI]4 ,! GREATE/ *ANGE 9 EI<TE5? C5TURY TONALITY 9 P>T 9FLU5C$ BY ! E/ABLI%M5T ( EQUAL TEMP]AM5T 7! DIVISION ( ! OCTAVE 9TO TWELVE PRECISELY EQUAL SEMITONES7 WAS AN EV5 MORE EMPHATIC POL>ITY BETWE5 TONIC & DOM9ANT & AN 5L>GEM5T ( ! RANGE OV] :I* ! KEY MODULATION OBTA9S4 ,AT ! BEG9N+ ( ! C5TURY ! KEY RELATION%IP C\LD ALREADY HOLD UP OV] P]IODS ( EI<T OR MORE B>S )\T BE+ S\ND$ AGA91 :]EAS ,MOZ>T1 ,HAYDN & ,BEE?OV5 HAD1 BY ! 5D ( ! C5TURY1 EXT5D$ ! AU?ORITY ( H>MONIC RELATIONS TO FIVE OR EV5 T5 M9UTES4 

,! WID5+ ( ! TONAL ORBIT1 H[EV]1 MEANT A CONSEQU5T WEAK5+ 9 ! GRAVITATIONAL PULL ( ! TONIC2 ) ,BEE?OV51 9 ! E>LY ,ROMANTIC ]A1 SOME UND]M9+ ( /RUCTURAL TONALITY CAN ALREADY BE SE54 ,:AT IS NEW !MATICALLY 9 ,BEE?OV5 IS A CLIMAX ( EMOTIONAL EXPRESSION AS WELL AS A GREAT] RANGE ( EMOTIONS EXPRESS$1 PLUS ! C5TRALITY ( ! MOTIF ( ! /RUGGLE = 9DIVIDUAL FRE$OM1 PRECISELY AS ! DEFEAT ( ! ,LUDDITES 9 ,5GL& PRESAG$ ! SUPPRESSION ( EMOTIONAL EXPRESSIVITY & 9DIVIDUAL FRE$OM 9 SOCIETY AT L>GE4 ,MU* UNLIKE SAY1 ,BA*1 HE BEGAN FROM ! FACT ( ALI5ATION & ULTIMATELY REFUS$ TO RECONCILE 9 HIS MUSIC ?AT :I* IS UNRECONCIL$ 9 SOCIETY2 ?IS CAN BE SE5 MO/ CLE>LY 9 HIS LA/ QU>TETS1 :I* RECALL ! 9COMPLET5ESS & ANGUI% ( ! LATE MUSIC ( ,MOZ>T4 

,! ,ROMANTIC >T P> EXCELL5CE1 MUSIC CAME TO BE ?\<T ( AS A UNIQUELY PRIVILEG$ M$IUM4 ,9DE$1 IT WAS 9 ! ,BEE?OV5IAN P]IOD1 OR %ORTLY !REAFT]1 ?AT ! COMPOS] WAS C$$ ! /ATUS ( PHILOSOPH]1 CONTRA/+ %>PLY ) ! ROLE ( VIRTUAL S]VANT ?AT ,HAYDN & ,MOZ>T HAD OCCUPI$4 ,P]HAPS ! SO-CALL$ 0R$EMPTIVE =CE0 ( MUSIC1 TO CROSS OV] TO ! SOCIAL T]RA91 WAS NO:]E MORE 9 EVID5CE ?AN ) A P]=MANCE ( ,AUB]'S OP]A1 ,LA ,MUETTE DE ,PORTICI1 :I* PROVOK$ ! \T BREAK ( REVOLUTION 9 ,BRUSSELS 9 #a#h#c4 ,LAT] 9 ! C5TURY1 ,WALT] ,PAT]'S ASSESSM5T ?AT 0,ALL >T CON/ANTLY ASPIRES T[>DS ! CONDITION ( MUSIC0 BESPOKE NOT ONLY MUSIC AS ! CULM9ATION ( ! >TS BUT REFLECT$ ITS =CEFULNESS AT ! HEI<T ( TONALITY4 ,IT IS ALSO 9 ?IS LATT] S5SE1 AS APPRECIATION ( TONALITY1 ?AT ,S*OP5HAU] CELEBRAT$ MUSIC 9 A WAY UNRIVAL$ 9 PHILOSOPHICAL WRIT+1 AS MORE P[]FUL ?AN WORDS & ! DIRECT EXPRESSION ( 9N] CONSCI\SNESS4 ,ADORNO SPOKE ( ! 0BUR/+ LONG+ ( ,ROMANTICISM0 & ,M>O?Y DISCUSS$ ITS FREQU5T$ !MES ( LONEL9ESS & NO/ALGIA1 ! EF=T TO CAPTURE ! S5SE ( SOME?+ ?AT IS IRRETRIEVABLY LO/4 ,ALONG !SE L9ES1 ! DRAMA ( RESCUE WAS NOT ONLY ! LIT]>Y FA%ION ( ! DAY BUT IS (T5 F\ND 9 MUSIC1 SU* AS ,BEE?OV5'S ,FIDELIO4 ,S*UB]T C\LD ASK :E!R !RE WAS SU* A ?+ AS JOY\S MUSIC1 AS IF 9 RESPONSE TO AN 9DU/RIALIZ+ ,EUROPE1 & WAS ANSW]$ BY ! ELEGIAC1 RESIGN$ ,BRAHMS & ! PESSIMI/ ,MAHL] 9 ! LAT] ,ROMANTIC ]A4 

,H>MONY WAS ! SPECIAL REALM ( ! P]IOD2 OR*E/RAL GR\P+S FAVOR$ ! MASS$ & UNIFI$ DEPLOYM5T ( EA* 9/RUM5TAL FAMILY TO /RET* & 9T5SIFY ! C5TRAL CONC]N ) PIT* RELATION%IPS TO CONVEY MEAN+1 OV] ! O!R ASPECTS ( MUSIC4 ,IT WAS ! AGE ( GREAT OR*E/RAL =CES DESIGN$ TO EXPLOIT ! COMPULSIVE P[]S ( TONE1 PROCE$+ VIA ! COORD9ATION ( DIV]SE SPECIALI/ FUNCTION4 ,9 ?IS MANN]1 & ) AN 9CREAS+LY SY/EMATIC CONCEPTION ( MUSICAL /RUCTURE1 ,ROMANTIC MUSIC P>ALLEL$ ! P]FECTION ( 9DU/RIAL ME?OD4 ,AS ! N9ETE5? C5TURY PROGRESS$1 A GR[+ NUMB] ( COMPOS]S FELT ?AT MUSICAL LANGUAGE WAS BECOM+ TRAPP$ UND] ! SYNTACTICAL & =MAL CON/RA9TS ( TONALITY1 AN OV]LY /&>DIZ$ H>MONIC VOCABUL>Y B\ND TO EMPTY SYMMETRICAL REGUL>ITIES4 ,FLATT5+ \T UND] ! WEI<T ( ITS [N HABITS1 MUSIC SEEM$ TO BE LOS+ ITS =M] EXPRESSIVE P[]4 

,LIKE CAPITAL1 !N AT ! HEI<T ( ITS 9ITIAL EXPANSIV5ESS1 ! MOD]N OR*E/RA PURSU$ ! ILLUSION ( 9DEF9ITE GR[?4 ,BUT ,ROMANTIC OV]/ATEM5T & GIGANTICISM 7I4E4 ,MAHL]'S ,SYMPHONY ( A ,?\S&7 W]E US$1 MORE (T5 ?AN NOT1 TO CREATE A LIMIT$ RANGE ( HOMOG5IZ$ S\NDS1 A UNI=MITY ( TIMBRE4 

,TO SPEAK ( EXPANSION CALLS TO M9D ,WAGN]'S ATTEMPT AT A SIMPLE1 ECONOMICAL REP]TOIRE OP]A -- ! RESULTANT WORK WAS ! FIVE-H\R1 GORGE\S AGONY ( ,TRI/AN & ,ISOLDE4 ,OR ,WAGN]'S ,R+ S]IES1 BAS$ ON ! ,NIBELUNG5 MY?1 ?AT EPIC ( P]PETUAL LU/ & DEA? BY :I* HE DESIR$ TO \TDO ALL CONCEIVABLE SPECTACLES1 & :I* MO/ LIKELY PROMPT$ ,NIETZS*E TO JUDGE1 0,!RE IS A DEEP SIGNIFICANCE 9 ! FACT ?AT ! RISE ( ,WAGN] CO9CIDES ) ! RISE ( EMPIRE40 ,AN OP]ATIC PORTRAIT ( ,KAIS] ,WILHELM ,I BESIDE A SWAN & WE>+ A ,LOH5GR9 HELMET SUGGE/S ! DEBT [$ HIM = CELEBRAT+ & RECONSECRAT+ ! SOCIAL ORD] ( ! SECOND ,G]MAN ,REI*4 ,IF ,TRI/AN WAS ! PRELUDE TO ! POLITICAL DEVELOPM5T ( ,BISM>CKIAN ,G]MANY1 ! LATT] F\ND ITS AU?ORIT>IAN & MY/ICAL JU/IFICATION 9 ,P>SIFAL'S PSEUDO-]OTIC RELIGIOSITY4 

,WAGN] 9T5D$ A M]G] ( ALL ! >TS 9TO A HI<] =M ( OP]A & 9 ?IS PROJECT IT SEEM$ TO HIM ?AT HE HAD SUP]S$$ DOGMATIC RELIGION4 ,SU* AN AIM PROJECT$ ! COMPLETE DOM9ATION ( ! SPECTATOR BY MEAN'S ( ! GR&EUR & POMPOSITY ( HIS MUSICAL PRODUCTIONS1 !IR P]FUM$ SULTR9ESS & BOMB>DM5T ( ! S5SES4 ,HIS BOA/ WAS NO LESS ?AN ?AT1 [+ TO HIS NEOPAGAN1 NEONATIONALI/ A*IEVEM5T1 0,*UR* & /ATE WILL BE ABOLI%$10 HAV+ \TLIV$ !IR USEFULNESS4 ,?US HIS AIMS = >T W]E MORE GR&IOSE ?AN ?OSE ( 9DU/RIAL CAPITALISM ITSELF & SPOKE ITS LANGUAGE ( P[]4 

,& YET ,WAGN] ALSO1 & MORE IMPORTANTLY1 REPRES5TS ! FULL DECAY ( ! CLASSIC H>MONIC SY/EM4 ,DESPITE ALL ! BOMBA/ & /RIV+ = A MAXIMUM ( AU?ORITY1 HIS IS ! MUSIC ( D\BT4 ,HIS MUSIC REMA9$ FAI?FUL TO AT LEA/ A LAT5T F\NDATION ( TONALITY BUT1 ESPECIALLY ) ,TRI/AN1 ! 5DUR+ VALIDITY ( TONAL H>MONY WAS ALREADY DISPROV$4 ,WAGN] HAD EXT5D$ IT TO ITS ULTIMATE LIMITS & EXHAU/$ ITS LA/ RES\RCES4 

,P>T ( ,MAHL]'S ,SONG ( ! ,E>? IS M>K$ 0)\T EXPRESSION40 ,IT SEEMS ?AT ROMANTICISM AFT] ,WAGN] WAS TURN+ TO A%ES1 ?\< AT ! SAME TIME SOME?+ NEW WAS BE+ =E%AD[$4 ,H>MONY CONT9U$ TO %[ SIGNS ( COLLAPSE FROM )9 & 9CREAS+ LIB]TIES W]E TAK5 ) ! PREVI\SLY UNLIMIT$ SOV]EIGNTY ( ! MAJOR_/M9OR TONAL SY/EM 7E4G4 ,DEBUSSY74 ,MEAN:ILE1 AS CAPITAL REQUIR$ MORE 0,?IRD ,WORLD0 RES\RCES = ITS /ABILITY1 MUSIC TOO TURN$ IMP]IALI/ 9 ! S5SE ( MU* NE$$ FOLK TRANSFUSIONS 7E4G4 ,B>TOK74 

,9 #aih ,>NOLD ,S*O5B]G'S ,SECOND ,QU>TET 9 ,F ,%>P ,M9OR ATTA9$ ! DECISIVE BREAK ) H>MONIC DEVELOPM5T3 IT WAS ! FIR/ ATONAL COMPOSITION4 ,FITT+LY1 ! MOVEM5T 9 QUE/ION IS BEGUN BY ! SOPRANO ) ! WORDS3 0,I* FUHLE ,LUFT VON &]5 ,PLANET50 70,I FEEL AIR FROM O!R PLANETS074 

,ADORNO SAW ! RADICAL OP5NESS ( ATONAL MUSIC AS AN 0EXPRESSION ( UNMITIGAT$ SUFF]+1 B\ND BY NO CONV5TION :ATSOEV]0 & AS SU* 0(T5 HO/ILE TO CULTURE0 & 0CONTA9+ ELEM5TS ( B>B>ISM40 ,! REJECTION ( TONALITY 9DE$ 5ABL$ EXPRESSION ( ! MO/ 9T5SE SUBJECTIVITY1 ! LONEL9ESS ( ! SUBJECT UND] TE*NOLOGICAL DOM9ATION4 ,NONE!LESS1 ! EQUIVAL5CES BY :I* HUMAN EMOTION IS UNIV]SALIZ$ & OBJECTIFI$ >E /ILL PRES5T1 IF RELEAS$ FROM ! C5TRALIZ$ CONTROL ( ! 0LAWS ( H>MONY04 ,S*O5B]G'S 0EMANCIPATION ( ! DISSONANCE0 ALL[$ = ! PRES5TATION ( HUMAN PASSIONS ) UNPREC$5T$ IMM$IACY VIA DISSONANT H>MONIES ?AT HAVE LITTLE OR NO T5D5CY TO RESOLVE4 ,! AVOIDANCE ( TONAL SUGGE/ION & RESOLUTION PROVIDES ! LI/5] ) PRECI\S LITTLE SUPPORT OR SECURITY3 ,S*O5B]G'S ATONAL WORK (T5 SEEMS ALMO/ HY/]ICALLY EMOTIONAL DUE TO ! ABS5CE ( PO9TS ( REAL REPOSE4 0,IT IS DRIV5 FRANTICALLY T[>D ! UNATTA9ABLE10 NOT$ ,LEON>D ,MEY]4 

,9 ?IS S5SE1 ATONALITY PROV$ TO BE ! MO/ EXTREME MANIFE/ATION ( ! G5]AL ANTI-AU?ORIT>IAN UPHEAVAL 9 SOCIETY ( ! FIVE OR SO YE>S PREC$+ ,WORLD ,W> ,I ,S*O5B]G'S AB&ONM5T ( TONALITY CO9CIDES ) ! AB&ONM5T ( P]SPECTIVE 9 PA9T+ BY ,PICASSO & ,K&9SKY 79 #a#i#h74 ,BUT ) !SE 0TWO GREAT NEGATIVE GE/URES0 9 CULTURE1 AS !Y HAVE BE5 T]M$1 IT WAS ! COMPOS] :O F\ND HIMSELF PROPELL$ 9TO A PUBLIC VOID4 ,9 HIS /EADFA/ AFFIRMATION ( ALI5ATION1 HIS UNWILL+NESS TO PRES5T ANY SC5E ( HUMAN REALIZATION ?AT WAS NOT F]AL1 DIFFICULT1 WILD1 ,S*O5B]G'S ATONALITY WAS TOO MU* ( A ?REAT & *ALL5GE TO F9D MU* ACCEPTANCE4 ,! EXPRESSIONI/ PA9T] ,AUGU/ ,MACKE WROTE TO HIS COLLEAGUE ,FRANZ ,M>C FOLL[+ AN EV5+ ( ,S*O5B]G'S *AMB] MUSIC 9 #a#i#a#a3 0,CAN Y\ IMAG9E MUSIC 9 :I* TONALITY HAS BE5 COMPLETELY AB&ON$8 ,I WAS REM9D$ CON/ANTLY ( ,K&9SKY'S L>GE COMPOSITIONS :I* >E WRITT51 AS IT W]E1 9 NO S+LE KEY444?IS MUSIC :I* LETS EV]Y TONE /& BY ITSELF40 ,UN=TUNATELY1 !IR FEEL+ = SU* A RADICALLY LIB]T>IAN APPROA* WAS NOT %>$ BY MANY1 NOT EXPOS$ TO MANY4 

,AS ,MACKE'S LETT] IMPLIES1 BE=E ! ATONAL BREAK\T1 MUSIC HAD A*IEV$ MEAN+ ?R\< ! DEF9$ RELATIONS ( *ORDS TO A TONAL C5T]4 ,S*O5B]G'S ,!ORY ( ,H>MONY SUMM$ UP ! OLD SY/EM WELL3 0,IT HAS ALWAYS BE5 ! REF]R+ ( ALL RESULTS TO A C5T]1 TO AN EMANAT+ PO9T444 ,TONALITY DOES NOT S]VE3 ON ! CONTR>Y IT DEM&S TO BE S]V$40 

,SOME DEF5D]S ( TONALITY1 ON ! O!R H&1 HAVE ADOPT$ A FRANKLY SOCIALLY AU?ORIT>IAN PO9T ( VIEW1 FEEL+ ?AT MORE ?AN JU/ *ANGES 9 MUSIC W]E AT /AKE4 ,LEV>IE & ,LEVY'S ,MUSICAL ,MORPHOLOGY 7#a#i#h#c71 = EXAMPLE1 PROCE$$ FROM ! PHILOSOPHICAL !SIS ?AT 0,*AOS IS NONBE+0 TO ! POLITICAL /ANCE ?AT 0,! REVOLT AGA9/ TONALITY444 IS AN EGALIT>IAN REVOLUTION40 ,!Y FUR!R PRON\NC$ ATONALITY TO BE 0A G5]AL CONTEMPOR>Y PH5OM5ON10 NOT+ ) DISPLEASURE H[ 0,OBSESSIVE FE> ( TONALITY REVEALS A DEEP AV]SION TO ! CONCEPT ( HI]>*Y & RANK40 ,?IS /ANCE IS REM9ISC5T ( ,H9DEMI?'S CONCLUSION ?AT IT IS IMPOSSIBLE TO D5Y ! VALIDITY ( HI]>*ICAL TONE RELATION%IPS & ?AT !RE IS !RE=E 0NO SU* ?+ AS ATONAL MUSIC40 ,SU* COMM5TS OBVI\SLY SEEK TO DEF5D MORE ?AN ! DOM9ANT MUSICAL =M3 !Y W\LD PRES]VE AU?ORITY1 /&>DIZATION1 HI]>*Y & :ATEV] CULTURAL GRAMM> GU>ANTEES A WORLD DEF9$ BY SU* VALUES4 

,S*O5B]G'S ATONAL EXP]IM5T SUFF]$ AS P>T ( ! DEFEAT ?AT ,WORLD ,W> ,I & ITS AFT]MA? MET$ \T = SOCIAL DISSONANCE4 ,BY ! E>LY #a#i#bS HE HAD GIV5 UP ! SY/EMLESS RADICALISM ( ATONALITY4 NOT A S+LE 'FREE' NOTE SURVIV$4 ,9 ! ABS5CE ( A TONAL C5T] HE 9S]T$ ! TOTALLY RULE-GOV]N$ #c#b-TONE SET1 :I*1 AS ,ADORNO JUDG$1 0VIRTUALLY EXT+UI%ES ! SUBJECT40 ,DODECAPHONY1 OR S]IALISM AS IT IS ALSO CALL$1 CON/ITUT$ A NEW COMPLIANCE 9 ! PLACE ( TONALITY1 CORRESPOND+ TO A NEW PHASE ( 9CREAS+LY SY/EMIZ$ 9DU/RIALISM 9TRODUC$ ) ,WORLD ,W> ,I4 ,S*O5B]G =G$ NEW LAWS TO CONTROL :AT WAS LIB]AT$ BY ! DE/RUCTION ( ! OLD TONAL RULES ( RESOLUTION1 NEW LAWS ?AT GU>ANTEE A MORE COMPLETE CIRCULATION AMONG ALL TWELVE PIT*ES & MAY BE SAID TO SPEAK TO CAPITAL'S GR[+ NE$ = IMPROV$ RECIRCULATION4 ,S]IAL TE*NIQUE IS A K9D ( TOTAL 9TEGRATION 9 :I* MOVEM5T IS /RICTLY CONTROLL$1 AS 9 A BUREAUCRATICALLY 5=C$ MODE4 ,ITS CONCEPTUAL DRAWBACK = ! DOM9ANT ORD] IS ?AT :ILE GREAT] CIRCULATION IS A*IEV$ VIA ITS NEW /&>DIZ$ DEM&S 7NONE ( ! TONES IS TO BE REPEAT$ BE=E ! O!R ELEV5 HAVE BE5 HE>D71 ! CONC5TRAT$ CONTROL ACTUALLY ALL[S = V]Y LITTLE PRODUCTION4 ,?IS IS SE5 MO/ CLE>LY 9 ! EXTREME UND]/ATEM5T & BREVITY 9 MU* ( ! WORK ( ,WEB]N1 ,S*O5B]G'S MO/ SUCCESSFUL DISCIPLE2 AT TIMES !RE >E AS MANY PAUSES AS NOTES1 :ILE ! SECOND ( ,WEB]N'S E>LY ,?REE ,PIECES = ,CELLO & ,PIANO1 = EXAMPLE1 LA/S ONLY ?IRTE5 SECONDS4 

,! OLD H>MONIC SY/EM & ITS MAJOR_/M9OR KEY PO9TS ( REF]5CE PROVID$ EASILY UND]/OOD PLACES ( DEP>TURE & DE/9ATION4 ,S]IALISM ACCORDS EQUAL USE TO EA* NOTE1 MAK+ ANY *ORD FEASIBLE3 ?IS CONVEYS A SOME:AT HOMELESS1 FRAGM5T>Y S5SE1 SUITABLE TO AN AGE ( MORE DIFFUSE1 TRADITIONLESS DOM9ATION4 

,AS ( ,WORLD ,W> #a1 >T MUSIC 9 G5]AL BEGAN TO FRAGM5T4 ,/RAV9SKY L$ ! NEOCLASSICI/ T5D5CY1 :I* REAFFIRM$ A TONAL C5T] DESPITE ! PREVAIL+ W9DS ( *ANGE4 ,GR\ND$ FIRMLY 9 ! #a#h? C5TURY1 IT SEEM$ TO 9CREAS+ NUMB]S ( COMPOS]S1 ESPECIALLY AFT] ,WORLD ,W> #aL1 TO BE NO SOLUTION TO MUSIC'S !ORETICAL PROBLEMS4 ,S]IALI/ FIGURE ,PI]RE ,B\LEZ T]M$ ITS RA!R FLAGRANTLY ANA*RONI/IC *>ACT] & REFUSAL ( DEVELOPM5T A 'MOCK]Y'4 ,NEOCLASSICAL MUSIC SEEM$ TO %>E AT LEA/ SOME?+ ) ! NEW S]IALI/ MOVEM5T1 H[EV]1 AN (T5 />K1 AU/]E *>ACT]1 9 L9E ) ! G5]AL TR5D T[>D CONTRACTION & PESSIMISM4 ,B5JAM9 ,BRITT5 SEEM$ PREOCCUPI$ ) ! PROBLEM ( SUFF]+1 :ILE MANY ( ,A>ON ,COPL&'S WORKS EVOKE ! LONEL9ESS ( 9DU/RIAL CITIES1 :OSE V]Y 5]GY IS B]EFT ( REAL VITALITY4 ,ANO!R MAJOR TRADITIONALI/1 ,VAU<AN ,WILLIAMS1 5D$ HIS MA/]FUL ,SIX? ,SYMPHONY ) :AT CAN ONLY BE DESCRIB$ AS AN OBJECTIVE /ATEM5T ( UTT] NIHILISM4 

,MEAN:ILE1 BY ! #a#i#eS1 S]IALISM CAME TO BE REG>D$ AS OV]DET]M9$1 ITS DISCIPL9E TOO SEV]E1 SO MU* SO ?AT IT OCCASION$ '*ANCE' MUSIC 7ALSO CALL$ ALEATORY MUSIC OR 9DET]M9ACY74 ,CLOSELY ID5TIFI$ POPUL>LY ) ,JOHN ,CAGE1 *ANCE SEEM$ ANO!R P>T ( ! L>G] SW+ AWAY FROM ! SUBJECT -- :I* ELECTRONIC OR COMPUT]-G5]AT$ COMPOSITION W\LD TAKE EV5 FUR!R -- :]EBY ! HUMAN VOICE DISAPPE>S & EV5 ! P]=M] IS (T5 ELIM9AT$4 ,P>ADOXICALLY1 ! ES!TIC EFFECTS PRODUC$ BY R&OM ME?ODS >E ! SAME AS ?OSE REALIZ$ BY TOTALLY ORD]$ MUSIC4 ,! M9IMALISM ( ,REI*1 ,GLASS & O!RS SEEMS A MASS-M>KET$ NEOCONS]VATISM 9 ITS PLEASANT1 REPETITI\S POV]TY ( IDEAS4 ,IANNIS ,X5AKIS1 IMITAT+ ! BRUTALISM ( HIS TEA*] ,LE ,CORBUSI]1 MAY BE SAID TO /& = ! HEI<T ( ! CYB]NETIZ+1 COMPUT]-WOR%IP+ APPROA*3 HE HAS S\<T AN 0ALLOY ( MUSIC & TE*NOLOGY0 BAS$ ON HIS RESE>* 9TO 0LOGICO-MA!MATICAL 9V>IANTS40 

,>T MUSIC IS TODAY BEWILD]$ BY A SCATT]+ 9FLU5CE1 ! ABS5CE ( ANY UNIFY+1 COMMON-PRACTICE LANGUAGE4 ,& YET ! MA9 ?RU/ ( ALL ( IT -- IF ONE CAN USE ! WORD ?RU/ 9 SU* AN 5]VAT$ CONTEXT -- IS A COLD EXPRESSIONLESSNESS :OLLY BEFITT+ ! 5ORM\S 9CREASE 9 ALI5ATION1 OBJECTIFICATION & REIFICATION ( WORLDWIDE LATE CAPITALISM4 ,A DIVID$ SOCIETY MU/ F9ALLY MAKE DO ) A DIVID$ >T3 ! L&SCAPE DOES NOT 'H>MONIZE'4 ,IT IS AN ]A ?AT P]HAPS CANNOT EV5 BE GIV5 A MUSICAL 5D+ ANY MORE2 IT HAS C]TA9LY BECOME BO? TOO UNRULY & TOO BLEAK TO BE COMPOS$ & BR\<T TO ANY TONAL1 CAD5C$ CLOSE4 ,:5 >T & EV5 SYMBOLIZATION ITSELF SEEM FALSE TO MANY1 ! QUE/ION OCCURS1 :]E DO ! =CES LIE BY :I* MUSIC CAN BE KEPT ALIVE1 :]E IS ! 5*ANTM5T8 

0,ALL >T IS MORTAL1 NOT M]ELY ! 9DIVIDUAL >TIFACTS BUT ! >TS !MSELVES10 WROTE ,SP5GL]4 ,>T -- ) MUSIC 9 ! =EFRONT -- MAY1 AS ,HEGEL SPECULAT$ IT W\LD1 BE ALREADY WELL )9 ! AGE ( ITS DEMISE4 ,SAMUEL ,LIPMAN'S ,MUSIC AFT] ,MOD]NISM 7#a#i#g#i7 PRON\NC$ MUSIC'S T]M9AL ILLNESS1 ITS /ATUS AS 0LIV+ ON ! CAPITAL ( ! EXPLOSION ( CREATIVITY :I* LA/$ FROM BE=E ,BA* TO ,WORLD ,W> ,I40 ,! FAILURE ( TONALITY'S 'CREATIVITY' IS ( C\RSE P>T ( AN OV]ALL 5TROPY 9 :I* CAPITAL1 9 ,LIPMAN'S ACCID5TAL ACCURACY ( WORDS1 TURNS TOXIC & UNMI/AKABLY SELF-DE/RUCTIVE4 ,ADORNO SAW ?AT 0,!RE >E FEW] & FEW] WORKS FROM ! PA/ ?AT CONT9UE TO BE ANY GOOD4 ,IT IS AS IF ! 5TIRE SUPPLY ( CULTURE IS DW9DL+40 ,SOME W\LD M]ELY HOLD ON TO ! MUSEUM PIECES ( TONALITY AT ALL CO/S & DEPLORE ! LACK ( !IR RESUPPLY4 ,?IS IS ! MEAN+ ( VIRTUALLY ALL ! /&>D LAM5TS ON ! SUBJECT1 SU* AS ,CON/ANT ,LAMB]T'S ,MUSIC ,HO6 ,A ,/UDY ( ,MUSIC 9 ,DECL9E 7#a#i#c#d7 OR ,! ,AGONY ( ,MOD]N ,MUSIC 7#a#i#e#e7 9 :I* ,H5RY ,PLEASANTS TOLD US ?AT 0,! VE9 :I* = ?REE HUNDR$ YE>S (F]$ A SEEM+LY 9EXHAU/IBLE YIELD ( BEAUTIFUL MUSIC HAS RUN \T10 OR ,ROL& ,/ROMB]G 9 ,AFT] ,EV]Y?+ 7#a#i#g#e73 0,IT IS H>D 444NOT TO ?9K ?AT S]I\S MUSIC HAS REA*$ ! /ATE ( TOTAL DECAY40 ,BUT ! SAME DEA? V]DICT ALSO COMES FROM NON-ANTIQU>IANS3 A #aihc LECTURE BY NOT$ S]IALI/ COMPOS] ,MILTON ,BABBITT WAS CALL$ 0,! ,UNLIKELY ,SURVIVAL ( ,S]I\S ,MUSIC40 ,E>LI]1 ,BABBITT1 9 ! FACE ( ! UNPOPUL>ITY ( CONTEMPOR>Y >T MUSIC POS$1 DEFIANTLY & UNREALI/ICALLY1 ! 0COMPLETE ELIM9ATION ( ! PUBLIC & SOCIAL ASPECTS ( MUSICAL COMPOSITION0 & P5N$ AN >TICLE 5TITL$ 0,:O ,C>ES ,IF ,Y\ ,LI/580 

,! LACK ( A PUBLIC = 'DIFFICULT' MUSIC IS OBVI\S & NOTEWOR?Y4 ,IF ,BLO* WAS CORRECT TO JUDGE 0,ALL WE HE> IS \RSELVES10 IT MAY ALSO BE CORRECT TO CONCLUDE ?AT ! LI/5] DOES NOT WANT ?AT ELEM5T 9 MUSIC ?AT IS A CONFRONTATION ) \R AGE4 ,ADORNO REF]R$ TO ,S*O5B]G'S MUSIC AS ! REFLECTION ( A BROK5 & EMPTY WORLD1 EVOK+ A REPLY FROM ,MILAN ,RANKOVIC ?AT 0,SU* A REFLECTION CANNOT BE LOV$ BECAUSE IT REPRODUCES ! SAME EMPT9ESS 9 ! SPIRIT ( ! LI/5]40 ,A FUR!R QUE/ION1 RELAT+ TO ! LIMITS ( >T ITSELF1 IS :E!R E/RANGEM5T 9 MUSIC C\LD EV] PROVE EFFECTIVE 9 ! /RUGGLE AGA9/ ! E/RANGEM5T ( SOCIETY4 

,MOD]N MUSIC1 H[EV] SPL9T]$ & REMOV$ FROM ! OLD TONAL P>ADIGM1 HAS OBVI\SLY NOT EFFAC$ ! POPUL>ITY ( ! ,B>OQUE1 ,CLASSICAL & ,ROMANTIC MA/]S4 ,& 9 ! >EA ( MUSIC $UCATION TONALITY CONT9UES TO PREVAIL AT ALL LEVELS2 UND]GRADUATES 9 COMPOSITION CLASSES >E 9/RUCT$ ?AT ! DOM9ANT 'DEM&S' RESOLUTION1 ?AT IT 0MU/ RESOLVE0 TO ! TONIC1 ETC41 & ! /UD5TS' MUSICAL S5SE ITSELF IS APPRAIS$ 9 T]MS ( ! ONCE-UN*ALL5G$ H>MONIC CATEGORIES & RULES4 ,TONALITY1 AS %\LD BE CLE> BY N[1 IS AN IDEOLOGY 9 PURELY MUSICAL T]MS1 & ONE ?AT P]SEV]ES4 

,ONE WOND]S1 9 FACT1 :Y >T MUSIC1 :]E TRADITIONS >E REV]$1 %\LD HAVE MADE ! BREAK ?AT IT HAS1 :ILE ALL ( POP MUSIC 7& ALMO/ ALL JAZZ1 :I* 9H]IT$ ITS H>MONIC SY/EM FROM CLASSIC ,EUROPEAN TONALITY71 :]E TRADITIONS >E (T5 DESPIS$1 HAS HELD BACK4 ,!RE IS NO =M ( POPUL> MUSIC 9 ! 9DU/RIAL WORLD ?AT EXI/S \TSIDE ! PROV9CE ( MASS TONAL CONSCI\SNESS4 ,AS ,RI*>D ,NORTON SAID SO WELL3 0,IT IS ! TONALITY ( ! *UR*1 S*OOL1 (FICE1 P>ADE1 CONV5TION1 CAFET]IA1 WORKPLACE1 AIRPORT1 AIRPLANE1 AUTOMOBILE1 TRUCK1 TRACTOR1 L\NGE1 LOBBY1 B>1 GYM1 BRO!L1 BANK1 & ELEVATOR4 ,AFRAID ( BE+ )\T IT ON FOOT1 HUMANS >E PRES5TLY /RAPP+ IT TO !IR BODIES 9 ORD] TO WALK TO IT1 RUN TO IT1 WORK TO IT1 & RELAX TO IT4 ,IT IS EV]Y:]E4 ,IT IS MUSIC & IT WRITES ! SONGS40 

,IT IS ALSO AS TOTALLY 9TEGRAT$ 9TO COMM]CIALIZ$ MASS PRODUCTION AS ANY PRODUCT ( ! ASSEMBLY L9E4 ,! MUSIC NEV] *ANGES FROM ! SEEM+LY ET]NAL =MULA1 DESPITE SUP]FICIAL V>IATIONS2 ! 'GOOD' SONG1 ! H>MONICALLY M>KETABLE SONG1 IS ONE ?AT CONTA9S FEW] DIFF]5T *ORDS ?AN A #a#d? C5TURY BALLAD4 ,ITS EXPRESSIVE POT5TIAL EXI/S SOLELY )9 ! LIMIT$ CONF9ES ( CONSUM] *OICE1 :]E91 ACCORD+ TO ,HORKHEIM] & ,ADORNO1 0,SOME?+ IS PROVID$ = EV]YONE SO ?AT NONE %ALL ESCAPE40 ,AS A ONE-DIM5SIONAL CODE ( CONSUM] SOCIETY1 IT IS A TRA9+ C\RSE 9 PASSIVITY4 

,MUSIC1 R$UC$ TO BACKGR\ND NOISE :I* NO LONG] TAKES ITSELF S]I\SLY1 IS AT ! SAME TIME A C5TRAL1 OMNIPRES5T ELEM5T ( 5VIRONM5T1 MORE SO ?AN EV] BE=E4 ,! IMM]SION 9 TONALITY IS AT ONCE DI/RACTION & P]VASIVE CONTROL1 AS ! SIL5CE ( ISOLATION & BOR$OM MU/ BE FILL$ 94 ,IT COM=TS US1 D5Y+ ?AT ! WORLD IS AS REIFI$ AS IT IS1 R$UC$ TO MAK+ BELIEVE ?AT -- AS ,BECKETT PUT IT 9 ,5DGAME -- ANY?+ IS HAPP5+1 ?AT ANY?+ *ANGES4 ,POP MUSIC ALSO PROVIDES A PLEASURE ( ID5TIFICATION1 ! IMM$IATE EXP]I5CE ( COLLECTIVE ID5TITY ?AT ONLY MASSIFI$ CULTURE1 UNCONSCI\S ( ! AU?ORIT>IAN IDEOLOGY :I* IS TONALITY1 CAN PROVIDE4 

,ROCK MUSIC WAS A 'REVOLUTION' COMP>$ ) E>LI] POP MUSIC ONLY 9 ! S5SE ( LYRICS & TEMPO 7& VOLUME7 -- NO TONAL REVOLUTION HAD EV5 BE5 DIMLY CONCEIV$4 ,/UDIES HAVE %[N ?AT ALL TYPES ( 7TONAL7 MUSIC CALM ! UNRULY4 CONSID] H[ PUNK HAS /&>DIZ$ & CLI*$ ! MUSICAL SNE]4 ,IT IS NOT ONLY ! MUSIC ( OV]T PACIFICATION1 LIKE ,NEW ,AGE COMPOSITION1 :I* D5IES ! NEGATIVE AS DANG]\S & EVIL 9 ! SAME WAY ?AT ,SOCIALI/ ,REALISM DID1 & LIKEWISE AIDS & ABETS ! DAILY OPPRESSION4 ,JU/ AS SURELY IT WILL TAKE MORE ?AN ROCK]S SMA%+ !IR GUIT>S ON /AGE1 EV5 ?\< ! LIMITS ( TONALITY MAY BE BEH9D SU* ACTS1 TO SIGNAL A NEW AGE4 

,LIKE LANGUAGE1 TONALITY IS HI/ORICALLY *>ACT]IZ$ BY ITS UNFRE$OM4 ,WE >E MADE TONAL BY SOCIETY3 ONLY 9 ! ELIM9ATION ( ?AT SOCIETY WILL OCCUR ! SUP]S$+ ( ALL GRAMM>S ( DOM9ATION4 

,FROM 3 ,!,AN>*I/,LIBR>Y4ORG4 

,*RONOLOGY 3 
,NOVEMB] #c1 #aiic 3 ,TONALITY & ,TOTALITY -- ,PUBLICATION4 
,APRIL #b#d1 #bb 3 ,TONALITY & ,TOTALITY -- ,ADD$4 
,JANU>Y #d1 #bbb 3 ,TONALITY & ,TOTALITY -- ,UPDAT$4 

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