I would also question the audience's need to have all dissonance released in the end to "feel good." There are many, many works (mostly from the 20th century, granted) that are very successful without resolving harmonically at the end. Just for one broad example, it is very common to end big band pieces on a chord with MORE tension than the rest of the piece, not less, starting with Stan Kenton, and including most of Sammy Nestico's classic work for Count Basie, whose music hardly lacks the "feel good" element.
Christopher
Not to mention the thousands of hit songs from the past 50 years that end with a fadeout on a repeating, non-cadential phrase and have no definite ending sonority at all.
-- Andrew Stiller Kallisti Music Press
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