There just seems to be an inborn need to hear a tonic chord sounded
after a dominant.
ask someone living in a balinese village who grew up playing in an
angklung ensemble and who hasn't been exposed to western classical
music if he has this inborn need.
chords, harmony, counterpoint etc. are western european art music
models. there is nothing "natural" about them; there is nothing
universal about them, they are belief and cultural value systems.
this is the voice of musical colonialism speaking.
if the chord appearing around 20min before the end of feldman's "for
philip guston" which breaks around 10min of quasi-modal stasis
corresponded to a chord that would in other circumstances be called a
dominant 7th, it would sound horribly out of place (as the actual
chord does) and a "tonic chord" would only worsen matters.
musical perception is contextual. there are no absolute values in
music. the only absolute truth is that there is no such thing.
--
shirling & neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
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