How We Got into Harmonic Tonality, and How to Get Out
Since Alexandre Choron and François-Joseph Fétis coined the term tonalité, the nature and history of the Western “common practice” tonal style has vexed music theorists and historians. This chapter argues for a pluralistic approach to studying tonality’s history, and advocates a model that centers rhythm, meter, phrase structure, and form rather than pitch content. Refocusing our attention on parameters that regulate pitch content, rather than pitch content itself, can help us to separate the emergence of tonality in the sixteenth and seventeenth centuries from incremental changes in background scale commonly described as modes and keys. Instead, we might consider how regulatory parameters create expectation: strategicallydeployed dominant arrivals prepare and predict eventual tonic returns.