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Hermann BECKH - The Language of Tonality Why are musical works named by their keys: "Mass in B minor," "Symphony in D major," and so on? Can certain things be said best, or even "only," in certain keys? Can we hear the essence of a key? Are "subjective" and "objective" relevant, or is there a higher synthesis? How could the common chord express so much musical variety for over three centuries, and for some decades concentrated in one city, Vienna, in Central Europe? Hermann BECKH s (1875-1937) tone-zodiac - by 1922, not the first to be suggested - is still respected almost a century on. With it, he explores the motivating power in our tonal system as lived - nobody s invention, so in no way a "theory." The author - acknowledged polymath who also wrote music - played on the piano all the music mentioned in this pioneer study. In his explanation of tonality as an organising, creative principle, Beckh cites music from Bach - effectively the father of tonality - concluding with Wagner s music dramas. Beckh s apparently unique perspective on Wagner is one excellent reason to re-visit him, and Beckh, too, because his tone-zodiac invites access into the workshop of creation. Beckh extends the concept of "music" and "musical." The profession of music is not challenged, but upheld - from within. To see music as "abstract," or deriving from sonic vibrations are both challenged. Through Beckh s holistic intuition, the reader is invited "backstage" to research creativity itself. There is a practical path beyond the restrictions of dualism, beyond all "feel-good" factors - whether of "Mozart," "Wagner," or any other - in order to research "what is." In-depth researchers already recognise Prof. Dr Hermann Beckh as a pioneer; musicians and music-lovers will gain innumerable enriching insights and stimuli. But even more, in telling us least about himself, and without notating a single musical example, the author is able to tell us a very great deal about the personality - of his r
Hermann BECKH - The Language of Tonality Why are musical works named by their keys: "Mass in B minor," "Symphony in D major," and so on? Can certain things be said best, or even "only," in certain keys? Can we hear the essence of a key? Are "subjective" and "objective" relevant, or is there a higher synthesis? How could the common chord express so much musical variety for over three centuries, and for some decades concentrated in one city, Vienna, in Central Europe? Hermann BECKH s (1875-1937) tone-zodiac - by 1922, not the first to be suggested - is still respected almost a century on. With it, he explores the motivating power in our tonal system as lived - nobody s invention, so in no way a "theory." The author - acknowledged polymath who also wrote music - played on the piano all the music mentioned in this pioneer study. In his explanation of tonality as an organising, creative principle, Beckh cites music from Bach - effectively the father of tonality - concluding with Wagner s music dramas. Beckh s apparently unique perspective on Wagner is one excellent reason to re-visit him, and Beckh, too, because his tone-zodiac invites access into the workshop of creation. Beckh extends the concept of "music" and "musical." The profession of music is not challenged, but upheld - from within. To see music as "abstract," or deriving from sonic vibrations are both challenged. Through Beckh s holistic intuition, the reader is invited "backstage" to research creativity itself. There is a practical path beyond the restrictions of dualism, beyond all "feel-good" factors - whether of "Mozart," "Wagner," or any other - in order to research "what is." In-depth researchers already recognise Prof. Dr Hermann Beckh as a pioneer; musicians and music-lovers will gain innumerable enriching insights and stimuli. But even more, in telling us least about himself, and without notating a single musical example, the author is able to tell us a very great deal about the personality - of his r
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