A Quote by Bela Bartok

Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
I want music to move me, and I don't think it can do that without at least a link to tonality. It's the tug between atonal and tonal which makes music poignant.
Music is the tonal reflection of beauty.
Whenever you are in the world of the tonal, you should be an impeccable tonal; no time for irrational crap. But whenever you are in the world of the nagual, you should also be impeccable; no time for rational crap. For the warrior intent is the gate in between. It closes completely behind him when he goes either way
Music is the tonal analogue of emotive life.
There are, however, composers whose music can only be heard in a chromatic sense. George Perle, for example, wrote pieces that you might think of as leaning in a tonal direction but it's very hard to register a pitch as, say, the sixth degree of a scale, whereas in much of my music I think that's often relatively easy to do.
A person who is insane has no sense of their place; they've lost that ability, which our friend don Juan describes as the tonal.
Music says so much. Really specific but those are also real tonal things as well.
You see more and more why healing is happening through music. It's because music causes a reorganization of the tonal structure, and Man in essence is a vibration
I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.
I started with very tonal 19th-century music because I wanted to be a violinist as a child. So this was my first music, and then I was very much influenced by Stravinsky and Shostakovich in the 1950s. But I was starting to develop my own style.
There are two sides to a person's being - the superconscious and the conscious. These have reverberations in the popular works of Carlos Castaneda, in the don Juan terminology of the tonal and the nagual.
There is no one part of the brain which recognizes or responds emotionally to music. Instead, there are many different parts responding to different aspects of music: to pitch, to frequency, to timbre, to tonal intervals, to consonance, to dissonance, to rhythm, to melodic contour, to harmony.
Writing tonal music now, you are not writing into the 19th Century.
When you sit, you've put a place on the island of the tonal for the possibility of your thoughts stopping for a short period of time.
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