Perfection and predictability

They go hand in hand. Which came first? Now I literally hearken back to tonality as I (falsely) learned it as a child, falsely insofar as tonality on the piano is not in tune. Who knew? Mozart knew. Already then, he knew, because he had an ear. Playing his sonatas as though their theoretical tonality is the point misses entirely the point he makes over and over again: instability rules. Instability produces unpredictability. Therefore, within the system of competitive conformity which is music pedagogy, we cannot tolerate it. Therefore, up the ante on tonality even when it is least applicable. Don't count the casualties in terms of listeners entirely turned off, permanently alienated from some of the world's greatest-ever-known music. Don't pay attention to your own personal boredom with a system which does not apply as you are taught it ought. Tonal Refraction has liberated my ear to observe, through its mathematical precision, the degree to which tonality in the Classical period is a travesty of intonation, and is explored as precisely that by the greatest composers: Mozart, of course; Beethoven, Brahms, the list goes on....