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.CENTER		
CHAPTER I
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.CENTER			
INTRODUCTION
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.INDENT 6
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.SELECT 1
	Except possibly for the works of a few ↓_composers_↓$$By composers we
mean xxxxxx.$  overcome by a theoretical %2bent, music has always 
%1been written from the point of view that the  proof
%1hearing -- the ear  being %5 0 1 2 3 4 5 6 7 8 9 %1
the final arbiter.  Of course, we  all
know that the ear is simply the  receptor of sounds and that what we  mean
V%3↓5%1  VI%3↑6%1 when we say a musical passage "sounds wrong" is that it includes  elements
which our minds are unable to  accept in terms of the musical  conventions
which we know or conceive of.  It is  obvious that any one,  isolated
note V%3↓6%1 sounds VII%4B%1 either  right  or  wrong.  A I%4A%1 is a chord.
note V%3↓6%1 sounds !!VII,73; either  right  or  wrong.  !!A I,64; is a chord.