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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
the ear  being I%4A%1 II%4B%1  VI%4Z%1 V %4%1 II %4%1 IV.
%1hearing --    %4ABC A B C 0123456789 0 1 2 3 4 5 6 7 8 9 F6 S5 N3%1
the  arbiter.  Of course, we  all  (II%5H%1) space space
know that the ear is simply the  receptor of sounds and that what we  mean
the  arbiter.  Of course, we  all  (II%5I%1) space space
know that the ear is simply the  receptor of sounds and that what we  mean
V%4N5%1  VI%4S6%1 V%4F6%1 V%4F3%1.  V%4D%1) and
which we know or conceive of.  It is  obvious that any one,  isolated
note V%4F6%1 sounds either  right  or  wrong.