In the end, one must admit that discussing it with such simplification results in error. It is taken too much for granted that tonality is within everyone's reach as a matter of fact, whereas on the contrary, it is quite the opposite. Musical literacy is a very complex process; one cannot concede that a nightclubgoer (with all due respect, obviously) can automatically understand the complex tonality of Brahms, or Beethoven's Ninth, or a solo violin partita by Bach, just as we cannot think that a reader of Baricco can manage to read Mann's The Magic Mountain. And confirmation is found when one goes to listen to the compositions of Ducros, which are nothing more than stylistic exercises of very little interest. However, such an avant-garde deconstruction is necessary, to counterbalance the stupidity of certain assertions by the zombies of the avant-garde, who claim that tonal language is dead and buried. Reiterating that it is instead the only one capable of restoring an accuracy of meaning at micro, medium, and macroscopic levels is fundamental, even with the conviction that absolute clarity is not the central condition of artistic communication, although the ability to manage its levels of both clarity and obscurity is. This video, with all its drawbacks, should be projected in all composition classes, in all contemporary music festivals, in short, in all places where excessive self-referentiality becomes the dominant characteristic. This gentleman, with all his simplifications, should be our Jiminy Cricket.
Atonalism. And then what?
