1. In Music There Are Leading Tones
When we listen to music, we perceive not only tones but also leading tones. These are tones that, in the traditional sense, strive for transformation into neighboring tones. Many music theorists, and especially Ernst Kurth, have already extensively described the effect of leading tones. They say that with a leading tone, one feels a force that urges it to transform into a neighboring tone.
2. With a Leading Tone, We Identify With a Will
According to the theory of musical equilibration, however, the exact opposite is true. It states that with a leading tone, we identify with the will to maintain the leading tone, to hold onto it, so to speak. This is comparable to identifying with the will of a film character that we experience while watching a movie. However, since music does not need people or a plot, the identification here can occur anonymously.
3. A Tone Is Not a Concrete Object
Since a leading tone is not a concrete object, this wanting to hold on is also not concrete, but only abstractly comprehensible. It becomes a objectless wanting to hold on and can then serve as a symbol for individual ideas of the music listener.
4. Leading Tones as Carriers of Emotion
Through the identification with a will, the music seems emotionally colored. This is also comparable to the identification with the will of a film character, through which a film is experienced emotionally. However, since music manages without plot and people, one can speak here of anonymous empathy.
5. A Simple Example: Major and Minor
A C major chord has the leading tone E. In this case, we identify with the will to maintain something. Therefore, the major chord can be perceived as an expression of agreement. If we switch to C minor, the leading tone E is lowered to Eb. The feeling of agreement transforms into a feeling of no longer being in agreement. The minor chord now sounds sad when it is quiet, and angry when it is loud.
6. Harmony Connections Make Contents of Will More Concrete
Through the intertwining of several harmonies (e.g., through dominant relationships), it is possible to musically represent more concrete ideas of emotional contents. Likewise, also through extra-musical information such as song lyrics or plot sequences in films.