Major Modal Democracy

Major Modal Democracy, also known as the Droite-Avant-garde or Neoclassical Music Liberalism is an ideology that attempts to re-adapt the principles of the major modes with liberal ideas. Whilst believing that the major modes are the most correct tonal organization, he also believes they must adapt to modern times, and re-adapt liberal western ideas like democracy, human rights, pluralism, and the rule of law. He forms a middle position between Anarcho-Jazzism and the explicit cultural policies of  major 20th-century dictatorships. He is an economically centre-left to  centre-right (largely depending on his opposition), moderately authoritarian and culturally centre-left to right-wing ideology. The status of his spiritual beliefs largely varies. What usually stays consistent is the belief that the state that works within a liberal-democratic framework should enforce the traditional value of the major modes.

= History = Over the course of the nineteenth century, there arose in classical music a situation described as the "crisis of tonality" due to the increasing use of "ambiguous chords, improbable harmonic inflections, and more unusual melodic and rhythmic inflections than what was possible within the styles of tonal music. The distinction between the exceptional and the normal became more and more blurred. As a result, there was a 'concomitant loosening' of the synthetic bonds through which tones and harmonies had been related to one another. The connections between harmonies were uncertain even on the lowest chord-to-chord level. On higher levels, long-range harmonic relationships and implications became so tenuous, that they hardly functioned at all. At best, the felt probabilities of the style system had become obscure. At worst, they were approaching a uniformity, which provided few guides for either composition or listening." The first phase, known as "free atonality" or "free chromaticism", involved a conscious attempt to avoid traditional diatonic harmony. Works of this period include the opera Wozzeck (1917–1922) by Alban Berg and Pierrot lunaire (1912) by Schoenberg.

The second phase, begun after World War I, was exemplified by attempts to create a systematic means of composing without tonality, most famously the method of composing with 12 tones or the twelve-tone technique. This period included Berg's Lulu and Lyric Suite, Schoenberg's Piano Concerto, his oratorio Die Jakobsleiter and numerous smaller pieces, as well as his last two string quartets. Schoenberg was the major innovator of the system, but in one of the many ironies of history, was a highly conservative and traditionalistic teacher. His student, Anton Webern, however, is anecdotally claimed to have begun linking dynamics and tone color to the primary row, making rows not only of pitches but of other aspects of music as well. However, actual analysis of Webern's twelve-tone works has so far failed to demonstrate the truth of this assertion. One analyst concluded, following a minute examination of the Piano Variations, op. 27, that "while the texture of this music may superficially resemble that of some serial music ... its structure does not. None of the patterns within separate nonpitch characteristics makes audible (or even numerical) sense in itself. The point is that these characteristics are still playing their traditional role of differentiation." Twelve-tone technique, combined with the parametrization (separate organization of four aspects of music: pitch, attack character, intensity, and duration) of Olivier Messiaen, would be taken as the inspiration for serialism.

Atonality emerged as a pejorative term to condemn music in which chords were organized seemingly with no apparent coherence. In Nazi Germany, atonal music was attacked as  "Bolshevik" (the irony of the Bolshevik regime‘s current cultural policies also being against such music may have been lost on the Nazis) and labeled degenerate (Entartete Musik) along with other music produced by enemies of the Nazi regime. Many composers had their works banned by the regime, not to be played until after its collapse at the end of World War II. During the pivot to the Cold War, the major modes officially, but secretly, de-adapted liberal western ideas like democracy, human rights, pluralism, and the rule of law.

After Schoenberg's death, Igor Stravinsky used the twelve-tone technique Iannis Xenakis generated pitch sets from mathematical formulae, and also saw the expansion of tonal possibilities as part of a synthesis between the hierarchical principle and the theory of numbers, principles which have dominated music since at least the time of Parmenides.

Free atonality
The twelve-tone technique was preceded by Schoenberg's freely atonal pieces of 1908 to 1923, which, though free, often have as an "integrative element...a minute intervallic cell" that in addition to expansion may be transformed as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells".

The twelve-tone technique was also preceded by nondodecaphonic serial composition used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the ostinato."

=Personality=

Major Modal Democracy will generally act as a stereotype of a music teacher.

=How to Draw= Drawing Major Modal Democracy is very easy:


 * 1) Draw a ball
 * 2) Fill it with Yellowish-Orange (#FCC52b)
 * 3) Draw Orange (#FC8922) musical notation on it. This should refer to pitches.
 * 4) Draw the eyes and you're done!

=Relationships=

Friends

 * [[File:Dem.png]] Other democracies - If the Congress For Cultural Freedom debacle has proven anything about music, it’s that the major modes are the most democratic music devised by man.
 * [[File:Islamic Democracy.png]] - And the Rast modes?
 * - These? A very close second.

Frenemies (False Friends)

 * [[File: Mediocracy.png]] Mediocracy and [[File: Corp.png]] Corporatocracy - Thanks, I hate the fact they are technically right and I always feel self-hatred when I see them......


 * [[File:Kak.png]] Kakistocracy - You like the people just like me, but you're making me look bad.
 * [[File:Awaj.png]] Anarchism - Her entire family is against a leader enforcing any values, but most of her children are favorable towards the traditional value of the major modes.
 * [[File: Ajazz.png]] Anarcho-Jazzism - I can’t hate you, but nature is clearly on my side.
 * [[File:Ormarxf.png]] Marxism - The correct Communist society isn’t going to abolish the major modes … after the revolution? You really mistrust [[File: Conservative.png]] conservatives [[File:Conserv.png]] [[File:Con-t.png]]	that much?
 * [[File: Orthlen.png]] Leninism [[File:Lenin.png]] and the rest of his friends - At least Lenin was right about [[File: Stalin.png]] him. You’re still a revolutionary though.
 * [[File: Khrusch.png]] Khrushchevism - At least you liberalized from the correct enforced position.

Frenemies (False Friends) - Enemies
= Literature =
 * [[File:Neomarx.png]] Neo-Marxism - If the Congress For Cultural Freedom debacle has proven anything about music, it’s that the major modes are the most democratic music devised by man.
 * [[File:Nazi.png]] Nazism and [[File: Stalin.png]] Stalinism - At least you held the correct enforced position in spite of all the people you terrorized.
 * [[File:Fut2.png]] Futurism - At least Adorno and Gramsci were permissive towards more peaceful tactics…
 * [[File: Fash.png]] Fascism - What a beautiful panpipe! Shame your wacky brother had to go spoil it like that.

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