Obouhow
It became obvious that Obouhow needed to play a role in my presentation of Other harmony when I stumbled onto his Traité d’harmonie tonal, atonale et totale (1947). Obouhow’s “harmonie totale” seems clearly to have been another search for Other harmony (...)
Obouhow had little interest in tonal music, and in a 1972 issue of La Revue musicale he is quoted as saying that “the ancient separation of major and minor tonalities are destined to disappear almost completely, for they only correspond to single limited emotions.” For him music must be the one spiritual emotion that can be expressed only with the absolute harmony of the 12 notes. (...)
