Perhaps the most significant thing that has happened in the last half century with the domestic theory of music, and with the science of harmony in particular, is its historicization and, as a consequence, a natural increase in attention to the category of harmonic style in such a situation. Historicization, first impulses which arose about a century ago, had several consequences, very noticeably restructuring the profile of science, and in recent decades and academic discipline. These include the idea of the relativity of both aesthetic ideas about the harmoniously acceptable, and specific technical rules and norms that change from era to era or from author to author, or even from composition to composition, if we talk about the music of the 20th century.
Abstract