Key Signature ≠ Key

It’s the 21st Century. We’ve had modulations and chromaticisms, bitonalities and even atonlities, and you’d think that in 2011 we’d have a modicum of sophistication regarding the tonal centres and key relationships we discover in the music we play. But no, an insistence that the key signature tells us the tonal centre of a piece of music has gone from being an example of anachronism to being a deplorable trend in most major Australian cities (!). To be fair, we do call those congregations of accidentals at the beginning of each line of music a key signature; that is, this term implies that the accidentals signify a key rather than simply the notes required to be played a tone or semitone higher than the straight note name pitch. But in a post-atonal, neo-modal world it defies experience to assume that an absence of key signature signifies the C Major/A minor duopoly. Imagine my horror/bemusement/outrage/despair some 10 years ago on seeing a

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