We recently established a successful Useful Concepts Repository. It got me thinking about all the useless or actively harmful concepts I had carried around for in some cases most of my life before seeing them for what they were. Then it occurred to me that I probably still have some poisonous concepts lurking in my mind, and I thought creating this thread might be one way to discover what they are.
I'll start us off with one simple example: The Bohr model of the atom as it is taught in school is a dangerous thing to keep in your head for too long. I graduated from high school believing that it was basically a correct physical representation of atoms. (And I went to a *good* high school.) Some may say that the Bohr model serves a useful role as a lie-to-children to bridge understanding to the true physics, but if so, why do so many adults still think atoms look like concentric circular orbits of electrons around a nucleus?
There's one hallmark of truly bad concepts: they actively work against correct induction. Thinking in terms of the Bohr model actively prevents you from understanding molecular bonding and, really, everything about how an atom can serve as a functional piece of a real thing like a protein or a diamond.
Bad concepts don't have to be scientific. Religion is held to be a pretty harmful concept around here. There are certain political theories which might qualify, except I expect that one man's harmful political concept is another man's core value system, so as usual we should probably stay away from politics. But I welcome input as fuzzy as common folk advice you receive that turned out to be really costly.
I agree that whether "the standard set of harmony concepts" is actually superseded by Schenkerian/Westergaardian analysis is not really obvious.
Westergaard has a highly non-trivial theory of what counts as "consonance" or "dissonance" in a melodic line, which is roughly equivalent to "harmony" in standard music theory. The other way that traditional "harmony" is recovered is that this kind of analysis allows for a note in the 'background'/'deep' structure to be tonicized over, effectively becoming a "temporary tonic" and admitting the construction of tonic triads ('arpeggiation').
It would not be hard to make a strong case that "harmony" is a derived phenomenon; just take a bunch of chord progressions (or pieces that are commonly analyzed in terms of chord progressions) and re-analyze them in terms of the Schenkerian/Westergaardian concepts (deep structures, arpeggiation, tonicization). Then show how this leads either to a simplified analysis, or to one that's a better description of the music.
If you don't find it obvious after studying Westergaard and comparing it to (say) Piston, then my best guess is that you're relying on tacit musical knowledge that you don't realize others lack, or which you mistakenly think is being communicated in Piston (etc.) but which actually isn't.
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