What is Tonality?

[A440A]

Greetings, 
Greg asked an honest question, and I think it is a good one, deserving of any
of us interested in this sort of thing,  to explore, debate, and learn from. 

<< Question was... Just curious as to how you define "tonality",  and the
seeming
 implications regarding the various temperaments used in achieving or
destroying any remnants of it?>>

     Tonality is something that comes from context.  It, IMHO,  refers to an
emotional location that is formed by the keys. 
     The concept of tonality arose as the variety of keys increased.  In the
meantone era, tonality was not that big a deal, as in the basic meantones, all
usuable keys sounded with the same tonal implications, (we are talking about
the thirds here). 
      When the restrictive limits of the wolf intervals were erased, via
Werkmiester's temperaments, etc.  the concept of "home key" became more of a
musical parameter.   The emotive effects were created by 1) definition of, 2)
departure from,  and  3), return to, a specific degree of tempering found in
the "home key", whatever it was. 
     The emotional effects of tempering intervals have been recognized for
many centuries, and the beauty that arises from the musical use of the variety
is dependant on the listeners reception.  If we accept that ""meaning" is a
product of a message being received, it is not a unique property of the
message",  then we must accept that "meaning" is dependant on the audience as
well as the "message"( the actual sound of the music).  
    The historical tonal center of the keyboard was the key of C, and this
particular key was tuned most purely in almost all temperaments prior to ET.
It will be seen that there is virtually no composition written during the
classical age that ends with any modulation going away from C, in any key.  
     I.e,  since modulating in a Well Temperament, in the direction away from
C, would raise the musical tension physically, (by the increased beating in
the thirds),  no composer ended his piece with this tension unresolved, hence,
there is always the finishing modulations that are done toward a more relaxed
key.  To do otherwise would be to leave the audience hanging, waiting for the
harmony to "come home".  There is no other key that exhibits this kind of
gravitational "pull".  I am not saying all compositions ended on C, but
rather, that their ending direction was toward C.  
    This is, of course, not a total rule, but lets see how many compositions
can be found that end by modulating in the direction away from lower
tempering.  I need someone here that is more of a musicologist than I am.  Any
takers?  
Regards, 
Ed Foote