Just a short note and just a hunch...

Matthiesson (sp?) n referred to earlier in this list.  So far as I know,
he was the first to assosciate various tonalites with various pyschological
attributes.  And if I'm not mistaken he wrote his book, somewhere around
1720's...  My hunch is that, at that period the "tonal" musical grammer was
not yet a language that was shared by the musicians and their audience-
hence the need for a "psychological" vocabulary that may serve as as
go-between betweeen the composer and the audience.

Sometime towards the end of the 18th century Vienna, for the probably
first time, audience and the musicians started "using the same tongue"...
Prior to that even the musicians had to have recourse to a pyschological
language, in order tno understand what they were doing -aiming at- in a
tonal language..

Currently I am listening to a CD released by Chandos- a collection of
pieces by J.C Bach.  In it s jacket notes I find the sentence "The late
1760's saw a brief fashion for G Minor symphonies in the 'Sturm and Drang'
manner."

More later and thanks for the enocouragement,
iskender