This paper redefines the essence of "tonally ambiguous materials" (调性模糊材料): pitch-class structures created by equal divisions of the octave, which eliminate intervallic differentiation and thereby prevent listeners from locating individual pitch classes within the aggregate, resulting in a state of cognitive undecidability regarding tonal attribution. This mechanism fundamentally differs from traditional functional-harmonic descriptions of the diminished seventh chord, revealing the geometric roots of tonal ambiguity. The paper systematically analyzes the complete family of equally-divided structures—the diminished seventh chord (4 equal divisions), the augmented triad (3 equal divisions), and the whole-tone scale (6 equal divisions)—demonstrating that they form a color spectrum ranging from tense suspense to hazy dreaminess. Through triple verification from acoustic physics, cognitive psychology, and historical documentation, this study reveals that equally-divided structures constitute the most effective "labyrinth-making" technique in tonal expansion, traces their strategic deployment in Western music history, and ultimately responds to the classical debate regarding the value of atonal music.
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