conflict resolution, myth, and music

…it is very striking that the fugue, as it was formalized in Bach’s time, is the true-to-life representation of the working of some specific myths, of the kind where we kave two characters or tow groups of characters. Let’s say one good, the other one bad, for instance, though that is an over-simplification. The story unrolled by the myth is that of one group trying to flee and to escape from the other group of characters; so you have a chase of one group by the other, sometimes group A rejoining group B, sometines group B escaping - all as in a fugue. You have what we call in French ‘le sujet et la répose.’ The antithesis or antiphony continues through the story until both groups are almost confused and confounded - an equivalent to the stretta of the fugue; then a final solution or climax of this conflict is offered by a conjugation of the two principles which had been opposed all along during the myth. It could be a conflict between the powers above and the powers below, the sky and the earth, or the sun and subterranean powers, on the like. The mythic solution of conjugation is very similar in structure to the chords which resolve and end the musical piece, for they offer also a conjugation of extremes which, for once and at last, are being reunited. (page 50, Myth and Meaning)

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This might be a consideration when looking at indigenous approaches to conflicts and resolutions. Specifically the idea of escaping another group as escaping oppression and how they might resolve through “a conjugation of extremes”. Is that like coming to an amicable agreement, merging ideas, or finding a middle ground?