I concur that there is, on some matters, a general agreement in art books. However, certainly it does not help that there is so much inconsistency of terminology. For example: the way that hue and color are so frequently used interchangeably, likewise lightness, brightness, tone and value.
What bothers me more is that so much truly important material is not being addressed as explicitly as it should be. For example: the exaggeration of contrast on which so much art relies exists in two dimensions: increase of difference and decrease of difference.
This application of contrast/affinity is a general principle that runs through the entirety of art. Indeed, I demonstrate it to my students by showing its application in Korean TV dramas. The only explicit mention I can find of this in art literature is in the work of Ruskin, nearly 200 years ago!
Even worse is that so much very important material is not being addressed at all. For example, a common device that painters employ is to configure the neighboring regional contrast of a form can be light against dark on one edge and dark against light on the opposing edge. In figurative paintings and in classic portrait photography this device is almost ubiquitous, yet as far as I am able to determine no one has named it or even written about it. We were obliged to name it ourselves (tone wrap).
> They are not difficult to explain, they are just difficult to master.
Completely agree that they can be difficult to master. However, a thing cannot be satisfactorily explained unless there is consistent (or even existent) terminology for that thing.
> So unless you can solve judgement (which styles derive from)
Nicely put.