OF THE PUBLISHER
"Natural Music Hearing," is a document, and according to the author it is a token of gratitude towards all those great talents or even geniuses who, out of their innermost love for the art of sound, kept the inner reality of music alive throughout the times. These outstanding personalities we know as our great musical creators.
But also, this autobiography of gaining knowledge in music is a landmark of a new age, of a new generation which today, with scientific exactness, fathoms the mechanism of knowing reality in music and systematically performs research on it to authentically capture the art of our great masters of music. The first sense of achievement of the modern music student, then, lies in the development of listening to music creatively that ability which since all times represents the timeless, true, inner basis of the art of sound.
Thus, "Natural Music Hearing," authentically examines the origin of the musical creations deep within our great masters of music and describes the evolution of the music listener as he enters the fields of knowledge of their great masterpieces.
The author, a composer himself, describes the evolution of the musical creation deep within the music creator with the same scientific accuracy with which he describes the development of a music lover into a true philosopher. Before our cognizing eye, in a comprehensible and indeed fascinating manner, the author performs basic research on the laws of gaining knowledge in music and on the divine forces in man which alone are capable of raising the truth to the light of our inner-mental concert-sphere.
Here, for the first time in the known history of music, the listener gains true intellectual insight into the smithy of music of our great masters of the art of tones
In his book "Natural Music Hearing," the author introduces us to the true structure of the process of gaining knowledge in music to its inner formal structure, to its natural logic, to its inherent meaning and to the form and content of this great art. One must take into consideration that the entire conventional musical education is as little concerned with the truth expressed in music as a phonetician is concerned with the meaning expressed by the ancient Chinese sounds he investigates. Already from his training, the musician is habituated to read the notes like letters from the score and to aim at pleasing sounds only and at a certain edification within himself and within the listener.
As the author states: "What makes music particularly destined to cognize comprehensively and philosopically as opposed to the common practice of philosophizing or scientifically analyzing in word or in writing is the fact that music is capable of stimulating feeling and understanding together to cognize. And since philosophy means 'love of truth,' and love is unthinkable without feeling being involved, we can assume that for philosophy, and moreover for any kind of gaining comprehensive knowledge, music is a means of gaining knowledge more qualified than the usual practice of intellectual discussion, verbal or written.
"Through his musical statement the classical composer successively stimulates within the listener very distinct spaces of cognition to resound, and he determines the proportions between them in such a way that they vibrate harmoniously towards each other and with each other.
"When he created the musical work, the composer, too, had set these inner sounding spaces of cognition vibrating within himself, and therefore he knows their effect on the individual personality: on the individual soul.
"Like the conventional system of scientific acquisition of knowledge, music describes in its various musical Force-Fields the differentiation of the forms and phenomena of nature the objective ones in the musical sound-space, the individual ones in the motif-space, the social ones in the sequence-space and the integrated wholeness of all differentiated phenomena in the infinite space of the harmony.
"Simultaneously with its differentiated way of describing the facts, however, music represents a consistent, dynamic process in which those facts are created, changed, re-formed again and again, and finally brought to decay on all levels of the musical description."
Because it introduces to the secret knowledge of our great composers, this book "Natural Music Hearing," reveals completely new perspectives in the field of music, but also for the repute of music among the experts. It leads the thinker, and particularly the music lover, away from any obscure musical manipulation of emotions, from the "interpretation," to the objective world of the musical meaning the reality proper of music.
Also, the composer examines the system of conventional musical education and offers inspirations for a meaningful deepening.
"History proves," the author confirms, "that hardly any school of music in the world can justly claim to ever have succeeded in educating even one great composer; the few great composers of the last centuries were either not at all associated with any music school, or their achievements were beyond the criteria of these institutions of music and were therefore not appreciated.
"Music schools all over the world aim at artistic accomplishment; in their curricula, they borrow from the works of the great classical composers, and by linking the music students to these achievements they try to give them at least an orientation for their own musical act.
"However, the curricula of our music schools follow the works of the great classical composers only on the outside and therefore only comprehend the composers' outer product but miss their inner achievement. The syllabi of the schools of music pertain only to the outer composition and not systematically and logically to its underlying musical meaning and purpose.
"A personal message from the classical composer to his listener is therefore not being recognized, and the pedagogical intent spurring the great classical composer is effectively ignored. The importance of music for the general formation of man, as well as for the very inspiration to know truth, has vanished from the sight of the music teacher as well as of the music student, and the study of music is degraded to a system of merely seizing outer control over the world of tones and of aiming at superficial appreciation."
This book opens completely new horizons to the entire education in the field of music without colliding with the established system of musical education, though; for the statements made in this book do not prove the conventional system of musical education wrong, but merely show that it is extremely limited and that it could and should be expanded.
In "Natural Music Hearing," the author studies that aspect of music in particular which makes this "Queen of Arts" immortal. It is a work for true music lovers, for real music experts, and for truthful and righteous music teachers. The facts described in it raise the accomplishment of our great classical composers from the enigmatical realm of their genius and creativity into the limelight of systematic scientific investigation. Thereby, the reader senses the treasure of a universal language hidden in music as he is shown in common terms how classical music was and is capable of describing our human life at the height of cosmic evolution, and how it succeeds with almost scientific reliability to inspire for divine knowledge.
Until now, many of us were wondering why actually they enjoy listening to music so much and why they treated their ears to such a feast again and again.
In this book we realize that it is our love of truth, our love of life, our love of mankind, and our love for the knowledge of the reality of our human-cosmic existence that made us pursue classical music and surrender even though rather unconsciously to the great charm of music again and again.
"Natural Music Hearing," an authentic documentation of the secret legacy of our great music creators: a musicological document an account to the gifted musician, and: certainly a great challenge to the music teacher.