Analyzing the Physical Structure of the Sound
The Unity of the Composition
The Elemental Vibration of the Absolute Tone-Substance
The Integrated Field of Perfect Musical Relations
Musical Sequences within and without Space and Time
The Integrating Function of the Musical Sequences
The Listener Localizes the Absolute Tone-Substance
The Golden Magic Key for Gaining Knowledge in Music
The Listener Identifies Himself with the Absolute Sound-Substance
The
Function of the Fields
of Cognition in Music
How
then is the object of cognition comprehended in the respective musical force-field?
With our sense of hearing we comprehend the physical structure of the tone
its inner mechanics, its structural change and its functioning in space and
time.
We comprehend the tone on the level of our mind; its structure is represented
there in the same way as it appears already in the acoustic space, where we
perceive it with our outer organ of hearing (as far as our outer hearing is
functioning, as far as our neurophysiology is able to transmit the information,
and as far as our mind as such is able to function).
One
must take into account that, during the process of creating a typically classical
musical work, the music and every single tone of it arose within the composer,
in his inner space of imagination, only after his mind was stimulated as the
absolute sound-substance.
This perfect stimulation guaranteed and guarantees the unity of the composition.
In
the musical creator every tone of his musical work arises from this level
of the absolute tone-substance, and this means practically that, as the composition
is created, all tones are directly related to each other in the absolute Now,
beyond space and time.
In the dynamic process of creating music the prime vibration of the absolute
sound-substance in his mind guarantees the composer the reality of this absolute
Now the absolute simultaneity, the perfect correlation of all musical parameters
without any separating link of space and time.
Also, it is this integrated field of perfect musical relationship where the listener later localizes the world of harmony.
When the sounds emerge from the absolute sound-substance and advance towards the integrated relation of space and time, then the musical force-fields of the sequences are created which are firmly established beyond space and time in the harmony but which, at the same time, unfold in an integrated space-time relationship in the space and time of musical evolution.
Thus,
in the musical composition the sequences have a mediating position between
the infinite harmony flowing in the absolute Now, and the motifs moving in
the field of space and time.
And untiringly, the sequences carry the qualities of the absolute Now into
the musical world of the past, present, and future. So, through their children,
the motifs, they unfold from the absolute level of the harmony the spheres
of resounding music in the musical tone-space.
For
the tonal comprehension of the musical work it is very important that the
vibration of the absolute tone-substance is localized in the musical work
by the listener.
This process of perception is supported by the fact that the musician already
raises the sounding musical work directly from this cosmic vibration.
Only the cognition of the absolute tone-substance allows us listeners the
personal insight into the inner musical fields of knowledge.
Perceiving
the absolute sound-substance on the level of the mind is the golden magic
key of gaining knowledge not only for the composer, but for us music listeners
as well.
And having made the experience of the absolute tone-substance, one knows
that this key is of a very practical, quasi technical kind.
The cognition of the absolute sound-substance, i.e. the identification of the individual mind with the comprehensive basic vibration of the harmony, or with the basic vibration of cosmic thinking respectively, enables our mind to analyze and synthesize in an integrated manner to understand and to feel in an integrated manner and thus to experience and to comprehend simultaneously the inner musical fields of knowledge of the motifs and sequences, but also of tones and of the infinite field of the harmony within space and time, as well as beyond space and time.