The Path of Cognition to the Source of Music
The Force-Field
of the Absolute Sound-Substance
The Way to Musical Creative Power
Musical Generalization as a Path of Cognition
Generalization
in the Musical Force-Fields
The Composed Process of Musical Generalization
The Safe Path towards Musical Truth
Equivocation
through Deducing
the Meaning from the Form
As
the music turns our attention towards fields of more and more subtle order
of the musical representation of truth, and presents the subtler pictures
of truth more and more clearly to us in the course of the music, we transcend
with our entire experiencing, feeling and understanding the phenomena of nature
that are displayed structurally in the musical work, and we finally reach
the place from where the nature of our thinking, of our feeling, and of our
evolution originates.
This is the very place where music originates, too.
Once
we have arrived there, we have reached the natural standpoint of a creator
of music.
Our thinking has adopted the structure of the absolute sound-substance, and
our mind sways with the perfect, absolute, fundamental vibration of nature,
of its own inner nature, and of all outer nature.
We bring about the full enlivenment of our feeling and understanding, and their coordination, through our perception of the perfect fundamental vibration of the absolute sound-substance, that cosmic force from which obviously every great musical creator creates.
As
we cognized laws of increasingly higher order, increasingly more comprehensive
truths, and increasingly more powerful musical formative forces, we rushed
through stages of more and more comprehensive generalization in our relative
process of gaining knowledge in music.
We oriented ourselves predominantly by the form, and searched from there for
an alleged meaning.
Within
the structure of the musical sound-space as the form, we eventually perceived
the motif worlds as its content.
Later, within the musical form of the motif worlds, we discovered the even
more subtle musical Force-Fields of the sequences as the musical content.
And finally, within the sequence structures as the form, we discovered the
harmony as its content.
Eventually, this technique of systematic generalization in our musical process of gaining knowledge brought us safely into the unlimited musical world of the harmony.
In the musical work, this technique of generalization had been marked out by the composer in a very discreet manner for us listeners, and it made up the actual charm of his music – without ourselves being aware of it originally.
So,
during the process of our gaining knowledge in music, the technique of generalization
turned out to be the sure path towards musical truth.
For the process of cognition was based on a separation of content and form.
Form
and content always revealed themselves one after the other – separate
from each other in space and time.
Thus we perceived the relative musical force-fields as the form of music,
and the field of the harmony as its content.
For us cognizers of music this results in a twofold interpretation of music.
© AAR EDITION INTERNATIONAL 1982