Believing in the Truth in Music
Believing in Higher Musical Fields
of Cognition
Musical Belief Moves the Stars of Music
From the Musical Belief to Musical Cognition
Revelations in the Higher Musical Fields of Knowledge
Musical Shadow Images
Believing in the Reality of the Musical Performance
Musical Questions of Conscience of the Creative Music Listener
The Light of Music in the Practice of
the Performance
Memories of
the Musical Road
of Fulfilment
The Belief of the Composer
Belief
As
long as we search for truth in the limited field of the musical forces, we
will believe that higher musical fields of cognition exist and that we can
reach them on our way of knowledge.
In this state of relative musical cognition only the immediate, limited musical
structure actually exists for us, and based on our experience of the tonal
representation we initially perceive only the world of the musical sound-space
existing; the motif-space still remains closed to us.
When
we have entered the musical motif-space later in the progress of our musical
knowing, then we can take the reality of the motifs for granted; the world
of the sequences, however, is still closed to us.
Eventually, when we have entered the musical force-field of the sequence by
cognition, then the sequences appear to us as a reality, and yet the infinite
Force-Fields of the harmony remain to be discovered.
When,
during our process of cognition, we deduced the motif- space from the musical
sound-space, we did so by our ability of belief.
Initially, we believed only very generally in the existence of subtler forces
which govern the musical sound-space from within.
This belief encouraged our musical process of cognition and speeded our entry into the world of the motifs.
Having reached the musical force-field of the motifs, our belief turned into confidence; it so turned out that the inner world of forces in the musical sound-space, so far only assumed, really exists – that there are forces which, from a field of a higher musical order, direct the elements of the musical tone-space, the tones, in their movement, in their structural changes.
In
the same manner, we proceeded further into the higher musical fields of cognition,
and going through the motif-space and the sequence-space, we finally arrived
at the infinite musical space of the harmony.
Simultaneously, our belief in each new musical force-field respectively turned
into confidence; what used to be an assumption or hypothesis so far, turned
into personal proof: the inner force-fields, only assumed so far, indeed existed
in reality.
Once we have reached the world of the harmony, we perceive very distinctly that this absolute musical force-field of the harmony alone truly exists – that in contrast to that, the relative force-fields, which we had taken for so real so far, in reality do not exist at all but are rather a mirage-like expression of the total musical reality within the absolute field of the harmony.
This
being so, we even have to make ourselves believe – just to put some sense
into our making music – that musical truth can be found in the relative
musical process.
For, as we cognize in the absolute force-field of the harmony and draw from
it, our very clear experience is: that, being a mere reflection of this perfect,
absolute force-field of music, the restricted, relative musical force-field
is in reality not at all existant.
Logically, after such experience, we should expect ourselves to refrain from action in that shadowy world in the first place; for what can we expect from such pseudo acts? Our absolute musical world of the harmony alone has true value.
But from our personal experience we know that we went in steps of knowledge from the limited musical process of gaining knowledge to this infinite space of the harmony, and that therefore it should well be possible to make the infinite value of the harmony shine through in the relative musical process of cognition – even in a quasi imaginary form.
This
we know from our past experience, for we have gradually perceived the absolute
musical force-field of the harmony ourselves during our relative musical process
of knowing.
But looking out from the height of our present standpoint in the harmony to
the relative worlds of music, our very personal impression is that, compared
with the real, absolute, musical force-field of the harmony, these spheres
have no real value of their own.
And with our relative and absolute musical experience diverging, we hoped like believers to succeed in picturing the absolute musical reality in the relative limited musical process of knowing.
© AAR EDITION INTERNATIONAL 1982