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MUSIC
R & D
AAR EDITION INTERNATIONAL
PART   V
THE THREE GREAT STEPS OF THE MUSICAL PROCESS OF GAINING KNOWLEDGE

 

 

The Group of Musi-cal Force-Fields

 


The Evolution in Music

 

 

The Rhythm of Life as the Musical Object of Knowing

 

 

 

 


Concretization and Abstraction in Music

 

 


St
ructural Clarity of the Musical Objects of Knowing

 


The Purpose of Structural Density in the Musical Force-Fields

 

 

 

 

 

The Natural Structural Order in Music

 


The Natural Direction of the Cognitive Process in Music

The Object of Knowing in Music

The object of knowing is involved in the musical process of knowing: as the music, embedded in the acoustic space, in the sound-spaces, in the motif-spaces, in the melody and sequence-spaces, as well as in the infinite space of the harmony.

The object of knowing includes the musical representation of cosmic evolution just as well as the representation of the unfoldment of our very individual life: our birth, our individual growth, and our individual perfection, but also the development of social groups and entire peoples, indeed, of mankind as a whole.

The object of knowing therefore does not consist of fixed musical parameters – which, from a superficial point of view, might at best represent the unchangeable atom, the unchangeable plant, the unchangeable animal, or the unchangeable man.
Real classical music shows all objects of knowing in permanent musical change: in perpetual transformation, in playful united unfoldment and – in the more subtle layers of music – in increasingly harmonious, mutual pervasion.
Truly classical music affords the listener the knowledge about the permanent change of anything that may ever change.

In the grosser layers of music, the changes are more concrete, more specific, more pronounced, more detailed, and more related to single, easily comprehensible objects.
In the subtler strata of music, however, the objects of knowing become more and more abstract, more comprehensive and more general – and the changes, then, which they express, denote tendencies and trends, or influences, rather than localized concrete effects of forces.

Moreover, in the more subtle musical force-fields the objects of knowing are represented more clearly than on the grosser levels of music.
And once the listener enters the subtler fields of music, he perceives these fields of musical statement more and more distinct – more abstract though, yet increasingly clearer.

The difference of knowledge in the more gross or in the more subtle musical force-fields may be compared to the difference between a perfectly formed chewing gum and a diamond perfectly cut to the same shape.
Just as light penetrates the diamond and, as opposed to the chewing gum, produces its sparkling brilliance and clarity, likewise the light of a more condensed process of gaining knowledge increases the clarity of our practical insight into the subtler elementary layers of music.

For even though the chewing gum may consist of the same basic material as the diamond, the latter is of a much higher degree of density and order, and is therefore more able to illustrate the principles of forming.

The same principle applies in music: just as the chewing gum is more suited for wrapping the diamond than vice versa, the musical sound-space is easier transformed into the body of the motif-space than vice versa; and in the same way the motif-space is easier transformed into the body of the harmony-space than vice versa.

The process of music has a natural structure, and the musical process of knowing proceeds in correspondence with this hierarchy of music.
Step by step it extends over all the musical force-fields – from the grosser to the finer, and into the infinite field of the harmony.

 

                                                                                

© AAR EDITION INTERNATIONAL 1982

 

 

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NATURAL
MUSIC HEARING

FOREWORD

OUVERTURE

V
THE THREE GREAT
STEPS OF THE

MUSICAL PROCESS
OF GAINING
KNOWLEDGE

The Three Steps
towards Truth

The Cognizant Music
Listener

The Object of Knowing
in Music

The Process of Knowing

The Art of Drawing
Conclusions in Music

The Musical
Experience of the

Almighty Creative
Force of the Harmony

The Purpose of
Musical Logic

Musical Enlivening of
the Self-Awareness in

the Listener

The Joy-Giving Process of Creativity

 

 

PART   V