The Knowledge about the Inner Human Forces
Imperishable Source of Musical Truth
The Immortality- Promising Nectar in Music
The Great Sound Creators as Dutiful Administrators of the Truth
Unreal Musical History
Music Theory as the Evidence of the Systematic Strive for the Conveyance of Truth
Conventional Musical Research Searching for the Means of Cognition
Conventional Music Analysis beyond Life
The Density of the Musical Fields of Cognition
The Structural Flexibility of the Musical Tools of Knowing
Ancient Truths in Music
The knowledge about our inner human forces is definitely not new; most probably it is very ancient.
Music is particularly qualified to convey this very knowledge – which might include all other knowledge – but how then should one expect music to suddenly produce something completely new?
The
tools with which the tone creators draw from the ancient well of knowledge
since times immemorial have certainly become obsolete again and again in the
course of time – rusted, or in need of repair or even of renewal.
But nevertheless, at all times the pure spring water in the well of eternal
wisdom was drawn vigourously and incessantly.
And
those who possessed the greatest skill here are known as the great composers.
Certainly, their urge arises from their personal knowledge – their own
inner experience – of the true nourishing value of this immortality-granting
sounding sap of life.
The impulse for their greater creative deeds, however, came just as much from their knowledge of the demand for this nectar in their surroundings.
Only in this way can we explain the tirelessness and imperturbability with which they repaired the vessels of musical communication of truth which had become leaky and therefore less efficient, or with which they invented and employed completely new sounding vessels to convey knowledge.
All this activity we commonly call "music history," and we interpret it as the "development of the musical forms."
This craft of repairing, improving, and newly designing the musical containers for the obtainment of truth, was then mistaken for the evolution of a music theory.
But just as little as a vessel is identical to the water it carries, as little is our outer musical history and the music theory linked to it identical with the music – although it bears witness of it.
No
surprise then, if today one attempts to identify music by its aspect of sound,
by analyzing the grossest aspects of the sounds, their relative pitch and
duration, making oneself believe to know music.
This effort reminds of someone looking from all sides at the wreck of a bucket,
riddled with holes, and measuring it, in order to deduce the nature of water
in this way.
Certainly,
from the tightness and size of a container we may deduce, by usual standards,
its potential of carrying water.
But the nature of the conveyance of knowledge in music is not such that it
allows insight into its magical realm by so simple a logic.
Nature
is in layers, and so is music, and these layers are distinguished by different
degrees of density.
The deeper these layers are located, the higher is their density.
If we intended to enter the finer musical layers of knowledge with a musical vessel to fathom the truth enclosed in music, then we would need to adapt the structure of the container to the conditions of the musical order present in each musical layer.
Now,
a container for drawing musical truths may be compared to a sieve which has
holes of variable size so as to sift out the pieces of knowledge that are
embedded in the various musical layers of knowledge, and that are most conspicuous
there.
Thus the sieve remains very light, for if the holes were filled it would be
harder to handle.
If
one restricted oneself to drawing water, for example, then a completely closed
vessel might be required.
If, however, one wants to catch live fish in the water, then for various reasons
the shape of a net is more suited, and it has therefore been most widely adopted.
© AAR EDITION INTERNATIONAL 1982