Increase
of Structur-al Density through the Coordination
of Feeling
and Understanding
The Contribution of the Self-Awareness in the Increase of Performance of the Intellect
Different Structural Densities of the Intellect
The Structural Range of the Intellect from Feeling to Understanding
A Balanced Relation between Diversity and Unity in Music
Balanced Function of the Composer's Feeling and Understanding
The Functioning of the Intellect in Music
Increase
of Performance
of the Intellect in Music
If
our intellect wants to increase its performance, it must refine itself structurally.
For this, the coordination of our feeling and understanding is of crucial
importance; and this coordination in turn is performed by our self-awareness.
Consequently, our self-awareness is responsible for the process of condensation and thus, for the increase of performance of our intellect, and it provides the necessary means.
As with our self-awareness, within our intellect, too, we find a different structural density.
Where in our intellect the structural density is lower, we recognize our forces of understanding – the natural faculty of discrimination of our intellect – in their function most distinctly; and this is also from where the refreshing coolness streams into our mind and gives our thinking the crystal-clear musical form.
And
where in our intellect the structural density is higher, we identify our forces
of feeling, our natural faculty of synthesis, most clearly.
And this is also from where the enlivening warmth streams into our mind and
gives our thinking the creative flow.
A balanced relation between the cognition of unity and of multiplicity in a musical work – during the creative process of music itself, as well as during the music hearing – requires a balanced relation between the feeling and the understanding of the composer during his creative process: it is therefore based on the integration of his intellect.
If, for example, in the process of creating music his feeling predominates in the composer, the density of information is higher, and the risk arises that, due to the density being too high, the diversity inherent in the composition is not perceived by his listener.
If,
however, his understanding predominates in the composer during his creative
process, then the musical density of the work is lower and the aspect of diversity
dominates over unity.
Thus, there is danger that the unity of the composition is not perceived by
his listener.
Any kind of musical cognition – which indeed rests on the comprehension of the musical formative forces of the motif, the melody, the sequence, and the harmony – is exclusively based on the integrated functioning of our intellect.
© AAR EDITION INTERNATIONAL 1982