The Object of
Knowledge in the
Relative Musical
Fields of Knowledge
Musical Spaces and
Musical
Worlds
Insight
into the
Musical Fields of
Cognition
The Unalive
Musical Composition
The
Unsuccessful
Search for Musical
Force-Fields
In
the process of gaining knowledge in music the objects of knowledge may be
very different:
the object of knowledge may concern
the tone or respectively, the tonal structure of the musical sound-space;
the
object of knowledge may be hidden within the musical sound-space in the next
finer musical fields of knowledge: on the motif level;
the object of knowledge may lie on yet another, next higher musical level
of knowledge: in the musical fields of knowledge of the sequences;
and furthermore, the object of knowledge may lie in the absolute, musical
cognitive field of the harmony.
One
would assume,
that within the musical sound-space, always and automatically there is a world
of motifs, that within the motif-space, always and automatically there is
a world of sequences, and that within a sequence-space, always there is the
world of the harmony.
This
assumption is indeed valid with regard to the spaces themselves but not with
regard to their inner lives.
A body, for example, might be there without life (as in the case of a sculpture)
and likewise, sounds might exist in the musical sound-space without motifs
dwelling within them.
And, by analogy, it is well possible that in an apparent motif-space there
is no sequence at all and that furthermore, within the sequence-spaces the
impact of the all-enlivening harmony is missing.
One
must take into account, however, that it is not quite simple to perceive the
world of motifs within the musical sound-space; for this insight requires
logical deduction penetrating into the depth of the musical event and into
the musical knowledge that results.
And one must consider that it is even more difficult to discover the sequence
within the motif-space, since the sequence can be found only by virtue of
even higher logical deduction.
And, unfortunately, it was only an extremely rare occurence so far belonging
to the field of the highest musical revelations that someone discovered the
harmony as such in the sequence-space, because the harmony can be comprehended
only with the highest musical logic, and only on the level of pure selfknowledge.
It may also be that in one or the other piece of music the inner musical cognitive forces were not effective even when the music was created, and that the composition in the literal meaning of the word was purely assembled from outer elements of the musical sound-space like, for example, from conventional melodies to which a “composition” was then attached by means of the knowledge acquired in conventional compositional classes.
Naturally,
in such a case the inner musical fields of knowledge can certainly not be
localized; at best, they may be simulated by expert performers who are geared
to outer success.
The educated listener identifies this lack by the absence of the integrated
and comprehensive musical logic in the musical work since this absence of
truth expresses itself in all parts of the composition, because they are joined
together without life like the branches, leaves, and roots of a patched-up
tree.
