Restful Alertness
in the Tools of
Musical Cognition
The
Distance of the
Tools of Cognition
to the Musical
Evolution
The
Listener
Perceives the
Higher Force-
Fields of Music
The Basis of
Conveying Truth
in Music
Consumption
of
Sounds and
Physical-Emotional Kinetotherapy
The
Power of the
Musical Logic
Moreover, the perception of the absolute sound-substance stimulates our intellect, as well as our sense of hearing, to swing in this perfect basic vibration of the harmony, and it thus creates a state of restful alertness in these tools of our cognition.
This
restful alertness, in turn, enables our twofold cognizing intellect, our feeling
and understanding intellect, as well as our sense of hearing to directly comprehend
and experience the musical meaning.
It enables our tools of cognition to experience the musical process of development
as a manifold unity on the level of the absolute Now i.e. without space and
time and just as well within space and time i.e. in the relative yesterday,
today, and tomorrow.
But also the restful alertness enables our tools of cognition to view the musical unfoldment of truth from a distance, in that both our intellect and our sense of hearing perceive the relative process of musical unfoldment from their own, elevated fields of cognition of the absolute Now, just as a diver watches the waves at the surface from the bottom of the ocean from the silence without being affected by their roll and tumble.
Perceiving the basic vibration of the absolute tone-substance enables the musical tools of cognition to integrate the deep silence and the total enlivenment, and only this integration allows us listeners to comprehend the inner force-fields of music which do vibrate but which do not sound on a higher level of cognition than that of the tone.
From our discussion follows how fundamentally important it is that the absolute sound-substance is enlivened in the musician and in the listener on the level of their musical tools of cognition, if the one intends to express truth in music and if the other intends to comprehend it.
If this condition of such personal perception of the perfect basic vibration of the absolute tone-substance is not given then, naturally, the true insight into the musical fields of knowledge remains obstructed; for the musician or the listener draws from the musical work only the aspect of outer consumption of sounds or of physical-emotional kinetotherapy but never the value of true musical insight as is desired and expected by the great classical composers.
But
even if the interpreter is not aware of the phenomenon of the absolute tone-substance,
the listener can by himself derive the structure of the absolute sound-substance
from the structure of the inner logic of the musical work.
And thus, he has it at his disposal as a general basis for his personal musical
knowledge.
