The
Musical Tools
of Cognition and
Their Cognitive
Fields
The
First Step of the
Musical Cognition
of Truth
Mind
and Sense of
Hearing as Musical
Tools of Cognition
in Action
The
Cognitive Field
of the Musical
Motif-Space
Mind, Feeling, and
Understanding as
Musical Tools of
Knowing in Action
The
Cognitive Field
of the Melody
Mind
and Intellect
as Musical Tools of
Knowing in Action
The
Cognitive Field
of the Musical
Sequence-Space
The Social Orders
in Music
The
Cognitive Field
of the Musical
Harmony-Space
The
purely musical comprehension of reality includes: the outer hearing and the
inner hearing which, in turn, includes the (inner) perception of the musical
parameters sound, motif, sequence, and harmony.
With our inner hearing, we perceive these musical parameters in relation to
the musical sound-space, and in relation to the motif-space, the sequence-space,
and the harmony-space, we perceive them with our intellect, our feeling and
understanding.
The outer perception concerns our perception of sounds in the acoustic space, i.e. the perception of the musical event that is brought to us listeners from outside.
The
structural comprehension of the musical sound-space through our inner hearing
is tied to the clarity of the representation of the sound in our mind, and
therefore depends primarily on the efficieny of our mind.
But also it depends on the sensitivity of perception of our inner sense of
hearing, on its alertness.
Structurally comprehending the motif-space in music depends on an even more precise functioning of the mind, because the latter determines the precision of the tonal-structural picture which contains the motif images.
Furthermore, comprehending the musical motif-space depends on the cognitive capability of our intellect, because it is the intellect which, by virtue of our analyzing understanding, detects the unfoldment of the motifs in the motif-space and by virtue of our synthesizing feeling, realizes this unfoldment of motifs to be a continuous melody a unity of the motif-development.
Structurally comprehending the musical melody-space is based on an even more powerful functioning of the mind; because, in order to comprehend the melody, the tonal structure must be displayed on the surface of our mind even more precisely, and the tonal parameters, in their relation to each other, must be perceived completely so that we can comprehend the different, manifold developments of the motifs holistically as a unity and simultaneously as separate from each other.
Only the differentiated and, at the same time, integrated comprehension of the motif developments through feeling and understanding allows to comprehend the melody, which means: the musical comprehension of the illustration of an individual course of life.
If,
however, we attempt to comprehend several life-paths simultaneously, we have
to do so from a higher level of knowledge; for not only must we see and experience
one single, individual course of development, but many courses simultaneously.
And the mysterious appeal of this stage of musical knowing lies not so much
in purely outer observing or understanding the characters in development and
the lives based on them, but in personally experiencing many different roads
of individual human perfection simultaneously.
In the musical spaces of the sequences we can make the experience of living very different lives simultaneously and, thereat, personally walking very different life-paths simultaneously and in our experience we can move about, being one and the same person, in very different bodies and with very different modes of behaviour.
The
world of the harmony, however, affords us the personal experience of an infinite
multiplicity of lives which are being lived simultaneously, and which move
before our mental eye and within our feeling like shining stars on free orbits.
And all these individual stars are we ourselves; each single orbit is our
own, very individual life-path, and this experience, in this highest stage
of our music listening, of our musical cognition of truth, is our very personal
truth.
