Deduction
in the
Cognitive Field of
the Musical
Sound-Space
Deduction in the
Cognitive Field
ofthe Harmony
Cognition
of the
More Subtle Musical
Force-Fields
Phase
Transition in
the Musical Gaining
of Knowledge
Knowing
the
Original Perfect
Form of the Musical
Creation
Musical deduction concerns setting our intellect into function, which happens in two ways:
In
this process, our forces of understanding are system-atically stimulated to
refine themselves, and finally they reach the level of cognition in terms
of the feeling.
Here, the music listener reaches the climax of his relative musical way to
knowledge.
The cognition of the musical statement and the comprehension of the musical truth in the motif-space is empirical only in that we perceive the sound-pattern, the outer layer of the motif in the musical sound-space with our hearing.
The musical motif
itself, and its qualities, we deduce only by means of our intellectual faculty
of logic, and the information required to do so we draw from the structural
change of the tone pattern.
And our intellect hands over the insight obtained in that manner to our self-awareness
as its own, carefully reflected knowledge.
To cognize the musical sequences, however, the capacity of our intellectual power, its integrity must be increased substantially; and in order to comprehend the harmony, our intellectual capabilities must reach their highest peak.
When we discover the harmony, a phase transition takes place in the process of our musical gaining knowledge, in that our self-awareness becomes capable of identifying itself on the level of the harmony with the musical statement in its totality.
Hence, the listener
becomes a creative music listener, and the music consumer potentially turns
into a music creator or into a perfect performer.
For wherever a sequence does not unfold all naturally in lively diversity
from the harmony because the musician interpreter has not realized this level
of knowledge within himself the creative music listener stimulates this lively
unfoldment within himself and performs it on the level of his own mental space
of experience independent of the quality of the performance resounding outwards
in the acoustic space.
And even if the outer performer makes the greatest blunders even if he glorifies the periodical “instrument-specific” vibrations and thereby depicts exclusively nature unenlivened then from his own creative, cognitive potential, the creative music listener enlivens within himself this inanimate music by means of the compositional logic, and restores it again to a living mu-sical revelation under his own, inner, perfect laws of harmony: and he hears the original, pure form of the musical work which is maybe being disfigured in the concert hall outside at the same time.
