Responsibility
of the
Performer in the
Process of Gaining
Knowledge in Music
Harmonious
Unfoldment of
Information by the
Interpreter
The Musical
Knowledge of the
Individual Patterns
of Behaviour
Knowing the Reality
in Music by Logical
Conclusion
Music – Created by
Human Power
Structural Musical
Analysis of Values
Knowing the
Natural in Music
The Listener’s
Natural
Appreciation of
Values
If
our cognitive process is not being blocked in this way, and if – due
to a natural structure of the tonal pattern and its natural pattern of vibration
– we can be enticed by the interpreter into the inner world of the tone,
then we discover the motif that underlies the tone, then we perceive the lively
inner form of the tone.
By means of our intellectual and emotional cognitive power we deduce, in accordance
with the laws of the musical logic, the course of development of the musical
motif, the evolution of the soul of the tone.
Only
this kind of harmoniously unfolding information we can pass on to our self-awareness
through our intellect. Then, in its own pattern of vibration, our self-awareness
discovers similarities or identities with the abstract pattern of vibration
of the motif, and it therefore identifies itself with it in various degrees.
In this moment, we feel understood in our very nature, for in the motif we
actually recognize our own individual patterns of behaviour.
Musical knowledge of the individual patterns of behaviour is not directly of empirical nature, because the tone patterns displayed on the surface of our mind are not the motif itself, but only its sounding shell which surrounds the motif, just as the clothing surrounds the body.
And just as, by virtue of logical conclusions, we conclude someone’s physical build from his clothes without requiring X-ray vision, or,
The general structure of the musical sound-space already gives us an idea of whether this sound-space is governed by lively, inner, musical forces – whether this music has had its source within someone, or whether it has been programmed as if by a computer on the lines of conven-tionally studied composition, and following specific, pre-scribed, compositional patterns.
To find this out, we need no lengthy analysis, because even from the structure of a single tone we can tell what to expect from the entire performance.
Only in its outermost reaches – i.e. in the range of physiology, if at all – does the living move in steps or in periodical patterns.
However, the higher our musical thinking is developed, the more sensitively we examine the subtler musical structures, and the more comprehensively we fathom the musical meaning, and all the more reliably we will realize on the level of our own consciousness, that periodicity in the motif-space falls under what we term “set phrases” today, or that a step-wise structure in music corresponds not to someone’s natural path of evolution, but rather to someone dropping down to the hard ground from many meters high.
The inner order of the musical motif-space, the density of its musical structure, makes any unnatural musical movement as conspicuous as the unnatural movement of a single leg in a centipede, or as a single tooth, bent or broken, in a comb.
In his natural feeling, the listener perceives a travesty of periodical or serrated tones in the harmonious musical density of order of the motif-space as unsuitable or even uncomfortable, and he sees a structural distortion in the motif-space as clearly as he can see that someone has one arm too many or too few.
