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MML® – Founder

Editorial

R & D

The Intellectual
Tools of Cognition
in the Motif-Space

 

Becoming Familiar
with Individual Life
in Music

 

 

Knowing the Rule
over the Sounding
Physics of Music

Successful Research
into Unknown Musi-
cal Force-Fields

 

Proof of the Motif-
Space in the Musical
Sound-Space

 

The Musical Way
from the Motif-
Space to the
Sequence-Space

 

Proof of the
Sequence-Space in
the Motif-Space

 

 

 

Proof of the
Harmony-Space in
the Sequence-Spaces

Thus, our feeling and understanding gradually reached higher musical knowledge, and reached the world of the motif-space, where, due to a refined perception, we perceived the motifs which, invisible to grosser perception, cause and control the movements of the tones in the musical sound-space.

Whereas in the musical sound-space these motifs were inaccessible and invisible to us, we now comprehended them in the motif-space with a refined potential of musical knowing.
And thus we became gradually familiar with the motifs, in the same manner as someone becomes very gradually familiar with someone else’s personality – while attributing less and less importance to his outer appearance.

Very gradually we found an invisible motif world hidden in the tones of the musical work, and with it the field of those inner musical forces which govern the reverberating physics of music as their body.

What had been completely unproven to us at the starting point of our musical process of knowing – namely the actual existence of a musical world of forces underlying the musical sound-space with its very own inner forming powers and with its own forming laws – turned out to be proven as soon as we had gained personal insight into the motif world.

Now we had proof of the existence of a real musical force-field, comprehended by cognition, which was more subtle than the force-field of the musical sound-space, and which determined from within, as if invisible, the events of the musical sound-space – according to laws of a higher order, higher than those applied by the musical sound-space itself.

In the same manner we inferred in the motif-space the existence of even more powerful inner forming forces.
This assumption was more and more substantiated as we looked closer at the world of the motifs.

Eventually we reached a musical world of an even higher order: the musical force-fields of the sequences.

Here, too, we found evidence of what before – in the motif-space – had been unproved yet. We realized that within the motif world, as if invisible, musical formative faculties exist and act which, superior to the forces which the motifs themselves possess, govern those forces of the motifs from within.
And we found that these forces, newly discovered in the sequence-spaces, also caused – through the motifs – the structural change in the musical tone-space.

A similar quantum leap in cognition we took from the sequence-spaces into the infinite force-field of the harmony.

And here again, something only anticipated at first, non-evident, and finally known more and more definite, eventually turned out to be proven – once we had made the experience of this supreme world of music.