The
Pure
Knowledge of the
Reality of Music
The Unrealistic
Course of the
Musical Process of
Gaining Knowledge
Beyond Higher and
Lower Musical
Meaning
Illusion
of the
Relative Gaining
Knowledge
The Unreality of
Created Music
This
cognitive vision, in which we compare the totality of the absolute music in
the infinite musical force-field of the harmony with the relative force-fields
of music, reveals to us how the latter, in their entirety, unfold from the
harmony.
With this insight, our original concept of the reality of music is simply
turned upside down.
In
the relative field of musical structural change we gradually inferred an increasingly
higher musical meaning – at least we thought we did.
Thereat our entire process of knowing was subject to space and time.
However,
from the cognitive world of the harmony, we now realize that the terms “higher
or lower musical meaning” have no relevance at all.
Just as one believes one could conclude an object from its shadow – although
the shadow actually is a void of light and, indeed, nothing real – likewise
we make-believe cognizers thought to gradually conclude a higher musical meaning,
a higher musical truth, a higher musical knowledge in our supposed relative
musical process of gaining knowledge.
Seen from the absolute musical field of the harmony, however, such a supposed process of knowing takes place as little as a shadow gives us the object by which it is thrown.
From
the field of pure self-knowledge, from the absolute force-field of the harmony,
we understand the non-reality of the relative sphere of music – and,
correspondingly, of relative musical knowledge – and we are even sure
now that our personal musical way of knowledge into the infinity of the harmony
was only possible by virtue of a miracle – although, maybe, a musical
miracle.
Such is the nature of musical knowledge.
