HOME

SITE MAP

MML® – Founder

Editorial

R & D

The Absolute World
of Music and the
Relative Musical
Force-Fields

 

The Way
to Knowledge
through the Musical
Force-Fields

 

 

 

The Scientific
Method of Gaining
Knowledge in Music

 

The Reality of the
Scientific Method of
Gaining Knowledge
in Music

 

 

 

Spontaneous
Cognition of the
Reality of Absolute
Music

 

The Inability of
Apprehending
Unlimited Music by
a Limited Method of
Knowing

 

There are three kinds of equivocation:

• equivocation due to divergence – separateness – of meaning and form,
• equivocation through deducing the meaning from the form, and
• equivocation through deducing the form from the meaning.

 

The knowledge of the separation of the absolute musical world from the relative force-fields of music, the experience of a divergence of the unlimited musical force-field of the harmony and the musical worlds of the sequences, motifs and tones, resulted in a twofold, completely different interpretation of the sphere of music.

In the course of our relative process of gaining knowledge in music we listeners systematically fathomed the musical world for the truth which, we thought, was hidden in it.
Thoroughly convinced and in all earnestness we went the path of gaining real knowledge in music, and indeed, we discovered more and more comprehensive truths.

Starting from the musical sound-space, we passed step by step through the musical force-fields, which we perceived as real; and through the motif world and the sequence world we advanced to the world of the harmony.

To us listeners, this musical path of knowledge was our own reality of the systematical musical process of gaining knowledge, and every single insight into the musical meaning showed us new and very real formative forces of musical structural change that existed in the more subtle, more energetic fields of musical forces.

Thus we took our relative musical process of gaining knowledge for a very real process of apprehending the musical meaning.
And never the thought would have entered our mind that this very process of musical development, so distinctly and clearly perceived by us, could be completely unreal.

Now that we have reached the absolute musical field of knowledge of the harmony, and now that we are creators of music, our process of deduction is completely different.

Now, it would never occur to us that the perfect musical experience, which we make with such unbelievable alertness beyond space and time, could be considered unreal by anyone.

For, we realize very clearly: a music, more real than the one we experience now, simply does not exist.

And still we must keep in mind, that we thought this comprehensive experience of music in the field of the harmony impossible, as long as we were missing this very experience during our relative process of gaining knowledge in music.