Musical
Creator and
Music Listener in the
Musical Cognition of
Truth
The
Cognitive Tools
of the Music Listener
– The Formative
Tools of the Musical
Creator
Music –
the Unlimited
Dynamic Field of
Absolute Life
Music
– the Holy
Fountain of Human
Fulfilment
The
World of the
Musical Sacrifice
The Integrated
Musical Cognition of
Truth of the
Genuine Musician
For us, the role of the music listener and the function of the musical creator result in two completely opposed paths:
As
music listeners we regard our feeling and our under-standing as our tools
of cognition, and in that sense we use them in our process of our gaining
knowledge in music.
As music creators, from the level of pure self-awareness, we regard the very
same tools – which are in full function within us this time – mainly
as our tools of forming.
Thus, in terms of our position as listeners and of our standpoint as music
creators, a highly contradictory personal view of the phenomenon of music
results.
As a musical creator we perceive music as the unlimited, dynamic field of absolute life, of our own life, but also of cosmic life in general, and we consider it our individual achievement to draw from an inexhaustible ringing well and spray the pure, reverberating waters in a myriad of droplets into the world of the listeners to enliven them.
As
music listeners, however, we see the purpose of music quite differently.
In our lives we enjoy ourselves skilfully gathering those skilfully effused
vibrating drops and collecting them into the thirsty mouth of our musical
knowing, to enjoy the marvellous refreshing spring from the holy well of musical
truth, and to feast on its precious drink.
Now
we realize that the apparent contradiction of these so different positions
towards music of the musical creator and of the music listener is founded
on the principle of give and take.
It accounts for the charm of musical life, and turns out to be the true musical
sacrifice.
Therefore, we must assume that the classical sound artist has already reached in himself the integration of these two processes, that he experiences them simultaneously, and that he wants his listener to have this complete experience, too.
Therefore, then, can he create true music.
