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R & D

Musical Education
of Man in Truth

 

The Unity of
Absolute and
Relative Musical
Cognition of Reality

 

 

 

 

 

 

View from the
Absolute World of
Music to the Relative
Musical Process

 

Unreal Musical
Memories

The harmony is the ultimate goal of gaining knowledge in music, the ultimate cognition of music.
The harmony is able to educate man in truth and to reveal to him that music in its purity is nothing else than life itself, as it is naturally lived on the level of pure self-awareness.

Only the harmony discloses to the listener striving for musical knowledge the true relationship between the absolute music and its limited expression, the relative musical force-fields.

Knowing the harmony is based on the perception of the perfect fundamental vibration of the absolute tone-substance, that cosmic vibration which, on the one hand, combines the absolute musical world of the harmony with the relative musical worlds of the sequences, the motifs, and the musical sound-space, and keeps them together, and which on the other hand, from the infinite fullness of the harmony beyond space and time, produces the fullness of the relative musical happening within space and time and transforms it into the garment of the various musical fields of cognition.

In the state of pure self-awareness, looking out of the absolute musical field of the harmony into the relative musical process, the creative listener realizes that all of this limited musical happening, those musical worlds of the sequences, the motifs, and the musical tone-space, do not exist so real as the absolute music in the infinite force-field of the harmony.

Looking out from the world of the harmony into the musical force-fields of the sequences, the motifs, and the tones, the listener is reminded of the experiences on his past relative path of knowledge.

The motif world, which governs the motifs from within, had not really been within his reach.
The world of the sequences, which forms the basis of the motifs and which governs them from within, was not within his reach, either.

But still, he deduced their existence from the effects which the motifs and the sequences had produced in the musical sound-space.