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Editorial

R & D

The Knowledge
about the Inner
Human Forces

 

 

Imperishable Source
of Musical Truth

 

 

The Immortality-
Promising Nectar in
Music

 

The Great Sound
Creators as Dutiful
Administrators of the
Truth

 

 

 

Unreal Musical
History

Music Theory as the
Evidence of the
Systematic Strive for
the Conveyance of
Truth

 

Conventional
Musical Research
Searching for the
Means of Cognition

 

Conventional Music
Analysis beyond Life

 

The Density of the
Musical Fields of
Cognition

 

 

 

The Structural
Flexibility of the
Musical Tools of
Knowing

The knowledge about our inner human forces is definitely not new; most probably it is very ancient.

Music is particularly qualified to convey this very knowledge – which might include all other knowledge – but how then should one expect music to suddenly produce something completely new?

The tools with which the tone creators draw from the ancient well of knowledge since times immemorial have certainly become obsolete again and again in the course of time – rusted, or in need of repair or even of renewal.
But nevertheless, at all times the pure spring water in the well of eternal wisdom was drawn vigourously and incessantly.

And those who possessed the greatest skill here are known as the great composers.
Certainly, their urge arises from their personal knowledge – their own inner experience – of the true nourishing value of this immortality-granting sounding sap of life.

The impulse for their greater creative deeds, however, came just as much from their knowledge of the demand for this nectar in their surroundings.

Only in this way can we explain the tirelessness and imperturbability with which they repaired the vessels of musical communication of truth which had become leaky and therefore less efficient, or with which they invented and employed completely new sounding vessels to convey knowledge.

All this activity we commonly call “music history,” and we interpret it as the “development of the musical forms.”

This craft of repairing, improving, and newly designing the musical containers for the obtainment of truth, was then mistaken for the evolution of a music theory.

But just as little as a vessel is identical to the water it carries, as little is our outer musical history and the music theory linked to it identical with the music – although it bears witness of it.

No surprise then, if today one attempts to identify music by its aspect of sound, by analyzing the grossest aspects of the sounds, their relative pitch and duration, making oneself believe to know music.
This effort reminds of someone looking from all sides at the wreck of a bucket, riddled with holes, and measuring it, in order to deduce the nature of water in this way.

Certainly, from the tightness and size of a container we may deduce, by usual standards, its potential of carrying water.
But the nature of the conveyance of knowledge in music is not such that it allows insight into its magical realm by so simple a logic.

Nature is in layers, and so is music, and these layers are distinguished by different degrees of density.
The deeper these layers are located, the higher is their density.

If we intended to enter the finer musical layers of knowledge with a musical vessel to fathom the truth enclosed in music, then we would need to adapt the structure of the container to the conditions of the musical order present in each musical layer.

Now, a container for drawing musical truths may be compared to a sieve which has holes of variable size so as to sift out the pieces of knowledge that are embedded in the various musical layers of knowledge, and that are most conspicuous there.
Thus the sieve remains very light, for if the holes were filled it would be harder to handle.

If one restricted oneself to drawing water, for example, then a completely closed vessel might be required.
If, however, one wants to catch live fish in the water, then for various reasons the shape of a net is more suited, and it has therefore been most widely adopted.