The Group of Musi-cal Force-Fields
The Evolution in Music
The Rhythm of Life as the Musical Object of Knowing
Concretization and Abstraction in Music
Structural
Clarity of the Musical Objects of Knowing
The Purpose of Structural Density in the Musical Force-Fields
The Natural Structural Order in Music
The Natural Direction of the Cognitive Process in Music
The Object of Knowing in Music
The object of knowing is involved in the musical process of knowing: as the music, embedded in the acoustic space, in the sound-spaces, in the motif-spaces, in the melody and sequence-spaces, as well as in the infinite space of the harmony.
The object of knowing includes the musical representation of cosmic evolution just as well as the representation of the unfoldment of our very individual life: our birth, our individual growth, and our individual perfection, but also the development of social groups and entire peoples, indeed, of mankind as a whole.
The
object of knowing therefore does not consist of fixed musical parameters –
which, from a superficial point of view, might at best represent the unchangeable
atom, the unchangeable plant, the unchangeable animal, or the unchangeable
man.
Real classical music shows all objects of knowing in permanent musical change:
in perpetual transformation, in playful united unfoldment and – in the
more subtle layers of music – in increasingly harmonious, mutual pervasion.
Truly classical music affords the listener the knowledge about the permanent
change of anything that may ever change.
In
the grosser layers of music, the changes are more concrete, more specific,
more pronounced, more detailed, and more related to single, easily comprehensible
objects.
In the subtler strata of music, however, the objects of knowing become more
and more abstract, more comprehensive and more general – and the changes,
then, which they express, denote tendencies and trends, or influences, rather
than localized concrete effects of forces.
Moreover,
in the more subtle musical force-fields the objects of knowing are represented
more clearly than on the grosser levels of music.
And once the listener enters the subtler fields of music, he perceives these
fields of musical statement more and more distinct – more abstract though,
yet increasingly clearer.
The
difference of knowledge in the more gross or in the more subtle musical force-fields
may be compared to the difference between a perfectly formed chewing gum and
a diamond perfectly cut to the same shape.
Just as light penetrates the diamond and, as opposed to the chewing gum, produces
its sparkling brilliance and clarity, likewise the light of a more condensed
process of gaining knowledge increases the clarity of our practical insight
into the subtler elementary layers of music.
For even though the chewing gum may consist of the same basic material as the diamond, the latter is of a much higher degree of density and order, and is therefore more able to illustrate the principles of forming.
The same principle applies in music: just as the chewing gum is more suited for wrapping the diamond than vice versa, the musical sound-space is easier transformed into the body of the motif-space than vice versa; and in the same way the motif-space is easier transformed into the body of the harmony-space than vice versa.
The
process of music has a natural structure, and the musical process of knowing
proceeds in correspondence with this hierarchy of music.
Step by step it extends over all the musical force-fields – from the
grosser to the finer, and into the infinite field of the harmony.