Beyond Space and Time the Contradictory is Neutralized
The Contradictory in Music is Based on the Opposing Natures of Feeling and Understanding
Contradictoriness as a Result of Limitations
The Cause of the Contradictory in the Musical Process of Knowing
Strengthening and Integrating the Contradictory Formative Forces in Music
Musical Movement beyond Space and Time
In the Field of Absolute Musical Knowledge the Listener Avoids the Fallacy
The
Contradictory
in Gaining Knowledge in Music
In
the absolute force-field of the harmony we realize that all the opposites
are not neutralized but rather unified completely in harmony.
Therefore, in the infinite field of the harmony there is no room left any
longer for all the contradiction which the relative musical process of knowing
still possessed.
On our eventful way towards the harmony we went through the relative field of gaining knowledge in music, and this transient musical world was governed by contradiction rooting in the opposing natures of feeling and understanding. In the field of the harmony, however, contradiction was dissolved by the integrative function of the absolute sound-substance.
The contradictory, however, is not transformed into equality. When in the process of gaining knowledge in music the contradictory sneaks in, it is removed on the level of the harmony by the real unification of those forces which, if one compares their limited insights, only express the contradictoriness of their limited and opposing natures.
So, in the end, the contradictory results less from differently known, partial truths, but rather from the very different intentions of feeling and understanding, which in turn are based on the so essentially different orientation of these two cognitive faculties. And only in the field of the harmony they show their true function: suddenly they turn out to be exceedingly powerful and eager formative forces.
Due
to the enlivenment of the absolute tone-substance within the feeling and understanding,
their intention to form is even further enhanced, but at the same time the
extremes of their formative skill are integrated by the two being raised into
a musical world of higher order, into the world of the harmony.
And here, in this most perfect musical force-field, a divergence of forces
is always a convergence at the same time – just as, when walking the
globe in a certain direction, we move away from our point of origin, but approach
it again at the same time.
Since now, in the absolute musical world of the harmony, there is no span of time between departing and arriving even though we are definitely walking, then, consequently, there is no error of our leaving versus the error of our arriving, nor the error of our arriving versus the error of our leaving, nor the error of moving versus our staying in place.
On
the absolute musical level of the harmony we clearly iden-tify the perfect
and lively, eventful and instructive integration of all contradictions.
And when we now look from the field of our pure self-aware-ness out into the
world of our limited thinking, when we look from the infinite harmony to the
limited musical force-fields of the sequences, the motifs or even the musical
sound-space, then we realize that the contradictory – like the fallacy
before – has its basis in the limited nature of the relative musical
process of knowing, and that we dissolve it only by repairing to the absolute
level of pure musical knowledge, into the perfect world of experience of the
harmony, into the lively field of our pure self-knowledge.
© AAR EDITION INTERNATIONAL 1982