Consciousness on the Level of all Musical Layers
of Order
The Poetry of Music
The Degree of Density of Information in Music
The Heart of Music
The Dimension of the Musical Language
The Cognizing Man
Confirmation
of Comprehensive Insights
"...
to compose something which uplifts
and encourages mankind –
something of permanent value."
Johannes Brahms
Supreme Musical Knowledge
Complete fulfilment in music lies in the spontaneous, simultaneous cognition of all musical layers of order in their complete integration; it is therefore based on the pure cognition of truth itself – beyond the musical attire.
The
musical levels of different compositional degrees of subtlety differ from
one another structurally in their degree
of density of information. Here "poetry" finds its direct expression: a process
of continuous condensing and refining, while retaining all aspects.
Perfectly shaping the subtler worlds of music requires highly poetic abilities on the part of the musical creator.
In the infinite density of the harmony the entire composition is there in seed form, and only for the brief moment of hearing it develops into the audible world of music as the created composition. Zitat
The enlivened silence of the harmony, deep within the heart of the composer, is also the heart of each of his compositions; it is the origin and the goal of his music: it is the great ocean of all that which vibrates in various wave formations as compositions into the objective sphere of the musical sound-space in the mind of the musical creator.
With its means of composition, music is predestined to precisely describe the inner-human evolution in a clear and distinct manner. Therefore, the listener feels understood simply as a human being by the composer. Through the statement of the music he finds confirmation of much of his inner reflection, and in the musical creator he finds a friend who shares his very personal thoughts.
In this way the great composers have helped those who found themselves misunderstood in their deep insights by the thoughtless masses; those who would have doubted the validity of their own truths under the pressure of the masses, if not someone acknowledged as great had proclaimed those same insights in the language of music, and if he had not reassured them in their exceptional knowledge, a knowledge possibly inconvenient to their surroundings yet fulfilling to themselves, aknowledge which they knew to be true.
Here, the classical composer appears to the listener as a companion who stood against the pressure of the masses himself, and who passed on his love of truth to this particular listener.