The Subjective and Objective Methods of the Music Creator for Comprehending Music

The Listener's Twofold System of Music Analysis

The Listener's Subjective and Objective Methods for Comprehending Music

The Cognition of the True Sphere of Music as Complete-ly Subjective

The Spoken Word of Music in the Fire of Scientific Investigation

The Controlled Incalculability of the Musical Language

Music in the Perfect System of Irrational Values

The Twofold System of
Music Analysis
of the Music Creator

While the self of the composer, through the intellect, fathoms the subjective sphere on the level of the mind, and perceives it as being very alive, that very same self scans the sound on the level of the mind from outside, through the sense of hearing as if with a measuring instrument, and makes the composer the first listener of his work.

Due to its nature the feeling aspect of the intellect is associated with more life than the understanding, and therefore the listener will always experience the knowledge perceived on the level of his feeling as much more lively than the information brought in by his understanding.

By virtue of this twofold-structured system, based on the feeling and the understanding, for gathering musical information through the intellect, the listener regards the lively inner aspect of the mental musical sound-space, which he predominantly perceives by his feeling, as subjective. And in contrast, he regards the less lively, outer aspect of the mental musical sound-space, which he perceives rather by his understanding, as lifeless, or as objective.

Nevertheless, the conscious self of an alert listener will be aware at all times that nature, as music describes it, is always lively and subjective, never dead or, in the scientific materialistic sense, objective.

The realistic, holistic description of the living reality through the "spoken word" of music is extremely profound and systematic – even by today's scientific standards. This fact, amongst others, accounts for the persuasive power of classical music.

However, life cannot be pressed into patterns of rational numbers. Correspondingly, the irrational element predominates in classical music and the different musical parameters interact in ratios of irrational numbers, and it is this controlled incalculability from which the great appeal of music, that realistic lively language, really arises.

As opposed to the conventional, rational, materialistically- oriented natural sciences, music describes the reality of life in the fantastic dimension of irrational values. Although the educated musician may comprehend the real world holistically and intuitively, he can only describe it correctly with irrational values, if he wants to express the reality of life satisfactorily.