of Inner and Outer Musical Comprehension
The Creative Stimulation from Outside
Training the Musical Creativity
The Unenlivened Nature in Music
The Enlivened Nature in Music
Social Communities in Music
The Manifold Unity of Life in Music
When the formative qualities of our neurophysiology project the outward musical reality of the concert onto the surface of our mind, and our thinking assumes the form of the outer musical presentation, then our (inner) sense of hearing comprehends in its process of perception the sounding structure of the mind and passes this information of the musical event through our intellect (through our feeling and our understanding) on to our self-awareness.
By identifying itself with the musical projection as it sounds in our mind our self-awareness, in turn, is being stimulated to vibrate, and by means of our intellect it produces associative patterns, related to the musical work, on the surface of our mind. In principle, producing these patterns of association corresponds to a creative act.
But still, there is a difference to a true creative act, in that the creative impulse came from without and not exclusively from within.
This is the method of "creative hearing," and it serves to educate the mechanism of our creativity.
In this process, our intellect is taught to implement corrective decisions and to rectify the picture of the musical reality which is delivered from outside by the interpreter and to refine it: to bring it to perfection: to restore it to the state of truth that was originally expressed by the composer.
tones represent the world of the unenlivened nature just as, for example,
physics and chemistry circumscribe it with words.
Thereat, in the musical sound-space, music represents this unenlivened sphere of nature directly while physics and chemistry, for example, only describe it, circumscribe it with words, which lack the character of an illustration.
applying higher principles of order and more subtle means of forming, the
musical motifs as the inner, transcendental reality of the tones depict the
world of individual cognition just as psychology, too, describes it with words.
By virtue of the musical logic, music in this process pictures the motif-space, this subjective individual sphere of knowledge directly in the depth of the musical sound-space whereas psychology describes it with words alone, without the character of an illustration.
applying even higher principles of order and even more subtle means of forming,
the sequences as the inner transcendental reality of the motifs represent
the world of living social knowledge just as sociology, too, circumscribes
it with words.
By virtue of the musical logic, music directly pictures this subjective, social sphere of knowledge in the depth of the motif-spaces while sociology describes it only by word, without the character of an illustration.
By applying the highest musical principles of order and the most subtle musical means of forming, the harmony as the inner, transcendental reality of the sequences depicts the world of individual, social, and ecological unity, as psychology, sociology, and ecology, too, together circumscribe it with words.
In the depth of the sequence-spaces, with the help of the musical logic, music directly pictures this supreme and most perfect sphere of cognition of individual, community, and ecology as a single entity while psychology, sociology, and ecology together describe it only by word, without the character of an illustration.