Deduction in the Cognitive Field of the Musical Sound-Space
Deduction in the Cognitive Field of the Harmony
Cognition of the More Subtle Musical Force-Fields
Phase Transition in the Musical Gaining of Knowledge
Knowing the Original Perfect Form of the Musical Creation
The System of Musical Deduction
Musical deduction concerns setting our intellect into function, which happens in two ways:
through the outer
musical information in the cognitive field of the musical sound-space;
via the outer perception in the acoustic space our intellect is stimulated to analyze the sounds of the musical work with a view to synthesis.
This is the onset of our musical way to knowledge; it starts with the activation of the forces of our understand-ing and ends in the activation of the forces of our feeling.
through the inner
musical information in the cognitive field of the self-awareness;
through the outer performance, and through the process of the refinement of perception laid out in the musical work, our intellect, through our understanding, increases its analyzing function and converts it, step by step, into a function of synthesis.
In this process,
our forces of understanding are systematically stimulated to refine themselves,
and finally they reach the level of cognition in terms of the feeling.
Here, the music listener reaches the climax of his relative mu-sical way to knowledge.
The cognition of the musical statement and the comprehension of the musical truth in the motif-space is empirical only in that we perceive the sound-pattern the outer layer of the motif in the musical sound-space with our hearing.
The musical motif
itself, and its qualities, we deduce only by means of our intellectual faculty
of logic, and the information required to do so we draw from the structural
change of the tone pattern.
And our intellect hands over the insight obtained in that manner to our self-awareness as its own, carefully reflected knowledge.
To cognize the musical sequences, however, the capacity of our intellectual power its integrity must be increased substantially; and in order to comprehend the harmony, our intellectual capabilities must reach their highest peak.
When we discover the harmony, a phase transition takes place in the process of our musical gaining knowledge, in that our self-awareness becomes capable of identifying itself on the level of the harmony with the musical statement in its totality.
Hence, the listener
becomes a creative music listener, and the music consumer potentially turns
into a music creator or into a perfect performer.
For wherever a sequence does not unfold all naturally in lively diversity from the harmony because the musician interpreter has not realized this level of knowledge within himself the creative music listener stimulates this lively unfoldment within himself and performs it on the level of his own mental space of experience independent of the quality of the performance resounding outwards in the acoustic space.
And even if the outer performer makes the greatest blunders even if he glorifies the periodical "instrument-specific" vibra-tions and thereby depicts exclusively nature unenlivened then from his own creative, cognitive potential, the creative music listener enlivens within himself this inanimate music by means of the compositional logic, and restores it again to a living mu-sical revelation under his own, inner, perfect laws of harmony: and he hears the original, pure form of the musical work which is maybe being disfigured in the concert hall outside at the same time.