The Listener Perceives the Absolute Musical Force-Fields of the Harmony
Music History and Creating Music
The Untrained Musical Genius
The Measure of the Art of Music
The Tonal Language Anchored in Tradition
Creative Impulses in the Conventional Music Tradition
Success of the Music Creator in His Time
Music which Outlives the Times
Measure of Musical Perfection
The listener's direct insight into that element which produces music is the true means for gaining valid musical insight.
It is true that music is reproduced outside by instruments, but it is produced much more originally from within in the real, creative process of music which springs from self-knowledge: from our direct insight into the absolute musical force-field of the harmony.
outer performance of music links us to that tradition of music which we commonly
call our music history.
Now, our innermost musical perception on the absolute music-level of the harmony links us with the unhistorical musical tradition of creating music, where we realize that we are creating.
a composer it is easily possible to create perfect music without any outer
musical impression from his direct insight into the perfect force-field of
the harmony, and in common, outer terms he may even be described as musically
And still, his work if it has come into existence on the basis of pure self-knowledge has lively grown from the absolute musical force-field of the harmony, and therefore has the natural measure of perfection.
It may well happen that a musical work, although having emerged in that manner from self-knowledge alone, remains strange in its outer musical language to a listener who lives in his limited, historical, earthly time, and therefore does not reach him it was created past the listener of that period who is bound by the dialect of his time.
This is why the inner impression of a tonal language rooted in tradition is a very important factor in the process of creating music if the new creation is to be within the reach of the listener as a source for his acquisition of truth.
to now, conventional musical lessons are exclusively oriented to the outermost
representation of consonants of the historical musical language.
With these hieroglyphs one believes one is able to teach music, but one has completely lost sight of the progression of actual, original emergence of music; only someone who is, due to the fortunate support of nature, privileged by birth with the process of true creation of music from pure self-consciousness can act as a great man, and will at some point be acknowledged as such.
The integration of outer and inner musical knowledge guarantees the musical creator success in his historical time: among the listeners of his era, and it will save him from making up to the listener in flat musical statements as we know them from entertainment music, in pop and beat music, as well as in large parts of folk music.
At his time, the authentic musical statement of an integrated knower of music of a composer who is related to the true musical tradition will naturally be successful among the majority of the listeners, he will satisfy the highest demands for quality, and he will outlive the times; for on the one hand, this direct musical testimony has evolved with reference to the true testimonies the revelations of the ages but on the other hand, it has simultaneously emerged from the fullness of original creativity beyond time.