The Systematic-Logical Path through the Musical Orders
The Knowledgeable Path to the Musical Meaning
Musical Journey into the Force-Fields of the Motifs
The Listener Perceives the Rulers over the Stars of Music
The Play of Motifs
The Individual Forces of Music
The Musical Journey to the Force-Fields of the Sequences
The Social Sphere of Life within the Musical Sound-Spac
Art of Drawing Conclusions
the musical process of gaining knowledge the art of reasoning lies in the
listener concluding from a level of lower musical knowledge to a level of
higher musical knowledge from a level of lower musical order to a level
of higher musical order.
This process of gaining knowledge in music we also call the process of musical refinement the process of transcending musical orders; and on the level of our mind we also call it generally the process of transcending.
The art of drawing conclusions in music systematically leads us listeners into the depth of the musical meaning.
virtue of our faculty of logic, we conclude in a systematic process of knowing
from the order of the tones, that resound in the musical sound-space, the
inaudible motifs inherent in the tones.
We notice more and more clearly that in the musical sound- space the tones move on very distinct orbits.
perceive more and more clearly that these orbits are not periodical, and that
they are not simply non-periodical either, but that their change is meaningful,
that they are related to each other.
And with good reason we therefore conclude that they must be governed by forces of a higher order.
by examining with our awakening understanding these forces of a higher order,
which seem to govern the musical tone-space from within, we finally recognize
the force-fields of the motifs, and we perceive the motifs in the tonal frames
as if in bodies.
We comprehend them with the same simple insight as we recognize the individual character that dwells in the body of a living being.
In the course of the musical event, we gradually become more familiar with the forces of the musical motifs, for we realize how they move the tones as their celestial bodies in the firmament of music; and suddenly we discover in the motifs the natural individual forces of living beings illustrated our own individual human forces.
we notice that, as it unfolds in the melody, the musical motif not only rules
those tones that directly surround it that it is not concerned with
its own body alone; but we realize that the motif also plays with the tones
of other motifs.
Indeed, eventually we even discover a direct individual interplay between the motifs themselves.
this moment of our process of gaining knowledge in music, we listeners have
already left the material-physical world of the musical sound-space.
Our focus is now mainly on the inaudible, yet so powerful individual forces of the motifs.
And step by step, by focussing more and more on the musical play of these motif forces among themselves, and by discovering in it the interplay of individuals in general our own interplay with the individuals around us we finally realize that we ourselves are described in more and more motifs, those musical descriptions of individual human forces.
we reach a point where we can no longer distinguish whether we associate only
with this motif or also with that motif with these or with those forces
of our individual unfoldment. Then we find ourselves in the polyphony, walking
many ways of individual unfoldment simultaneously, thus advancing into the
musical force-fields of the sequences.
Just as a mother or a father see themselves unfolded in their children, we now see ourselves pictured with our very personal qualities in the many musical unfoldments of the motifs.