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PART   IV
   31  
 
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH
      
         
 
The Stream
of Musical Gaining Knowledge


    
 
Thereat the com­poser walks off many merg­ing ways of knowl­edge (po­lyph­ony serves this pur­pose); from these motif paths he ar­rives at more and more con­cen­trated se­quence paths, and fi­nally he en­ters the great stream of mu­si­cal gain­ing knowl­edge which flows from the se­quence spaces into the in­fi­nite space of the har­mony.

  
The Listener’s Freedom to Choose the Path
  
 
How­ever, the mu­si­cal crea­tor leaves the com­plete free­dom of choice to his lis­tener; in his work he lays out for him so many way-pat­terns of mu­si­cal gain­ing knowl­edge that the lis­tener can de­ter­mine his in­di­vid­ual mu­si­cal path of cog­ni­tion with a feel­ing of per­sonal choice, with­out the feel­ing of be­ing dic­tated.

    
 
It is a fixed prin­ci­ple:
that the mu­si­cal crea­tor ensures in his work in many ways that the lis­tener reaches unen­cum­bered the great goal: the es­sence of mu­sic: the har­mony, and thus the crea­tive field of his self-knowl­edge.
  
With Free Strides the Listener Reaches the Goal
  
 
It is a fixed prin­ci­ple:
    that the mu­si­cal crea­tor firmly es­tab­lishes his lis­tener in the in­fi­nite force-field of the har­mony, and thus gives him a per­ma­nent ex­peri­ence of his pure self-knowl­edge.

  
Permanent Experience of Pure Self-Knowledge in the Listener
  
 
is a fixed prin­ci­ple:
    that eve­ry true mu­si­cal crea­tor is aware that he him­self has to go the way of mu­si­cal cog­ni­tion in his work to set his lis­tener an ex­ample, and that nei­ther any wide-spread “ex­pert’s opin­ion” on mu­sic nor the taste of the masses, nei­ther per­sonal ma­te­ri­alis­tic con­sid­era­tion nor at­tacks from crit­ics, nor any pseudo-au­thor­ity of the mu­sic scene must con­fuse or even re­strict him.

  
The Responsibility of the Composer
  
 
The true mu­si­cal crea­tor is di­rectly and ex­clu­sively com­mited to his lis­tener striv­ing for pure knowl­edge.
All his at­ten­tion is focussed on guiding the lis­tener to­wards higher and fi­nally the high­est mu­si­cal in­sight.

  
The Natural Duty of the Musical Creator
  
 
It is a fixed prin­ci­ple:
    that the mu­si­cal crea­tor at­tracts the lis­tener from his lim­ited world of the sound­ing mu­si­cal ex­peri­ence to­wards him­self, to the sphere of the har­mony – into the world of pure self-knowl­edge.

  
Resounding Musical Experience on the Path to Pure Self-Knowledge
  
 
In this re­spect it is a fixed prin­ci­ple:
    that the lis­tener goes the mu­si­cal path to­wards the com­poser, and is in this man­ner sys­tem­ati­cally taught to be a com­poser him­self.

  
The Composer Teaches the Music Listener to be a Musical Creator
  
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

IV.
THE LIVING EXAMPLE
OF THE MUSICAL COGNITION OF TRUTH

The Example of the
Composer in the
Cognitive Process in Music

Fixed Principles in the Process of Gaining
Knowledge in Music

The Stream of Musical
Gaining Knowledge

The Process of Musical Consideration

Streams of Energy and Intelligence in the
Process of Gaining
Knowledge in Music

The Inner Logic of the
Musical Process
of Knowing

The Musical Creator
Carries his Natural Responsibility

The Listener’s Freedom from Fate

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition