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The Object of Knowledge in the Relative Musical Fields of Knowledge





Musical Spaces and Musical Worlds








Insight into the Musical Fields of Cognition






The Unalive Musical Composition



The Unsuccessful Search for Musical Force-Fields


The System of the Fields
of Knowledge in Music

In the process of gaining knowledge in music the objects of knowledge may be very different:
the object of knowledge may concern the tone or respectively, the tonal structure of the musical sound-space;
the object of knowledge may be hidden within the musical sound-space in the next finer musical fields of knowledge: on the motif level;
the object of knowledge may lie on yet another, next higher musical level of knowledge: in the musical fields of knowledge of the sequences;
and furthermore, the object of knowledge may lie in the absolute, musical cognitive field of the harmony.

One would assume,
that within the musical sound-space, always and automatically there is a world of motifs,
that within the motif-space, always and automatically there is a world of sequences, and
that within a sequence-space, always there is the world of the harmony.

This assumption is indeed valid with regard to the spaces themselves but not with regard to their inner lives.
A body, for example, might be there without life (as in the case of a sculpture) and likewise, sounds might exist in the musical sound-space without motifs dwelling within them.
And, by analogy, it is well possible that in an apparent motif-space there is no sequence at all and that furthermore, within the sequence-spaces the impact of the all-enlivening harmony is missing.

One must take into account, however, that it is not quite simple to perceive the world of motifs within the musical sound-space; for this insight requires logical deduction penetrating into the depth of the musical event and into the musical knowledge that results.
And one must consider that it is even more difficult to discover the sequence within the motif-space, since the sequence can be found only by virtue of even higher logical deduction.
And, unfortunately, it was only an extremely rare occurence so far belonging to the field of the highest musical revelations that someone discovered the harmony as such in the sequence-space, because the harmony can be comprehended only with the highest musical logic, and only on the level of pure selfknowledge.

It may also be that in one or the other piece of music the inner musical cognitive forces were not effective even when the music was created, and that the composition in the literal meaning of the word was purely assembled from outer elements of the musical sound-space like, for example, from conventional melodies to which a “composition” was then attached by means of the knowledge acquired in conventional compositional classes.

Naturally, in such a case the inner musical fields of knowledge can certainly not be localized; at best, they may be simulated by expert performers who are geared to outer success.
The educated listener identifies this lack by the absence of the integrated and comprehensive musical logic in the musical work since this absence of truth expresses itself in all parts of the composition, because they are joined together without life like the branches, leaves, and roots of a patched-up tree.









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The System of the
Fields of Knowledge in Music

The Funciton of the Fields of Cognition in Music

Immediate Knowledge
of the Musical Meaning

The Structure of the Fields of Cognition in Music

The Fields of Knowledge of the Musical Representation

Patterns of Perfect
Education in Music