. |
|
PART II |
|
14 |
|
|
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION |
|
|
|
|
|
|
|
|
|
The Levels of Gaining Knowledge in Music
|
|
|
|
|
Music knows very different levels of gaining knowledge: lower, higher, still higher, and highest. The lowest level of gaining knowledge in music lies in the field of the musical sound-space.
|
|
The Unenlivened Nature in the Musical Sound-Space |
|
|
Everything on this level, that is unenlivened or hardly enlivened, is portrayed most clearly. And the analysis of the spectra acting in the musical sound-space provides a detailed picture of nature on the atomic and molecular level.
|
|
|
|
|
But in the depth of these structures in the field of that musical logic by which the tonal structures move the cognizant mind discovers a new world of a higher order: the world of the motif. And in this world the dimension of individual development, individual budding, steady growth, and finally of entry into the world of the sequence, into the world of the social space of music, opens to the mind.
|
|
The Transcendental Reality of the Musical Sound-Space |
|
|
All motifs if they no longer romp about playfully in their own spaces tend towards the sequence-spaces as their own place of origin, their birth-house from where they originally came; or they strive outside: towards the musical sound-space where they enliven what needs to be enlivened.
|
|
The Cognitive and the Creative Way of the Musical Motifs |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
. |