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Perfect Music Cognition
Educating Man in Truth
The harmony is the ultimate goal of gaining musical knowledge, is the ultimate cognition of music.
The harmony is able to educate us human beings in truth and to reveal to us that music in its purity is nothing but life itself, in the way it is lived according to nature on the level of pure self-awareness.
“I must despise a world
which has no idea
that music is a greater revelation
than all wisdom and philosophy.”
Unity of Absolute and Relative Cognition of Reality
Only the harmony opens to the one striving for cognition the actual relation of his innermost self to his inner-human forces and shows him this relation as his natural expression.
Here, the cognition of harmony is founded on the perception of the perfect basic vibration of the absolute tone substance on the level of the mind that cosmic vibration, which on the one hand links the absolute music world of the harmony with the relative music worlds of the sequences, the motifs and the musical tone space and holds them together, but which on the other side also brings about, out of the unlimited fullness of harmony beyond space and time, the fullness of the relative musical event within space and time and changes it into the garment of the different musical fields of knowledge.
Looking from the Universal World of Life into the Process of Cosmic Development
In the state of pure self-awareness, looking from the side of the absolute music field of the harmony into the relative music process, the creative music listener recognizes, that this whole limited musical event, those music worlds of the sequences, of the motifs and of the musical tone space, is not at all as real in its existence as the absolute music in the infinite force-field of the harmony: he sees, that the world of thinking is not at all as real in its existence as the sounding light world of his self.
With this insight he now, to begin with, fundamentally questions the value of all mental scientific as artistic and also religious and philosophical concept developments.
As the listener now takes a look out at the musical force fields of the sequences, motifs and tones, he is reminded of his experiences on his earlier relative way of knowledge.
Also at that time the motif world, ruling the tone space from within, was not existing in a manner that he could concretely grasp it.
And also the sequence world, lying at the basis of the motifs and ruling them from within has not been really graspable for him.
And yet, he concluded their existence from the effects, which the motifs and sequences created in the musical tone-space.