UNIVERSITÄT DER GESUNDHEIT
UNIVERSITÄT DER GESUNDHEIT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
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PART   II
  15  
 
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION
     
         
 
The Process of Musical Perception


 
 
 
The purely mu­si­cal com­pre­hen­sion of re­al­ity in­cludes: the outer hear­ing and the in­ner hear­ing which, in turn, in­cludes the (in­ner) per­cep­tion of the mu­si­cal pa­rame­ters sound, motif, se­quence, and har­mony.
With our in­ner hear­ing, we per­ceive these mu­si­cal pa­rame­ters in re­la­tion to the mu­si­cal sound-space, and in re­la­tion to the motif-space, the se­quence-space, and the har­mony-space, we per­ceive them with our in­tel­lect, our feel­ing and un­der­stand­ing.

 
The Musical Tools of Cognition and Their Cognitive Fields
 
 
The outer per­cep­tion con­cerns our per­cep­tion of sounds in the acous­tic space, i.e. the per­cep­tion of the mu­si­cal event that is brought to us lis­ten­ers from out­side.

 
The First Step of the Musical Cognition of Truth
 
 
The struc­tural com­pre­hen­sion of the mu­si­cal sound-space through our in­ner hear­ing is tied to the clar­ity of the rep­re­sen­ta­tion of the sound in our mind, and there­fore de­pends pri­mar­ily on the efficieny of our mind.
But also it de­pends on the sen­si­tiv­ity of per­cep­tion of our in­ner sense of hear­ing, on its alert­ness.

 
Mind and Sense of Hearing as Musical Tools of Cognition in Action
 
 
Struc­tur­ally com­pre­hend­ing the motif-space in mu­sic de­pends on an even more pre­cise func­tion­ing of the mind, be­cause the lat­ter de­ter­mines the pre­ci­sion of the tonal-struc­tural pic­ture which con­tains the motif images.

 
The Cognitive Field of the Musical Motif-Space
 
 
Fur­ther­more, com­pre­hend­ing the mu­si­cal motif-space de­pends on the cog­ni­tive ca­pa­bil­ity of our in­tel­lect, be­cause it is the in­tel­lect which, by vir­tue of our ana­lyz­ing un­der­stand­ing, detects the un­fold­ment of the mo­tifs in the motif-space and by vir­tue of our syn­the­siz­ing feel­ing, real­izes this un­fold­ment of mo­tifs to be a continu­ous melody a unity of the motif-de­vel­op­ment.

 
Mind, Feeling, and Understanding as Musical Tools of Knowing in Action
 
 
Struc­tur­ally com­pre­hend­ing the mu­si­cal melody-space is based on an even more pow­er­ful func­tion­ing of the mind; be­cause, in or­der to com­pre­hend the melody, the tonal struc­ture must be dis­played on the sur­face of our mind even more pre­cisely, and the tonal pa­rame­ters, in their re­la­tion to each other, must be per­ceived com­pletely so that we can com­pre­hend the dif­fer­ent, mani­fold de­vel­op­ments of the mo­tifs ho­lis­ti­cally as a unity and si­mul­ta­ne­ously as sepa­rate from each other.

 
The Cognitive Field of the Melody
 
 
Only the dif­fer­en­ti­ated and, at the same time, in­te­grated com­pre­hen­sion of the motif de­vel­op­ments through feel­ing and un­der­stand­ing al­lows to com­pre­hend the melody, which means: the mu­si­cal com­pre­hen­sion of the il­lus­tra­tion of an in­di­vid­ual course of life.

 
Mind and Intellect as Musical Tools of Knowing in Action
 
 
If, how­ever, we at­tempt to com­pre­hend sev­eral life-paths si­mul­ta­ne­ously, we have to do so from a higher level of knowl­edge; for not only must we see and ex­peri­ence one sin­gle, in­di­vid­ual course of de­vel­op­ment, but many courses si­mul­ta­ne­ously.
And the mys­teri­ous ap­peal of this stage of mu­si­cal know­ing lies not so much in purely outer ob­serv­ing or un­der­stand­ing the char­ac­ters in de­vel­op­ment and the li­ves based on them, but in per­son­ally ex­peri­enc­ing many dif­fer­ent roads of in­di­vid­ual hu­man per­fec­tion si­mul­ta­ne­ously.

 
The Cognitive Field of the Musical Sequence-Space
 
 
In the mu­si­cal spaces of the se­quences we can make the ex­peri­ence of liv­ing very dif­fer­ent li­ves si­mul­ta­ne­ously and, thereat, per­son­ally walk­ing very dif­fer­ent life-paths si­mul­ta­ne­ously and in our ex­peri­ence we can move about, be­ing one and the same per­son, in very dif­fer­ent bod­ies and with very dif­fer­ent modes of be­hav­iour.

 
The Social Orders in Music
 
 
The world of the har­mony, how­ever, af­fords us the per­sonal ex­peri­ence of an in­fi­nite mul­ti­plic­ity of li­ves which are be­ing lived si­mul­ta­ne­ously, and which move be­fore our men­tal eye and within our feel­ing like shin­ing stars on free orbits.
And all these in­di­vid­ual stars are we our­selves; each sin­gle orbit is our own, very in­di­vid­ual life-path, and this ex­peri­ence, in this high­est stage of our mu­sic lis­ten­ing, of our mu­si­cal cog­ni­tion of truth, is our very per­sonal truth.

 
The Cognitive Field of the Musical Harmony-Space
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 2

II.
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION

Empirical Gaining
Knowledge in Music

The Unlimited Course
of Life in Music

The Levels of Gaining
Knowledge in Music

The Process of
Musical Perception

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition