UNIVERSITÄT DER GESUNDHEIT
UNIVERSITÄT DER GESUNDHEIT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit

 

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PART   IV
  35  
 
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH
     
         
 
The Musical Creator
Carries His Natural Responsibility


 
 
 
There­fore, the mu­si­cal crea­tor spares no per­sonal effort; with skil­ful per­sua­sion he in­duces the lis­tener to walk the path to­wards higher mu­si­cal knowl­edge – un­til the lis­tener has reached the su­preme mu­si­cal knowl­edge of the har­mony, and thereby, the field of his pure self-knowl­edge.

 
The Listener Gains the Supreme Musical Knowledge of Truth
 
 
Cer­tainly, the pos­si­bil­ity of con­sid­era­tion al­ways re­mains with the lis­tener in the mu­si­cal proc­ess of his evo­lu­tion, but the com­poser per­suades the lis­tener, con­vinces him, be­seeches him, entreats him ear­nestly, gives him new ex­plana­tions again and again, and even­tu­ally guides him in these many ways with in­creas­ingly skil­ful per­sua­sion out of the limi­ta­tions of day-to-day life to the heights of mu­si­cal knowl­edge, into the realm of in­di­vid­ual free­dom.

 
Guidance into the Musical Realm of Individual Freedom
 
 
Also, the mu­si­cal crea­tor takes into ac­count the fusspot, who, in the rou­tine of his day-to-day life, tries to safe­guard him­self ma­te­ri­al­is­ti­cally eve­ry­where, and se­ri­ously be­lieves in such se­cu­rity.
On quiet ways he takes him to the uncon­ven­tional con­sid­era­tions of im­mor­tal­ity, into a com­pletely imma­te­rial world – with­out any ma­te­ri­alis­tic safety, in­deed, with­out even a thought of it.

 
The Quiet Ways of Unconventional Musical Considerations
 
 
Be­fore the cog­niz­ing eye of his mu­sic lis­tener, in the sound­ing de­scrip­tion, the mu­si­cal crea­tor con­tinu­ously weighs the ad­van­tages of this or of that path to higher mu­si­cal knowl­edge, to more joy, to greater hap­pi­ness.

 
The Musical Creator as an Advisor on the Path of Knowing
 
 
And if, at first, the lis­tener is not able yet to be­lieve all the joy and hap­pi­ness – due to his pre­sent men­tal-psy­chical con­sti­tu­tion – and there­fore re­jects him, then the mu­si­cal crea­tor skil­fully di­verts his mind away from his bleak thoughts and then takes him, for ex­ample, to a gen­eral dis­cus­sion of fate and into a mu­si­cal de­bate on the in­flu­ences of the en­vi­ron­ment.

 
The Musical Path of Knowledge from External Influences to One’s Own Power
 
 
At first, he will show the lis­tener that in­flu­ences of the en­vi­ron­ment may in­deed re­strict the free course of man’s life. But then he dispels this outer limi­ta­tion again sys­tem­ati­cally and skil­fully.

   
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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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