UNIVERSITÄT DER GESUNDHEIT
UNIVERSITÄT DER GESUNDHEIT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
.
 
PART   VIII
  68  
 
EQUIVOCATION
     
         
 
Three Kinds of Equivocation


 
 
 
There are three kinds of equivo­ca­tion:
  1. equivo­ca­tion due to di­vergence – sepa­rateness – of mean­ing and form,
  1. equivo­ca­tion through deducing the mean­ing from the form, and
  1. equivo­ca­tion through deducing the form from the mean­ing.

   
 
Equivocation Due to Separateness
of Meaning and Form


 
 
 
The knowl­edge of the sepa­ra­tion of the ab­so­lu­te mu­si­cal world from the rela­tive force-fields of mu­sic, the ex­peri­ence of a di­vergence of the unlim­ited mu­si­cal force-field of the har­mony and the mu­si­cal worlds of the se­quences, mo­tifs and tones, re­sulted in a two­fold, com­pletely dif­fer­ent in­ter­pre­ta­tion of the sphere of mu­sic.

 
The Absolute World of Music and the Relative Musical Force-Fields
 
 
In the course of our rela­tive proc­ess of gain­ing knowl­edge in mu­sic we lis­ten­ers sys­tem­ati­cally fath­omed the mu­si­cal world for the truth which, we thought, was hid­den in it.
Thor­oughly con­vinced and in all ear­nestness we went the path of gain­ing real knowl­edge in mu­sic, and in­deed, we dis­cov­ered more and more com­pre­hen­sive truths.

 
The Way to Knowledge through the Musical Force-Fields
 
 
Start­ing from the mu­si­cal sound-space, we passed step by step through the mu­si­cal force-fields, which we per­ceived as real; and through the motif world and the se­quence world we ad­vanced to the world of the har­mony.

   
 
To us lis­ten­ers, this mu­si­cal path of knowl­edge was our own re­al­ity of the sys­tem­ati­cal mu­si­cal proc­ess of gain­ing knowl­edge, and eve­ry sin­gle in­sight into the mu­si­cal mean­ing showed us new and very real for­ma­tive forces of mu­si­cal struc­tural change that ex­isted in the more subtle, more en­er­getic fields of mu­si­cal forces.

 
The Scientific Method of Gaining Knowledge in Music
 
 
Thus we took our rela­tive mu­si­cal proc­ess of gain­ing knowl­edge for a very real proc­ess of apprehend­ing the mu­si­cal mean­ing.
And never the thought would have en­tered our mind that this very proc­ess of mu­si­cal de­vel­op­ment, so dis­tinctly and clearly per­ceived by us, could be com­pletely un­real.

 
The Reality of the Scientific Method of Gaining Knowledge in Music
 
 
Now that we have reached the ab­so­lu­te mu­si­cal field of knowl­edge of the har­mony, and now that we are crea­tors of mu­sic, our proc­ess of deduc­tion is com­pletely dif­fer­ent.

   
 
Now, it would never occur to us that the per­fect mu­si­cal ex­peri­ence, which we make with such un­be­liev­able alert­ness be­yond space and time, could be con­sid­ered un­real by anyone.

 
Spontaneous Cognition of the Reality of Absolute Music
 
 
For, we real­ize very clearly: a mu­sic, more real than the one we ex­peri­ence now, sim­ply does not exist.

   
 
And still we must keep in mind, that we thought this com­pre­hen­sive ex­peri­ence of mu­sic in the field of the har­mony im­pos­si­ble, as long as we were miss­ing this very ex­peri­ence dur­ing our rela­tive proc­ess of gain­ing knowl­edge in mu­sic.

 
The Inability of Apprehending Unlimited Music by a Limited Method of Knowing
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 2

VIII.
EQUIVOCATION

Equivocation Due to
Separateness of
Meaning and Form

The Dual Musical Truth

Equivocation through
Deducing the Meaning
from the Form

Equivocation through
Deducing the Form
from the Meaning

Superficial Deduction

The System of the
Creative Process in Music

Contradiction
to Fundamental Truths
in the Musical
Gaining of Knowledge

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition