The Listener Experiences Complete Fulfilment of Desires
The Musical Flow in the Space-Time World
Music Bridges Infinite Spaces and Times
All Relative Music Diminishes in Value for the Listener
The Significance of the Outer Musical Performance
The Creative Music Listener Identifies the Musical World of Illusions
Musical Depreciation
A natural
result of knowing the truth in the supreme force-field of music – in
the harmony – is that the listener makes the experience of the complete
fulfilment of desires.
Here, in the absolute musical force-field beyond space and time, we quite
spontaneously make the natural experience of all the advantages music may
ever offer, and while we look back now, from this supreme level of musical
knowledge, to the world of music which we once went through with heated discussions
between feeling and understanding when we delved, starting from the musical
sound-space, into ever finer structures of the musical meaning, then the musical
world of the sequences, the motifs, and of the musical sound-space, that had
been so dear to us before, is only a very limited world to us.
Looking
out into the space-time world, the musical flow now appears to us only as
an inert world dragging by.
Even the sequences appear inert to us – much more so the motifs, not
to speak about the tones which trundle along before our mental eye like boulders,
while the motifs at least stumble, and the sequences even try to achieve some
harmonious flow.
So,
in this our complete musical experience in the absolute Now of the harmony,
the musical bridging of infinite spaces and times is not even the matter of
a single moment, but it takes place in the infinitely condensed span of true
simultaneity.
And our lively experience bridges all conceivable spaces and times in the
tonality of the eternal present moment.
This
musical experience of our infinite, dynamic, unlimited, manifold, pure self-awareness,
and the simultaneous experi-ence of the languid flow of the outer world of
music, under-standably reduce the value of all relative music for us.
True and lasting value we attribute only to the real musical field of pure
harmony.
Thus, to the creative music listener, the outer musical world is only a dull imitation of a very small detail of his actual inner musical wealth he experiences in the realm of the harmony, and now to him the outer musical performance is of as little significance as some seed of some plant in some granary is to the creator of the world.
The creative music listener, therefore, no longer wants to leave his perfect world of the harmony for that outer world of illusion. This is his natural standpoint now.
© AAR EDITION INTERNATIONAL 1982