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The Belated

The Pure Knowledge of the Reality of Music

This cognitive vision, in which we compare the totality of the absolute music in the infinite musical force-field of the harmony with the relative force-fields of music, reveals to us how the latter, in their entirety, unfold from the harmony.
With this insight, our original concept of the reality of music is simply turned upside down.

The Unrealistic Course of the Musical Process of Gaining Knowledge

In the relative field of musical structural change we gradually inferred an increasingly higher musical meaning – at least we thought we did.
Thereat our entire process of knowing was subject to space and time.

Beyond Higher and Lower Meaning

However, from the cognitive world of the harmony, we now realize that the terms “higher or lower meaning” have no relevance at all.
Just as one believes one could conclude an object from its shadow – although the shadow actually is a void of light and, for sure, nothing real – likewise we make-believe cognizers thought to gradually conclude a higher musical meaning, a higher musical truth, a higher musical knowledge in our supposed relative musical process of gaining knowledge.

Illusion of the Relative Gaining Knowledge

Seen from the absolute musical field of the harmony, however, such a supposed process of knowing takes place as little as a shadow gives us the object by which it is thrown.

The Unreality of Created Music

From the field of pure self-knowledge, from the absolute force-field of the harmony, we understand the non-reality of the relative sphere of music – and, correspondingly, of relative musical knowledge – and we are even sure now that our personal musical way of knowledge into the infinity of the harmony was only possible by virtue of a miracle – although, maybe, a musical miracle.

Such is the nature of musical knowledge.