The Levels of Gaining Knowledge in Music
Music knows very different levels of gaining knowledge: lower, higher, still higher, and highest.

And in this world the dimension of individual development, individual budding, steady growth, and finally of entry into the world of the musical sequence, into the world of the natural social space, opens to the mind.

The Manifold Unity of Life in Music
By applying the highest musical principles of order and the most subtle musical means of forming, the harmony as the inner, transcendental reality of the sequences depicts the world of individual, social, and ecological unity, as psychology, sociology, and ecology, too, together circumscribe it with words.

In the depth of the sequence-spaces, with the help of the musical logic, music directly pictures this supreme and most perfect sphere of cognition of individual, community, and ecology as a single entity while psychology, sociology, and ecology together describe it only by word, without the character of an illustration.

The Mental-Emotional Element in Music
Polyphony describes the infinite change of the elements and in this respect, the element which lies at the basis of the physical: the mental-emotional.

Universal Cognition of Truth in Music
What predestines music for universal cognition – and in very difference to the common practice of teaching and learning, and of scientifically analyzing in words and writing respectively –, is the fact, that music is able to stimulate feeling and under- standing simultaneously to cognition.

Trinity in Music
Hence, three components are involved in the universal process of gaining knowledge:
1. the knower –
    the cognizant music listener,
2. the object of knowing –
    the truth hidden in music,
3. the process of knowing.

Detours of Human Gaining Knowledge beyond Music
We know from experience that especially nowadays man chooses the more uncomfortable, the more complicated, the less fulfilling, the uglier, the meaner, the more lifeless – because of some outer, intellectual consideration in the limited context of his first three states of consciousness he believes that in the end he will still draw a greater personal gain from such choice.

Coordination of the Music Lover with the Prime Forces of Nature
The great thinkers, philosophers, artists, scientists and prophets never trusted such considerations and their testimonials document this their common standpoint; and the same way thinks the classical composer: he thinks, if the joy of his listener is concerned, that such aims directed to limited advantages and the educational methods related to them, are too complicated and therefore unpractical, but first of all also: are unnatural. For his music listener, the composer aims at the direct way to inner happiness and inner joy; he knows that, for happiness to last, the first prerequisite lies in the coordination of the listener with the prime forces of nature, i.e. in the musical unison of the music listener with the infinite harmony – that key of the listener being one with his universal self.

“During the transition from the force-field of the acoustic space to the field of our neurophysiology”:

Here we enter the
objective fields of studying philosophy.
The acoustic space belongs to the
natural objective field of
authentically studying philosophy.

The neurophysiology is a
natural objective field of
authentically studying philosophy.

Neurophysiology & physiology are the natural instruments of
objectively studying philosophy.

The Cognizant Music Listener
The Group of the Musical Cognitive Tools
The cognizant music listener is involved in the universal process of gaining knowledge with his organs of cognition: with his self-awareness, his intellect, his feeling and understanding, his mind, and his inner as well as his outer hearing, but also his neurophysiology which, through the organ of hearing, transmits the information of the outer concert to the mind.

The Inner-Mental Reality of Music
The entire field of music can be fully comprehended in terms of the inner-mental musical reality: the origin of music and its course of evolution up to its final stage, the objective sphere of music – up to the musical sound space, up to that world in which music sounds.

“During the transition from the field of our neurophysiology to the force-field of our mind”:

Here we expand our studies of the
objective fields of philosophy.
Neurophysiology is a
natural objective field of
authentically studying philosophy.

Neurophysiology & physiology are our natural instruments of
objectively studying philosophy.

The mind is our natural instrument of
subjectively & objectively studying philosophy.

The Evolution in Music
The musical object of knowing includes the representation of cosmic evolution just as well as the representation of the unfold- ment of our very individual life: our birth, our individual growth, and our individual perfection, but also the development of social groups and entire peoples, indeed, of mankind as a whole.

The Golden Magic Key for Gaining Universal Knowledge
Perceiving the absolute sound-substance on the level of the mind is really the golden magic key of gaining universal knowledge.

“During the transition from the
force-field of our mind to the field of our
inner voice”:

Here we expand our studies in connecting the
objective with the subjective fields in medical sciences.

The mind is our natural instrument of
subjectively & objectively studying medical sciences.

Neurophysiology & physiology are our natural instruments of
objectively studying medical sciences.

The inner voice is a
natural subjective instrument of
authentically studying medical sciences:

Consciousness, inner voice, inner hearing, intellectual understanding, feeling ability & the intellectual coordinative ability are our natural subjective fields of studying
medical sciences.

Identification with the Absolute Sound-Substance
The cognition of the absolute sound-substance, that is: the identification of the individual mind with the comprehensive basic vibration of the harmony, or with the basic vibration of cosmic thinking respectively, enables our mind to analyze and synthesize in an integrated manner –
to understand and to feel in an integrated manner – and thus to experience and to comprehend simultaneously the inner musical fields of knowledge of the motifs and sequences, but also of the tones and of the infinite field of the harmony within space and time, as well as beyond space and time.

Inspiration for the Unlimited
In reality, to the classical composer, music is just the poetic medium for the description of the inner domain of human freedom, to inspire the limited for the unlimited.