Musikalische Logik

Texts on the practice, theory and aesthetics of music make use of the term ‘musical logic’, although conceptions of the application, content and scope of the term differ greatly. This book attempts to solve this historical problem. Musical logic proves to be the embodiment of the conditions under which music can appear as a process founded in itself. It consists of musical thinking with ist context generated by the differentiation of relationships between sounds and of tempi, by the creation of forms of connection and progression, by the variational use of the resulting models and the suspension and re-creation of the constituent parts; as a form of productive thinking, music cannot define proven means for ist own expression and communication. Musical logic can manifest itself in consequences that can be aurally predicted, but also, and especially, in the ways in which a process that cannot be anticipated proves to be founded in itself. The range of possibilities does not contradict the expectation of logic in music but conforms to the peculiarity of logic in the sphere of creation as opposed to logic in the sphere of cognition. The historical presentation ranges from late antiquity to the mid 20th century.