Seinsklänge

Wherein lies the secret of music?
Wherein lie its magical, transformative powers?
What, essentially, is music a s music? - a meaningful event? - a poetic event? - a neurophysiological connection of synapses?

These questions evoke horizons of thought, the exploration of which motivates the author to design a theoretical basis for practical musical therapie.
Her epistemological approach thematises the conditions for the possibilities of experiencing music. The reader is carefully taken along the path of transformation: From the physical acoustic event and its mathematical implications to the physiological and neurophysiological quality of the hearing experience to the psychodynamics of the hearing event as a polar-rhythmic shaping process.
Hearing as a psychoenergetic movement of a creative relationship dynamic which immediately evokes the balance of self-control as a dynamic equilibrium between Outside and Inside is per se therapeutic.
The question of how powerful music is leads to the ancient, but highly relevant Pythagoreanism. Reflecting upon these teachings the author convincingly makes clear that the specific way the problem is presented already constricts.
The classic Pythagorean as well as the modern harmonical approach stick to placing two seperate entities - musical regularity of form and hearing experience - in relation to one another an thus search for a mediating frame of reference which, serving as the logical part of analogy, formally remains a blank space.
Opposing this abstract linkage of topics concerning analogies the author surprisingly takes an unusual turn.
By redefining the transcendental and logical approach of Immanuel Kant`s philosophy a concrete subject-generating paradigm is uncovered.
Music and hearing experience seize to exist as two seperated entities and in original synthesis audio consciousness encroaches on the "subject" and redefines it.
In light of this new perspective the static and abstract dichotomy of structure and