We have seen that music occupies the dimension of time, one that is universally experienced by the inner consciousness. Time has only one dimension; it is best thought of in terms of a flowing point. Strictly speaking, variety is never experienced at one moment in time; unity must be imposed on it if it is to be experienced in this way. Basically then, music is pure succession, in which variety is experienced successively, rather than simultaneously. As such it is an image of our restless, mutable, everchanging life. Yet nothing that is apparently simple in nature is in fact so; all reality is the product of a combination of antinomies. Part of our being derives from the unity that comprises two, three, or a multiplicity of diverse elements. The harmony made up of simultaneously sounding notes that are concordant with each other, and which, though diverse, form a unity, may well, in fact, represent in audible terms the internal structure of life. This harmony is the truly mystical element in music, one which does not demand some powerful reaction from progression in time, but which strives for the infinite in the indivisible instant. So we see in fact that the modern development of harmony originated in Christian worship at a time when men had lost that sense of free movement in the phenomenal world, and that energetic rhythm of the ancients, at a time when the psyche was looking inwards in its search for a higher life. The solemn church anthem expresses this striving for spiritual union in the dimension of the suprasensual. Music can express every degree of worldliness, every degree of spirituality (...)
August Wilhem Schlegel, emphasis mine
To hell with reality! I want to die in music, not in reason or in prose. People don't deserve the restraint we show by not going into delirium in front of them. To hell with them!
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