This phenomenology begins with an observation of a musical instrument, the piano. The piano is surrounded by an aura of lifelessness, for its sound world is dominated by tone-decay and a calcified intonation system. Therefore, a physically seamless legato rendering of melody is impossible for pianists, and the inflexible symmetry of given intervallic relations enforces a loss of tonal centre when a composer ventures into the intrinsically asymmetrical domain of chromaticism. However, the melodic interval - the element lying between the acoustically sounding pitches - is in essence always inaudible, whatever the instrument. Through the development of listening capacities directed specifically toward unveiling the non-positive musical element in its origin, namely, within human consciousness, it is possible to overcome external instrumental limitations. Human being’s intrinsic musicality is revealed through phenomenological observation of consciousness in its qualitatively differentiated, ordinarily related, temporally unfolding nature. External limitations can have no hold over living melodic expression when the essence of the melodic interval is discovered self-sufficiently within the non-positive dimension of human onticity, that is, within a consciousness in which the potential for clear spiritual cognition lies dormant. ‘Tonicness’ is discovered ultimately to be an inner awareness of self-voicefulness, independent from instrumental and linguistic contingencies; and the piano reveals an historical mission to awaken - from ‘death’ - new cognitive listening faculties. This research employs the spiritual-scientific method of Rudolf Steiner’s anthroposophy, or wisdom of the human being, which involves meditation and the cultivation of sense-independent logic as well as of lucid feeling (as distinct from blinding emotion).

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