There, finally, where such a characteristic chaos crystallized again to be char-acteristic zirkelten order, with a specific, organized in the

course of time ritual so to speak, I speak of sound structure and see the entire course at the same time as simple structure sound. Thus finally from the original idea of sound idea become a form, but also reversed form as an idea of a characteristic per projection of the funds in time proven itself remains in memory as sound experience. Sound structure is structural sound: a super sound we not vertically as volatile punk-rent stimulus such as a color, but also perceive it as merely one-dimensional directional gradient as an-ing Tamtamschlag and recognize can not, but we controlled only in the gradual union, time scanning its projected into time components, thus opening up the same sam horizontally. And this auxiliary notion of sampling I've just come to that other of the so-called Jnstruments'' whose nature, whose sound world, whose ways and modes I explore both the Erfmden and creation - that being the Abtastritual itself from the structure of the "instrument must "come. To recognize the distinctive qualities of a piano in the sampling, I must have pianistisehe experience, must know what is a piano, and by which formulas via which ! che "checklist", it opens its qualities at all. But if it is, ie a so-own-like and unknown instrument as a compositional work: 'is a "structural turklang, then the instrument must play for themselves and on their own as a music box. Form-idea as to the horizontal, ie in the time projected level of immanent Structure falls into one context together with a correspondingly complex K.langvor setting, both go up together in what we call "one hand" work "and on the other hand, expression. And so it is a fine and not so small difference between the music "expresses something", ie the anticipated proceeds from a language intact, and the work that "expression" is, so to speak silently speaks to us as the folding a face scarred by life. I believe only in the latter form of expression, and the observation "-ne component is: build a tool" thus means also, composing does not mean to say something, but instead do something, maybe: do something with the work that arises, had become a sound structure or structure sound expression Unmistakable-res says about the situation in which it arises, in which the composer acts and reacts to it wel-tion. Composing is eloquent action, certainly, but the composer has nothing to say. The character of language of music is finally emptied since the refraction of tonality, and especially in a time of inflationary language skill of cheap downloadable expressivity, we empfmden the stronger the meaning of voicelessness in relation to what our time expects of us to inner visions and feelings and abfordert. Music as a wordless message of quite far away from our inner-namely: only then opens her term of all the categorical restrictions. which our anxiety wants him dome-stizieren, instead of by refraction of these categories to open it, even up to its abolition. No one has this experience with such existential force imparted such as Luigi Nono. Language in music is the body language of the Spirit in the compositional behavior.