Music is not only a source of pleasure or recreation as it has commonly been and is still perceived, but also a privileged means to seriously understand the World.
2.
Music is Not only Art, but Thought, and Not only abstract but distinct Thought. An intense binding of what is real and pragmatic.
3.
Music is not a form of communication between men, music does not communicate: it manifests; it does not employ subjective filters to express the object as the verbal system, Music makes the highest level of human thought palpable in a complete and unquestionable manner.
4.
Music cannot and must not be submitted to speculations of an economic, political and social tout court nature that alters its Gnoseological Potential and belittles it to fashionable merchandise, to a consumer product.
5.
Society must award Music and Musicians the recognition they've been denied, with a few exceptions, throughout the centuries, and whose denial has demoted them to mere entertainers. The Musician, in his most accomplished form, is a serious Thinker and should be treated as such. His profession must be considered equal to the most highly ranked professions of his State community.
6.
Musical Thought cannot and must not be subordinated to verbal or scientific thought. Consequently, musical thinking education in the formative age can't be disconnected - by placing too much emphasis on exclusive music schools and conservatories - from any other humanistic or scientific education.
7.
Contemporary Music must not mean a complacent elite focusing on avant-garde experimentation and rising against some alleged reshuffling of the rearguard. Likewise, the idea of “atonality” taking over “tonality” is simply a mistake and no longer useful to any musician. The dichotomy Tonal-Atonal Music is a nefarious and totally arbitrary invention, a formula unhappily born and dead by suicide.
8.
Recent stratification of the musical phenomenon notwithstanding, music aesthetics must not be divided into cultured or other-than-cultured genres. Classical, contemporary, folk, jazz, rock and other genres represent socio-historical definitions, not aesthetic ones. The only two genres that must truly be of interest to the musical triad (composer, performer and listener) are those relative to the creation of good music, aiming at improving the human condition, and the avoidance of bad music, aiming at demeaning such condition.
9.
The verbal or scientific-mathematical thought can only support the musical thought but never replace it. Any attempt at critical, philosophical, sociological and musicological investigation of verbal extraction or any attempt at using scientific-mathematical formulations to explore the essence of music are and always will be ephemeral and fallacious.
10.
All musicians, ancient and contemporary, lived and live under the historical sign of J.S.Bach's thought.
