Abstract

The quantum-dynamic theory of musical forms redefines music as an ontological and noematic phenomenon, extending beyond its traditional auditory interpretation. This theory proposes that music represents the acoustic expression of thought vibrations, where each melody and harmony serves as a direct manifestation of universal noetic structures. Tonal forms are conceptualized as carriers of metaphysical and philosophical truths, bridging the gap between human discursiveness and the divine. Through specific examples, such as Bach's Toccata and Fugue in D Minor and Beethoven's Pastoral Symphony, the theory illustrates how music encapsulates theological and philosophical principles, such as the theology of creation and Schelling's philosophy of nature. The theory emphasizes music's infinite hermeneutic potential, positioning it as a medium for translating noematic content into discursive narratives. It regards composers as intermediaries who channel noetic inspiration into audible forms, rendering music a divine and ontological artifact. Drawing parallels with Hermann Hesse's The Glass Bead Game, the theory frames music as a central element of universal synthesis, capable of connecting art, science, and philosophy. Ultimately, music is viewed as an aesthetic-ontological phenomenon that transcends the category of meaning, revealing the sanctity and preciousness of existence. This theory not only deepens our understanding of music but also illuminates the fundamental essence of the universe, offering a framework for exploring the translation of noematic content into tonal forms.