False art is always a mirror of life, reflecting the outer values of the masses back at them in such fashion that they see and are confirmed in their ethereal and/or corporeal externality, their slavery to the concrete, be it absolute or relative, noumenal or phenomenal. For the masses continuously flee from self in the sense of ego or, better, soul. Their art, such as it is, necessarily reflects their natures as that which is dominated by female values, like beauty and strength, love and pride, will and spirit, which, to be sure, are primary in their, if you will, heathenistic virtuousness.
True art, by contrast, is always about inner values, paying little or no attention to the external world of objective domination. Some would argue it is an expression of inner values, but I think that term a misnomer in this context, since soul, in particular, cannot be expressed but only portrayed or projected as an emanation of Self, an impression of Self, which is godly in its joyful beatitude or, better, truthful reflection of joy.
Much Western art, including music, falls well short of giving an impression of Self due to the want of metaphysics in the Christian and, more specifically, Roman Catholic tradition and a regrettable tendency, in consequence, to regard the ne plus ultra of so-called ‘spiritual values’ in terms of what I habitually call pseudo-metachemistry, approximately equivalent, in its derivation from anti-metachemistry, to a pseudo-female position a plane down from metaphysics at the northeast point of the intercardinal axial compass, so to speak, at the apex of the traditional church-hegemonic/state-subordinate axis.
Such an effectively penultimate position, corresponding to a pseudo-element, permits of an expression or, more correctly, pseudo-expression of pseudo-love in the pseudo-free psyche of pseudo-metachemistry which, together with pseudo-beauty, is merely the tip of a pseudo-elemental iceberg the greater proportion of which (3:1) remains below the church-hegemonic surface in terms of the state-subordinate pseudo-ugliness and pseudo-hate of pseudo-bound soma, like the proverbial neutralized dragon under the saintly heel, the heel, however, not of pseudo-free psyche in relation to itself, but of what should be – but in the Catholic tradition rarely if ever is – the free psyche and bound soma (3:1) of metaphysics.
Be that as it may, the pseudo-expression of pseudo-love in pseudo-metachemical pseudo-free psyche is no more than the pseudo-expression of pseudo-free soul and is of little artistic or religious consequence compared to the impression of soul in metaphysics, which would be a godly confirmation of Heaven, a truthful portrayal of joy and therefore the essence of all true art, not least in music, that most metaphysical of the Arts.
False art, on the other hand, which includes the expression of love through beauty in metachemical free soma, is everywhere the popular and more prevalent approach to art, one that, corresponding to the broad female-dominated masses, continuously reaps large commercial dividends as it glories in both the ethereal (beauty/love) and corporeal (pride/strength) objectivity of external values, the only values that the masses ever understand and the born enemies, in consequence, of true art, by which is meant abstract art the inner values of which, ever subjectively corporeal (knowledge/pleasure) and, more importantly and significantly, ethereal (joy/truth), could never be understood, much less appreciated and endorsed, by the beauty- and strength-slavering masses.
In simple heathen (secular) terms, life is ever on the side of false art, as of females. But in re-born Christian and more than Christian (superchristian) terms, true art is on the side of that which goes against the natural grain, whether in terms of the phenomenal abstraction of the temporal or, more divinely and of course truly, in terms of the noumenal abstraction of the Eternal, the true focus of which is ever metaphysical and therefore concerned with the impression of Being, which is soulfully of the Self.