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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

I.
THE PROCESS OF
CREATING MUSIC

The World of
Enlivened Silence

The Origin of the
Art of Sound

Responsible Authorship

The Firmament of Music

Creative Music Listening

Writing Down the Score

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Practice of Notation

The Error of the Interpreter

The Language of Truth

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   I            
  THE PROCESS OF CREATING MUSIC            
         
 
Responsible Authorship


 
 
 
Sim­ply by as­cer­taining how pleas­ant his own mu­si­cal thought is to him­self, his feel­ing in­forms the com­poser about the ef­fect of his thought on its sur­round­ings. Thus, through the proc­ess of feel­ing, the dis­crimi­nat­ing in­tel­lect of the mu­si­cal crea­tor ana­lyzes the ef­fect of his mu­si­cal thought on its en­vi­ron­ment. The fac­ulty of un­der­stand­ing of his in­tel­lect ana­lyzes the spec­trum of his mu­si­cal thought, and iden­ti­fies the emo­tional pa­rame­ters which impel it.

 
Music Analysis
 
 
His in­tel­lect, with the help of the feel­ing in­her­ent in it, ex­am­ines the in­te­gra­tion of these mu­si­cal pa­rame­ters and de­ter­mines the har­mo­ni­ous de­vel­op­ment of the com­po­si­tion: the in­ner mu­si­cal event, as per­ceived by the sense of hear­ing, is the sound­ing tes­ti­mony of this proc­ess, and it heralds hu­man feel­ing and un­der­stand­ing.

   
 
Thus, the com­poser uses his mind as a me­dium to por­tray the mu­si­cal sound-space: to de­scribe his own sub­jec­tive sphere.

 
The Function of the Musical Sound-Space
 
 
In this way, for the mu­si­cal crea­tor, the ob­jec­tive mu­si­cal sound-space, that which sounds inside, be­comes the in­stru­ment for de­scrib­ing the sub­jec­tive in gen­eral.

   
 
The natu­ral proc­ess of com­pos­ing arises all by it­self, and it ends with the mu­si­cal crea­tor per­form­ing, and si­mul­ta­ne­ously lis­ten­ing, to his own con­cert within him­self.

 
The Function of Musical Thinking
 
 
The com­poser submits this proc­ess of his mu­si­cal think­ing to the natu­ral, in­ner­most con­trol of his feel­ing and un­der­stand­ing, and this is his own in­ner act of will.

   
 
This con­scious, in­ner act of the com­poser cre­at­ing mu­sic in his aware­ness be­comes later on a mani­fold in­spi­ra­tion for the mu­sic lover striv­ing to­wards uni­ver­sal joy of life;
  1. mani­fold in terms of the art of con­fi­dently striding through the in­fin­ity of his hu­man abili­ties;
  2. mani­fold in terms of the course of un­fold­ment
    of his hu­man char­ac­ter;
  3. mani­fold in terms of over­com­ing ob­sta­cles dur­ing
    the growth of his char­ac­ter.

 
The Inner Act of Cognition
 
 
In this way a mani­fold struc­ture of mu­si­cal or­ders origi­nates within the com­poser’s in­ner world of cog­ni­tion, and his or­ga­niz­ing un­der­stand­ing, un­der the guid­ance of his feel­ing, di­rects this in­ner mu­si­cal course of evo­lu­tion.

 
Controlling the Musical Orders
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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