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MUSIC & MUSICOLOGY
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            
         
 
The Firmament of Music


 
 
 
Here, dur­ing his in­ner proc­ess of crea­tion, the mu­si­cal poet moves the constellations of liv­ing mu­sic which, ac­cord­ing to the in­ner laws of hu­man evo­lu­tion, struc­ture the ob­jec­tive sphere of the mu­si­cal sound-space within his mind; and with the re­spon­si­bil­ity of an art­ist he cre­ates a har­mo­niz­ing in­flu­ence on his sur­round­ings.

 
The Inner Laws of Creating Music
 
 
This proc­ess of the genesis of mu­sic takes place within each mu­si­cian, whether he is aware of it or not, and whether he per­ceives it in de­tail or not. But, due to this fact, he car­ries a very per­sonal re­spon­si­bil­ity to­wards his au­di­ence.

   
 
As the mu­sic is cre­ated, the in­ner ear is only the outer agent of the mu­si­cal art­ist to con­trol the mu­si­cal re­sult, de­liv­ered to him by his mind in the form of his mu­si­cal thought. This in­ner ear is di­rectly con­trolled by his in­tel­lect which reigns the sense of hear­ing three­fold: with the un­der­stand­ing, with the feel­ing, and with the in­te­gra­tion of feel­ing and un­der­stand­ing – with the quali­ties of si­lence.

 
The Inner Ear
 
 
The in­ner proc­ess of hu­man think­ing, to­gether with the or­ga­niz­ing and har­mo­niz­ing in­flu­ence of feel­ing and un­der­stand­ing, is the true mecha­nism of com­pos­ing.

 
The True Process of Composing
 
 
The in­ner sense of hear­ing makes the self of the mu­si­cal crea­tor the first lis­tener of his com­po­si­tion. Yet, it is also this self which, for it­self and for all other selfs, gen­er­ates the mu­si­cal thought in his mind – purely from its own in­ner joy, from its own in­ner play­ful­ness, and from its own af­fec­tion for the many other selfs – but also from the in­tui­tive knowl­edge that all the selfs of the world to­gether, form one big fam­ily, and that, as mem­ber of this uni­ver­sal fam­ily, they are but the blessed parts of that one great fa­ther of the fam­ily, em­bod­ied in the har­mony.

 
The Father of the Musical Thought
 
 
Here, mu­sic is the monologue of the self of a mu­si­cal crea­tor, and only be­yond his think­ing his mu­sic then is a mes­sage to the other selfs about his monologue. To his lis­ten­ers as well as to him­self, the mu­si­cian, in this monologue, re­veals the ab­so­lu­te, true re­la­tion­ship of all the selfs in the world, and thereby gen­er­ates a feel­ing of love in all the selfs. Within all the other selfs, he awak­ens the de­sire to come to­gether and be­come united in the one uni­ver­sal Self.

 
The Cosmic Monologue
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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