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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

The Conventional
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            
         
 
Writing Down the Score


 
 
 
The true com­poser does not need to play his mu­sic on an in­stru­ment to know what it it will sound like. Does some­one writ­ing a let­ter need to read the text aloud, to know only then, from his outer lis­ten­ing, what it con­tains?

 
The Function of Creative Hearing
 
 
For the true com­poser only one prac­ti­cal ques­tion arises: ‘How can I make au­di­ble to oth­ers what I have heard within?’ And only then, with this ques­tion, his outer craft of com­pos­ing be­gins: choos­ing the ap­pro­pri­ate in­stru­men­ta­tion, and the no­ta­tion of his mu­si­cal ideas in sym­bols which the mu­si­cian un­der­stands and mas­ters.

 
Written and Sounding Language of Music
 
 
As he writes down the score, the com­poser has to cope with out­ward means of de­scrip­tion which are quite in­ac­cu­rate com­pared to what he has heard within. Also, he en­coun­ters a fun­da­men­tal re­stric­tion in the men­tal-spiri­tual limi­ta­tions of in­suf­fi­ciently trained in­ter­pret­ers who lack an in­nerhu­man mu­si­cal edu­ca­tion, a lack which, in the course of the last cen­tu­ries, has re­sulted in the side-by-side play­ing of to­day’s or­ches­tras.

 
The Potential of Reproduction
 
 
This syn­chro­nized side-by-side play­ing is in bla­tant con­trast to the to­getherness of the mu­si­cal ideas which the com­poser ex­peri­ences within him­self.

   
 
There­fore, the com­poser of to­day looks for safe and, if nec­es­sary, com­pletely uncon­ven­tional new means for the outer re­ali­za­tion of his in­nermu­si­cal ex­peri­ence.

 
The Golden Magic Key to Musical Performance: Dynamic Space Stereophony
 
 
Our time in par­ticu­lar of­fers the mu­si­cal crea­tor pos­si­bili­ties un­heard of be­fore. Ad­vance­ments in the field of tech­nol­ogy are so great that, for the first time in known mu­sic his­tory, the clas­si­cal com­poser finds at his dis­posal, like a golden magic key, an al­most unlim­ited reservoir of re­sources for the au­then­tic, outer re­ali­za­tion of his in­ner mu­si­cal crea­tions.

   
 
The po­ten­tial of to­day’s com­puter tech­nol­ogy – par­ticu­larly in the area of ana­logue and digi­tal mu­sic re­cording and proc­ess­ing – is suited to over­come all pre­vailing limi­ta­tions of in­ter­pre­ta­tion in fa­vour of a purely mu­si­cal re­ali­za­tion. With the help of Dy­namic Space Stereo­phony, the mu­si­cal crea­tor to­day is able to re­pro­duce his in­ter­nally heard com­po­si­tion in the acous­tic space in a hith­erto un­ex­pected, three-di­men­sional form. And he is able to struc­ture the mu­si­cal sound-space so per­fectly that the com­poser’s im­me­di­ate in­ner im­pres­sion of the origi­nal crea­tive proc­ess is rec­re­ated within the lis­tener’s enli­vened aware­ness.

 
Authentic Realization of the Musical Creative Process
 
 
Thus, for the great com­poser, an old dream has be­come a re­al­ity to­day for the great mu­si­cal poet. The world of in­ner un­bound­ed­ness, as ex­peri­enced by the com­poser dur­ing his crea­tive proc­ess, now is also open to the means of outer mu­si­cal per­form­ance.

 
Structuring the Musical Sound-Space in the Acoustic Space
 
 
When the com­poser writes down the mu­si­cal ideas, which are un­fold­ing within him, from what he hears inside, his de­sire is to in­spire the lis­tener to greater per­sonal free­dom.

 
The Intention of the Composer
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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