GERMAN ACADEMY OF SCIENCES
GERMAN ACADEMY OF SCIENCES
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO ACADEMIC LIFE
   Faculties:   Music & Musicology · Philosophy · Medical Sciences · Education · Pythagoras · Consciousness · Humanities · Natural Science · The Dragon · The Veda · Culture · Opera & Arts

 

Home

Site Map

Basic Law of the Academy

The Cosmic
Education Programm

Introduction to the University of the Future

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

II.
THE CLASSICAL
TEACHING SCOPE
OF MUSIC

The Technology of
Human Forces

The Classical Scope
of Music

The Universe of
Musical Sound-Spaces

Authentic Conveyance
of Truth

The Musical Career

The Creative Craft

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the University

 

 






UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   II            
  THE PROCESS OF CREATING MUSIC            
         
 
The Universe of Musical Sound-Space


   
 
Due to the cur­rent prac­tice of play­ing and per­form­ing, such a three-di­men­sional, spa­tial im­pres­sion of the uni­verse of mu­sic in its subtle vi­bra­tion can­not arise within the lis­tener, be­cause to­day’s mu­sic ex­perts them­selves have this in­ner crea­tive hear­ing only in frag­ments.
How­ever, it is this lively, in­ner mu­si­cal vi­bra­tion in the fusion of space and time which pri­mar­ily con­sti­tutes the true world of mu­sic.

 
Gaps in the Creative Hearing
 
 
If, due to a nar­row and tech­no­cratic mu­si­cal edu­ca­tion, such a world of sound-spaces in pow­er­ful motion is not made ac­ces­si­ble to the lis­tener, mu­sic is not pre­sented prop­erly; the com­poser’s in­ner, for­ma­tive power is wasted; the “in­ter­pre­ta­tion” has failed; any in­stru­men­tal or tech­ni­cal effort is of no avail.

 
Narrow Technocratic Musical Education
 
 
At around the turn of the cen­tury, even the com­pos­ers lost the crea­tive knowl­edge of the in­ner, men­tal mu­sic-form­ing proc­ess: as a non-mu­si­cal substitute the in­tel­lec­tual con­cept of twelve-tone com­po­si­tion was in­tro­duced, later on fol­lowed by the serial com­pos­ing tech­nique – which was quite in­ter­est­ing ar­ith­meti­cally, but com­pletely unlively as a con­cept for writ­ing mu­sic – as if there was no in­ner hear­ing at all.

 
The Loss of Creative Hearing
 
 
Thus, mu­sic was de­prived of its in­ner spark of life and con­se­quently could not be suc­cess­ful (as the era of “con­tem­po­rary mu­sic” – the avantgarde – bears au­di­ble wit­ness).
A mar­ginal phe­nome­non of this loss of the in­ner di­men­sion of crea­tive hear­ing is the pop, punk, and beat scene – the hapless call of the youth for the lost mu­sic.

 
The Call for the Lost Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
.