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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

III.
THE INNER MECHANICS
OF CREATING MUSIC

The Dimension of Music

The Beginning and End
of Creating Music

The Natural Seat
of the Musical Creator

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Composition

The Free, Inner,
Formative Will

The Emperor of Music

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   III            
  THE PROCESS OF CREATING MUSIC            
         
 
“Talent works, gen­ius cre­ates.”

Robert Schu­mann


   
 
The Dimension of Music


 
 
 
The en­tire field of mu­sic can be fully com­pre­hended in terms of the in­ner-men­tal mu­si­cal re­al­ity: the ori­gin of mu­sic and its course of evo­lu­tion up to its fi­nal stage, the ob­jec­tive sphere of mu­sic – up to the mu­si­cal sound space, up to that world in which mu­sic sounds.

 
The Inner-Mental Reality of Music
 
 
“You will ask, where I take these ideas from ?

I can­not say that with cer­tainty;
they come with­out be­ing called,
in­di­rectly, im­me­di­ately,
I could grasp them with my hands,
in the open coun­tryside, in the woods,
dur­ing walks,
in the si­lence of the night,
in the early hours of the morn­ing,
stimu­lated by moods
which are re­al­ised within the poet by words,
within me by tones, sound­ing,
roar­ing, storm­ing,
un­til fi­nally, they appear in front of me as notes.”

Beethoven


   
 
The fol­low­ing hu­man fac­ul­ties in­volved in the me­chan­ics of crea­tive mu­sic hear­ing re­quire a sys­tem­atic in­ves­ti­ga­tion and train­ing as pro­fes­sional dis­ci­plines:

The tech­nol­ogy of mas­tering the mind, of men­tal con­cen­tra­tion, in­clud­ing:
analy­sis of the sub­stance of the mind by means of the feel­ing
analy­sis of the struc­ture of the mind by means of the un­der­stand­ing
analy­sis of the func­tion of the mind by means of the co­or­di­na­tion of feel­ing and un­der­stand­ing.

The tech­nol­ogy of the in­ner sense of hear­ing. (The outer sense of hear­ing is not nec­es­sary for a crea­tive mu­sic hear­ing as the case of Beethoven shows.)

 
Creative Music Hearing
 
 
The fol­low­ing com­po­nents be­long to the in­ner me­chan­ics of cre­at­ing mu­sic:

 
The Inner Mechanics of Creating Music
 
 
It is the self-aware­ness of the mu­si­cal crea­tor which com­mis­sions a com­po­si­tion from the in­tel­lect and which through the sense of hear­ing again lis­tens to the com­po­si­tion as it is per­formed by the mind as the in­stru­ment.

   
 
Pri­mar­ily, the com­mis­sioning of the mu­si­cal work arises from the very own joy of the self, as an in­no­cent ex­pres­sion of its natu­ral hap­pi­ness of life; with­out any effort of will, with­out any fixed pur­pose, with­out any spe­cific mo­ti­va­tion, just like a child re­joic­ing.
Fur­ther­more, the mu­si­cal work serves to enrich the in­her­ent, natu­ral joy of life of the self. This is achieved by the self, con­trol­ling the me­chan­ics of the in­tel­lect, the mind, and the sense of hear­ing rooted within it.

   
 
Like a feeler, the sense of hear­ing pal­pates the vi­brat­ing sur­face-struc­ture of the mind and thus elic­its the re­sound­ing event. Through this proc­ess of lis­ten­ing, the self-aware­ness re­ceives the im­pres­sion of the re­sound­ing per­form­ance. And from this mu­si­cal “re­hearsal” it ex­peri­ences an extra, outer joy in ad­di­tion to its own in­her­ent hap­pi­ness.

 
The Mechanics of the Inner Musical “Rehearsal”
 
 
With its main tool, the de­ci­sion-mak­ing fac­ulty of the in­tel­lect, the self-aware­ness car­ries out those mu­si­cal cor­rec­tions which are meant to en­hance its joy when lis­ten­ing to the mu­sic the next time.

 
Enhancing of the Musical Achievement
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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