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MUSIC & MUSICOLOGY
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

Control over the
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            
         
 
Control over the Composition


 
 
 
How­ever, this in­te­gra­tion of feel­ing and un­der­stand­ing is so vi­tal to the mu­si­cian for yet an­other rea­son: a bal­anced re­la­tion­ship be­tween the warm­ing force of the feel­ing and the cool­ing force of the un­der­stand­ing within the com­po­si­tion – so that the lis­tener is not over­thrown by un­con­trolled ice-cold or glow­ing-hot waves, which would unneccessarily shock his in­ner per­cep­tion.

 
Balance of the Heat and the Cold-Producing Devices
 
 
There­fore, it is a fur­ther fun­da­men­tal step in prac­ti­cal mu­sic edu­ca­tion to de­velop the co­ordi­nat­ing power of the in­tel­lect which takes a har­mo­niz­ing, me­diating po­si­tion be­tween the in­te­gra­tive feel­ing and the dif­fer­en­tiat­ing un­der­stand­ing, and which fur­ther­more keeps the mu­si­cal ele­ments to­gether as well as apart – those ele­ments which have been dis­tin­guished from one an­other by the power of dif­fer­en­tia­tion.

 
The Coordinating Power of the Musical Creator
 
 
This will be the sys­tem­atic, sci­en­tifi­cally founded cul­ti­va­tion of the co­ordi­na­tive func­tion­ing of our in­tel­lect.

   
 
With­out this as­pect of co­or­di­na­tion be­tween the feel­ing and un­der­stand­ing, and with­out its well-di­rected ap­pli­ca­tion un­der the di­rect guid­ance of the self-aware­ness, the mu­si­cal art­ist is not able to com­pose in a har­mo­niz­ing, ho­lis­tic and mean­ing­ful man­ner, be­cause:
  1. with the as­pect of in­tel­lec­tual un­der­stand­ing domi­nat­ing, the com­poser would tend to pre­fer dis­so­nances, that is, va­ri­ety at the ex­pense of unity, and the re­sult would be, for ex­ample, the clean con­struc­tion scheme of serial mu­sic as an ex­ten­sion of the twelve-tone mu­sic – dis­so­nant, life­less, un­pleas­ant;
  2. with the as­pect of feel­ing domi­nat­ing, the com­poser would tend to pre­fer sim­plic­ity, that is, sim­plic­ity at the ex­pense of mul­ti­plic­ity, and the re­sult, for ex­ample, would be shal­low en­ter­tain­ment mu­sic – con­so­nant, un­crea­tive, sen­ti­men­tal.

 
The Direct Leadership of Performance by the Inner Musical Creator
 
 
Only the in­te­grated ap­pli­ca­tion of feel­ing and un­der-stand­ing by the com­poser and by the per­for­mer will cre­ate an enli­vened im­pres­sion of per­fec­tion within the lis­tener.

 
The Listener’s Impression of Perfect Music
 
 
For the mu­sic-lover this reve­la­tion of per­fec­tion is truly ful­fill­ing and con­vinces him of the di­vine spark within man. Thereby he gains an in­ner, gen­eral, hu­man sta­bil­ity, and per­son­ally un­per­turbed by doubts he gains in­sight into the po­ten­tial of hu­man-di­vine free­dom.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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