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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

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            
         
 
The Emperor of Music


 
 
 
Through the in­tel­lect as the tool, the self-aware­ness of the com­poser uses the mind, and through the co­or­di­na­tion of feel­ing and un­der­stand­ing he rules it in a com­pletely natu­ral way.

 
The True Musical Creator in Action
 
 
The mind is that sub­stance, that ma­te­rial from which each in­di­vid­ual thought is made – in­clud­ing the mu­si­cal thought. Just as the smith heats the iron in a forge, shapes it while it is hot and then hard­ens it with cold – thus giv­ing the form durabil­ity – in the same man­ner the self warms the ma­te­rial of the mind in the forge of the feel­ing, shapes it through the co­or­di­nated func­tion of feel­ing and un­der­stand­ing, and fi­nally hard­ens it – that is, gives durabil­ity to the thought through the cool­ing ef­fect of the un­der­stand­ing.

 
The Workshop of the Ruler of Music
 
 
This continu­ous forg­ing and reforg­ing of a thought into ever new shapes by add­ing heat and cold, and heat and cold suc­ces­sively, is the me­chani­cal proc­ess of cre­at­ing mu­sic on the level of the mind. And af­ter this proc­ess of the crea­tive shap­ing of thought the mind de­livers the com­plete mu­si­cal sound pat­tern to the self-aware­ness of the com­poser.

 
Creating the Complete Musical Sound Pattern
 
 
Like a feeler, the sense of hear­ing pal­pates the shape of the mu­si­cal thought and sur­veys its con­tent of warmth or cold. With this in­for­ma­tion of the thought-struc­ture, the self-aware­ness of the com­poser hears the com­plete mu­si­cal sound pat­tern, and from the in­for­ma­tion on the thought-tem­pera­ture the self-aware­ness evalu­ates the po­ten­tial for fur­ther sound­ing di­ver­sity.

 
Surveying the Musical Thought
 
 
Dur­ing this in­ner con­cert, which is di­rected to­wards greater and greater ful­ness, the self-aware­ness ex­peri­ences a pow­er­ful joy, and if it de­sires to en­hance this joy even fur­ther, it in­creases the co­or­di­na­tion be­tween feel­ing and un­der­stand­ing, and the mind, through the sense of hear­ing, de­livers to the self a mu­si­cal image of an even greater per­fec­tion, of even greater va­ri­ety, and of even stronger unity: a more com­pre­hen­sive har­mony.

 
The Systematic Structuring of Increasingly Comprehensive Orders
 
 
Apart from the fact that the self-aware­ness re­joices in this self-cre­ated in­ner con­cert, the sense of hear­ing, while re­ceiv­ing more subtle men­tal-mu­si­cal in­for­ma­tion, be­comes stronger through the en­ergy con­tained in this thought-sub­stance and be­comes more and more re­freshed through the in­tel­li­gence con­tained in this thought-struc­ture. Thus the ca­pa­bil­ity of the sense of hear­ing in con­vey­ing in­for­ma­tion is con­sid­era­bly im­proved, which in turn unites it even closer with its em­ployer, the self-aware­ness.

 
Achievement-Oriented Sovereignty over Music
 
 
The di­rect, free sov­er­eignty of the self-aware­ness over the mind, the free sov­er­eignty of the self-aware­ness over the sense of hear­ing, and the struc­tural analy­sis of the ef­fect of the mind, or rather the ef­fect of a mu­si­cal thought pro­duced from it, on its en­vi­ron­ment – on the physi­ol­ogy of the mu­si­cian, and on the lis­tener – is the foun­da­tion for any sort of mean­ing­ful mu­si­cal ac­tiv­ity and is the natu­ral basis for an au­then­tic in­ter­pre­ta­tion; for, if the in­ter­preter does not cre­ate au­then­ti­cally as well, the ef­fect of the origi­nal will not be achieved; the mu­si­cal truth will not be con­veyed and the in­ner, joyful, ful­fill­ing as­ton­ish­ment of the lis­tener will be miss­ing.

 
Free Sovereignty over the World of Music
 
 
There­fore, true mu­si­cal edu­ca­tion be­gins deep within the life of the art­ist him­self; and here also lies the key to his in­flu­ence of hu­man dig­nity upon his en­vi­ron­ment. The in­te­grated mas­tery over all these above-men­tioned tech­nolo­gies must be learned per­fectly, so that it can be ap­plied con­sciously and natu­rally.

 
The Origin of True Musical Education
 
 
“Natu­rally” here stands for “ar­tis­ti­cally” and “skil­fully” (as dif­fer­ent from mere “af­fectedly”), that is with­out strain and com­pletely play­fully.

 
“Able” as Opposed to “Affected”
 
 
“Cre­at­ing natu­rally” means to ad­vance, with­out per­sonal im­pedi­ments, to new worlds and to leave old worlds be­hind while vi­va­ciously and fear­lessly over­com­ing pos­si­ble ob­sta­cles of one’s own in­ner re­sis­tance.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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