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

V.
THE FORCE-FIELDS
IN MUSIC

The Musical Performers
and Their Laws

The Motif

The Masculine and the Feminine Musical Motif

Training the Free
Formative Will

Motif-Recognition

Motif-Technique

Power and
Powerlessness of
Musical Interpretation

Scenes from the
Inner World
of Human Evolution

Integration of Levels
of Creativity

The Differentiated
Apprehension of the
Power of the Harmony

The Perfection of the
Formative Forces in Music

The Melody

The Manifold Shape
of the Melody

The Path of the Human Character in the
Musical Form

The Sequence in Music

The Gate of Harmony
to the Outer Music

 

 

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   V            
  THE PROCESS OF CREATING MUSIC            
         
 
Training the Free Formative Will


 
 
 
With the free play of the quali­ties of the hu­man char­ac­ter in the motif-tech­nique the com­poser intends to pro­mote the free in­ner will of the lis­tener to cul­ti­vate his char­ac­ter. In the uni­ver­sal lan­guage of mu­sic the mu­si­cal crea­tor shows him ways and means to juggle with in­creas­ingly higher and more com­pre­hen­sive, more joyful in­ner-hu­man val­ues.

 
The Free Play of Human Forces in the Language of Music
 
 
Thus, to the com­poser, the motif is that origi­nal mu­si­cal ele­ment through which he takes the lis­tener by the hand – on the level of his feel­ing and un­der­stand­ing – and care­fully guides him step-by-step into worlds of greater hu­man hap­pi­ness.

 
The Classical Composer as a Guide to Knowledge
 
 
When a motif in its derivations, its de­via­tions, its changes – i.e. in vary­ing dis­guises – in­ter­acts with it­self in the mu­si­cal work and ap­pears with many dif­fer­ent faces, the mu­si­cal crea­tor de­scribes the mani­fold forms in which the hu­man char­ac­ter in its most var­ied shades dances skil­fully and suc­cess­fully through the world of as­pi­ra­tions, nibbling eve­ry­where with­out settling down into bounda­ries.

 
Dance through the World of Aspirations
 
 
And al­ways there are guiding and guided motif quali­ties; and the mu­si­cal mo­tifs al­ways move within a sys­tem of dis­tinct hi­er­ar­chic re­la­tions.

 
Traits of the Human Character on the Path to Perfection
 
 
And if, in the course of the mu­si­cal event, the guide changes, it only shows how cer­tain quali­ties of the char­ac­ter safely guide oth­ers on their way to per­fec­tion, through their own do­main, through their own fa­mil­iar world of the ful­fil­ment of de­sires – just as a man guides a friend safely through his own world, which is fa­mil­iar to him­self but may be full of dan­ger for the other.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
.