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GERMAN ACADEMY OF SCIENCES
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Introduction to the University of the Future

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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

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   V            
  THE PROCESS OF CREATING MUSIC            
         
 
Power and Powerlessness of Musical Interpretation


 
 
 
A hu­man qual­ity is a force, and we get a feel­ing for the di­men­sion of this force when quali­ties of op­pos­ing na­ture col­lide with each other.

 
Sensing the Inner Motif Forces
 
 
No matter how loud the motif will sound, as long as we re­strict it to a par­ticu­lar point in the acous­tic space, by assigning it to a fixed group of in­stru­ments or one in­stru­ment, even a very imagi­na­tive lis­tener will only get a faint idea of the im­mense im­pres­sion of space the com­poser origi­nally ex­peri­enced. Also, we feel only lit­tle of the na­ture of the in­ner-hu­man qual­ity to be ex­pres­sed, we ex­peri­ence only lit­tle of the power with which that hu­man qual­ity rises from the field of our in­ner­most con­sci­ence into the world of feel­ing and think­ing and impels us to act, and we feel noth­ing of a skil­ful han­dling of our most im­por­tant in­ner-hu­man driv­ing forces which, from the point of view of our great clas­si­cal mu­si­cians, are meant to make us hu­man be­ings free mas­ters of our­selves.

 
The Motif Played without Dimension
 
 
In the con­ven­tional prac­tice of per­form­ance the motif body is played with­out di­men­sion. This can be com­pared to show­ing flat bal­loons to some­one, try­ing to in­spire him par­ticu­larly in terms of form and col­our. To cre­ate a col­our­ful im­pres­sion of space the bal­loons must be inflated and re­leased to fly.

 
Conventional and Modern Performance
 
 
As we will see later, the re­ali­za­tion of the motif-tech­nique re­quires a proficient mas­tery of the over­tone-me­chan­ics of the sound.

   
 
As men­tioned ear­lier, a mu­si­cal motif al­ways ex­pres­ses a spe­cific in­ner-hu­man qual­ity, and wher­ever it ap­pears, the lan­guage of mu­sic elu­ci­dates how a par­ticu­lar hu­man qual­ity in­flu­ences its sur­round­ings and as­pires sov­er­eignty in the proc­ess of the ful­fil­ment of de­sire.

 
The Effect of the Musical Motifs
 
 
This uni­ver­sal mu­si­cal por­trayal of uni­ver­sally-hu­man na­ture ac­counts for the great charm of clas­si­cal mu­sic, for as con­fi­dently as the sci­en­tist knows the outer world and de­scribes it from out­side, as con­fi­dently the clas­si­cal com­poser knows and de­scribes our in­ner world of man.

 
The Science of Intuition
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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