GERMAN ACADEMY OF SCIENCES
GERMAN ACADEMY OF SCIENCES
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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            
         
 
Integration of Levels of Creativity


 
 
 
Thus the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique are di­rectly based on the har­mony. In truth-ori­ented mu­sic all these lev­els of crea­tiv­ity are di­rectly rooted in the har­mony.

 
Types of Rulership of the Harmony
 
 
Al­though the over­tone-me­chan­ics gov­ern the sound-space from inside,
the motif-tech­nique gov­erns the motif-spaces from inside,
the se­quence-tech­nique gov­erns the world of the se­quences from inside,
and the har­mony-tech­nique gov­erns all these worlds to­gether from inside, ac­tu­ally, all these four di­men­sions are empowered by the har­mony di­rectly,
and the har­mony-tech­nique, the se­quence-tech­nique, the motif-tech­nique, and the over­tone-me­chan­ics are but dif­fer­ent forms of rule of the one uni­ver­sal har­mony in vary­ing de­grees of com­pre­hen­siveness.

   
 
So, the com­po­si­tional world of a su­pe­rior or­der is al­ways in two ways more com­pre­hen­sive than the re­spec­tive world of an in­fe­rior mu­si­cal or­der:
firstly, more com­pre­hen­sive from out­side – with re­spect to the sound-space per­ceived,
and sec­ondly, more com­pre­hen­sive from inside, be­cause the com­po­si­tional world of a su­pe­rior or­der al­ways embod­ies a higher de­gree of sub­tlety.

 
Dual Sovereignty of the Musical Systems of Order
 
 
The si­mul­ta­ne­ous com­pre­hen­sion of the “ver­ti­cal” and the “hori­zon­tal” sys­tems of or­der through the in­te­grated func­tion of feel­ing and un­der­stand­ing ac­counts for the great at­trac­tion of clas­si­cal mu­sic.

 
The Great Attraction of Classical Music
 
 
If cre­at­ing and per­form­ing mu­sic wants to radi­ate life, the in­te­gra­tion of feel­ing and un­der­stand­ing is al­ways re­quired. If this in­te­gra­tion is not es­tab­lished, mu­sic lacks its basis of enli­vened si­lence, and will merely be an in­ner or outer pres­en­ta­tion of an acous­tic event.

 
Lively Musical Radiation
 
 
At a cer­tain de­gree of mu­si­cal or­der the sov­er­eignty of the har­mony is called “over­tone-me­chan­ics”; at a higher de­gree of or­der the sov­er­eignty of the har­mony is called “motiv-tech­nique”; at a still higher de­gree of or­der it is called “se­quence-tech­nique”; and at the most com­pre­hen­sive or­der the sov­er­eignty of the har­mony is called “har­mony-tech­nique.”

 
The Sovereign Structure of the Harmony
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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