GERMAN ACADEMY OF SCIENCES
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            
         
 
The Differentiated Apprehension
of the Power of Harmony


 
 
 
Ba­si­cally, it is the har­mony which di­rectly re­veals it­self in the tone, in the motif and in the se­quence. But the dif­fer­en­ti­ated ap­pre­hen­sion of this di­rect power ex­pres­ses it­self in the sys­tems of the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique.

 
The Systems of the Overtone-Mechanics, the Motiv-Technique, the Sequence-Technique, and the Harmony-Technique
 
 
Deeper and deeper in­sight into more com­pre­hen­sive mu­si­cal or­ders gives the mu­si­cian, as well as the lis­tener, ever more ful­fill­ing knowl­edge, and thus trans­forms the mu­sic lis­tener into a mu­sic lover.

   
 
Thus, the vari­ous “hori­zon­tal” sys­tems of mu­si­cal or­der appear merely as outer ex­pres­sions of the se­cret “ver­ti­cal” sov­er­eignty of the har­mony.

 
The Inner-Human Path of Realization
 
 
On the other hand, from this “ver­ti­cal” view­point the un­der­stand­ing arises that

 
The Dual Musical Structure of Order
 
 
    from a state of greater sub­tlety the world of lesser sub­tlety is gov­erned, and that

    from the sub­jec­tive world the ob­jec­tive world is gov­erned.
Thus, from a su­pe­rior or­der
    the world of the sound-space is ruled by the world of the motif,

    the world of the motif is ruled by the world of the se­quence,

    and the world of the se­quence is ruled by the har­mony.

 
Mastership of the Musical Creator over the Created Composition
 
 
From the state of greater sub­tlety, the motif per­me­ates the mu­si­cal sound-spaces from within:
    the motif cre­ates them, fills them with life, sus­tains them, de­stroys them.
From the state of even greater sub­tlety, the se­quence per­me­ates the motif-spaces from within:
    the se­quence cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the sound-spaces.
From the state of great­est sub­tlety, the har­mony per­me­ates the se­quence-spaces from within:
    the har­mony cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the motif-spaces, and with these again, the sound-spaces.

 
Power Relations in the Musical Force Fields
 
 
These are the two fun­da­men­tal an­gles un­der which to con­sider the in­ner mu­si­cal or­der:
The hori­zon­tal an­gle, men­tioned ear­lier, takes the outer size of the re­spec­tive sys­tems as the cri­te­rion to gain knowl­edge; the ver­ti­cal an­gle takes the de­gree of mu­si­cal sub­tlety as the cri­te­rion to gain knowl­edge.

 
Criteria for the Complexity and the Degree of Subtlety
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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