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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            
         
 
The Path of the Human Character
in the Musical Form


 
 
 
In the melody, the motif ex­pres­ses through its changes and dis­guises the course of de­vel­op­ment of the hu­man char­ac­ter in a mani­fold mu­si­cal form.
In clas­si­cal com­po­si­tion, the melody logi­cally rep­re­sents the rea­son­able in­ner proc­ess of de­vel­op­ment of the in­di­vid­ual, and it is the lively de­scrip­tion of the de­vel­op­ment of his char­ac­ter.

 
The Inner Logic of the Melody
 
 
Dur­ing the ex­pan­sion of the motif, i.e. dur­ing the struc­tur­ing of the melody, an in­terlacing of motif trans­for­ma­tions takes place to the ex­tent that the parts, the in­di­vid­ual motif-faces, the in­di­vid­ual quali­ties of the char­ac­ter, be­come less prominent, and the in­te­grated whole­ness of the com­pre­hen­sive pic­ture of the hu­man char­ac­ter, in the form of the melody, be­comes more prominent in the mu­si­cal event.

 
The Integrated Wholeness of the Human Forces in the Musical Performance
 
 
Con­trary to con­ven­tional notion, it is not the pur­pose of the melody to de­scribe some­thing par­ticu­larly pleas­ant.

 
The Task of the Melody
 
 
The melody de­scribes the truth of the for­ma­tion of char­ac­ter.

   
 
There­fore, it is not at all “sweet” as we know it in ex­ag­ger­ated form from the en­ter­tain­ment mu­sic.

   
 
In clas­si­cal mu­sic, it was never the pur­pose of the melody to flatly lull some­one, or to inebriate him, but it was meant to lead the lis­tener, by way of its in­ner un­fold­ment, di­rectly to the cog­ni­tion of more com­pre­hen­sive hu­man val­ues – thereby to greater per­sonal in­ner pu­rity, to greater per­sonal in­ner beauty, to greater per­sonal in­ner power.

   
 
Just as a man, at dif­fer­ent times, al­lows one of his mani­fold char­ac­ter­is­tics to domi­nate (his fel­lowmen would say he is al­ways chang­ing, show­ing a dif­fer­ent face), like­wise the motif pre­sents it­self in its vari­ous trans­for­ma­tions and thus ap­pears as the melody in the mu­si­cal proc­ess.
Owing to the im­pulse of the crea­tive power within the melody, the in­ner-hu­man quali­ties rush out­wards into the world of the sound-space, and bring about the chang­ing mu­si­cal pic­ture of the act­ing traits of char­ac­ter of in­di­vid­uals, of hu­man be­ings, of the world.

 
The Impulse of the Creative Power in the Melody
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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