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UNIVERSAL
MUSIC THEORY 1

VI.
THE PURPOSE OF
MUSIC TRADITION

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VI            
  THE PROCESS OF CREATING MUSIC            
         
 
“... to com­pose some­thing which up­lifts
and en­cour­ages man­kind -
some­thing of per­ma­nent value.”

Johannes Brahms


   
 
Supreme Musical Knowledge


 
 
 
Com­plete ful­fil­ment in mu­sic lies in the spon­ta­ne­ous, si­mul­ta­ne­ous cog­ni­tion of all mu­si­cal layers of or­der in their com­plete in­te­gra­tion; it is there­fore based on the pure cog­ni­tion of truth it­self – be­yond the mu­si­cal attire.

 
Consciousness on the Level of all Musical Layers of Order
 
 
The mu­si­cal lev­els of dif­fer­ent com­po­si­tional de­grees of sub­tlety dif­fer from one an­other struc­tur­ally in their de­gree of den­sity of in­for­ma­tion. Here “poetry” finds its di­rect ex­pres­sion: a proc­ess of continu­ous con­dens­ing and re­fin­ing, while re­tain­ing all as­pects.

 
The Poetry of Music
 
 
In the in­fi­nite den­sity of the har­mony the en­tire com­po­si­tion is there in seed form, and only for the brief moment of hear­ing it de­vel­ops into the au­di­ble world of mu­sic as the cre­ated com­po­si­tion.

 
The Degree of Density of Information in Music
 
 
The enli­vened si­lence of the har­mony, deep within the heart of the com­poser, is also the heart of each of his com­po­si­tions; it is the ori­gin and the goal of his mu­sic: it is the great ocean of all that which vi­brates in vari­ous wave for­ma­tions as com­po­si­tions into the ob­jec­tive sphere of the mu­si­cal sound-space in the mind of the mu­si­cal crea­tor.

 
The Heart of Music
 
 
With its means of com­po­si­tion, mu­sic is pre­des­tined to pre­cisely de­scribe the in­ner-hu­man evo­lu­tion in a clear and dis­tinct man­ner. There­fore, the lis­tener feels un­der­stood sim­ply as a hu­man be­ing by the com­poser. Through the state­ment of the mu­sic he finds con­fir­ma­tion of much of his in­ner re­flec­tion, and in the mu­si­cal crea­tor he finds a friend who shares his very per­sonal thoughts.

 
The Dimension of the Musical Language
 
 
In this way the great com­pos­ers have helped those who found them­selves mis­un­der­stood in their deep in­sights by the thought­less masses; those who would have doubted the va­lid­ity of their own truths un­der the pres­sure of the masses, if not some­one ac­knowl­edged as great had pro­claimed those same in­sights in the lan­guage of mu­sic, and if he had not reas­sured them in their ex­cep­tional knowl­edge, a knowl­edge pos­si­bly in­con­ven­ient to their sur­round­ings yet ful­fill­ing to them­selves, a knowl­edge which they knew to be true.

 
The Cognizing Man
 
 
Here, the clas­si­cal com­poser ap­pears to the lis­tener as a com­pan­ion who stood against the pres­sure of the masses him­self, and who passed on his love of truth to this par­ticu­lar lis­tener.

 
Confirmation of Comprehensive Insights
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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