GERMAN ACADEMY OF SCIENCES
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Peter Hübner
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Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

VII.
SPACE AND TIME
IN MUSIC

The Concept of Space
in Music

The Two Ways of Experiencing Space

Space-Experience in
the Microcosm of Music

Space-Time Integration
in Music

Space-Time Fusion
through the Integration
of the Musical Spaces

The Integrated Play of
Time and Space

The Potential of the
Musician

The Relationship of
Rhythm and Tonality

Field of Cognition -
Enlivened Silence

The Core of Practising
the Art of Music

Conventional and
Modern Mechanisms
of Musical Performance

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VII            
  THE PROCESS OF CREATING MUSIC            
         
 
The Integrated Play of
Time and Space


 
 
 
The basis of true mu­si­cal per­form­ance is the skil­ful pres­en­ta­tion of the in­te­grated play of these two great pow­ers of na­ture. Time and space are the foun­da­tion, the strong pil­lars which, curving to­wards each other like an arch, shel­ter the lis­tener while let­ting the mu­sic re­sound be­tween him and them­selves.

 
The Basis of True Musical Performance
 
 
Space and time, the two in­visi­ble, in­au­dible sov­er­eigns of the realm of tones are the great friends and pa­trons of the clas­si­cal mu­si­cian.

 
The Great Patrons of the Classical Musician
 
 
If the mu­si­cian suc­ceeds in con­sciously unit­ing his in­ner ar­tis­tic na­ture with the great sov­er­eigns space and time, he has gained for him­self and for the lis­tener in­fin­ity in the gar­ment of beauty, and this in­valu­able gift marks the be­gin­ning of his ac­tual career in mu­sic.

 
The True Beginning of the Musical Career
 
 
With the help of the two mighty arms space and time, the pow­er­ful mu­si­cian pre­sents to us the sacrificial bowl of life in the form of mu­si­cal beauty. This in­spires us to sac­ri­fice our lim­ited ideas to the di­vine spark of in­ner cog­ni­tion, and we gain the ex­peri­ence of free­dom.

 
The Powerful and the Powerless Musician
 
 
If, how­ever, the un­edu­cated mu­si­cian, due to his lim­ited con­scious­ness, be­comes in­volved in rhyth­mic pe­rio­dic­ity, he makes time and space his ene­mies leav­ing him­self and us lis­ten­ers to the ex­peri­ence of mor­tal­ity.

   
 
If the ex­peri­ence of time seems to appear in con­ven­tional mu­sic, it is rather our pain­ful ex­peri­ence of time as sepa­rated from space, pro­duced by the rhyth­mi­cal and tonal (spec­tral) monotony, and annoys us lis­ten­ers in our pur­suit of ful­fil­ment: then the piece of mu­sic, or rather the piece of noise, drags along like an inert life­less mass giv­ing us the feel­ing of mor­tal­ity, the im­pres­sion of boundedness, and it sets our mind on chas­ing the fleeting pleas­ures of life in the lit­tle time that is left to us, try­ing not to miss any­thing.

 
Spectral Monotony
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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