GERMAN ACADEMY OF SCIENCES
GERMAN ACADEMY OF SCIENCES
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO ACADEMIC LIFE
   Faculties:   Music & Musicology · Philosophy · Medical Sciences · Education · Pythagoras · Consciousness · Humanities · Natural Science · The Dragon · The Veda · Culture · Opera & Arts

 

Home

Site Map

Basic Law of the Academy

The Cosmic
Education Programm

Introduction to the University of the Future

Academic Institutes

Peter Hübner
Developer of the University

 

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

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the University

 

 






UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VII            
  THE PROCESS OF CREATING MUSIC            
         
 
The Potential of the Musician


 
 
 
The art of mas­tering space and the art of si­mul­ta­ne­ously mas­tering time is founded in the genu­ine friend­ship of the mu­si­cian with space and time. Through pure self-aware­ness the mu­si­cal idea origi­nates on the level of in­fi­nitely con­densed and rhyth­mi­cally or­gan­ized di­ver­sity, and as it natu­rally un­folds, it brings to light the life-sup­port­ing in­flu­ence of the lively, in­ner or­der of the art­ist him­self

 
The Musician’s Sovereignty over Space and Time
 
 
If the mu­si­cian makes space and time his friends, he can pre­sent their coex­is­tence in a per­fectly uni­fied form, a form of two­fold in­fin­ity.

   
 
This way of truth­fully and re­al­is­ti­cally de­scrib­ing the natu­ral and per­fect re­la­tion of his two great friends, space and time, fills the mu­si­cian with love, and gives him the in­ner strength to work un­tir­ingly to bring light to the ar­eas of even the great­est dark­ness by joy­fully sing­ing the song of his own dis­cov­ered, in­ner­most es­sence – the in­ner­most es­sence of eve­ry man.

 
The Enlightening Influence of the Musician
 
 
Here, too, genu­ine crafts­man­ship is not based on the field of mu­sic, but on uni­ver­sal hu­man­ity.

 
Musical Craftsmanship Beyond Tones
 
 
Only the very per­sonal friend­ship of the mu­si­cian with the uni­ver­sal forces of space and time en­ables him to exert his crea­tive life-giv­ing power in his sur­round­ings.

   
 
All other tech­ni­cal skills, the play­ing skill of the in­stru­men­talist, the method of rhyth­mi­cal varia­tion, and the tech­ni­cal con­trol of the over­tone spec­trum are based solely on this great im­per­ish­able friend­ship with the pow­ers of in­fin­ity. If the mu­si­cian does not se­cure him­self this neccessary friend­ship, these two sov­er­eigns drive him into the world of limi­ta­tions like an enemy, into the world of men­tal-spiri­tual nar­row­ness, into the world of prob­lems, and he drags us lis­ten­ers with him­self.

 
Fundamentals of the Art of Controlling the Instrument
 
 
That com­poser or mu­si­cian, who at­tempts to play space and time off against each other through spec­tral pe­rio­dic­ity, and to de­stroy their innate con­nec­tion, is like a fool fight­ing these two great pow­ers of na­ture.

 
Success or Failure of the Musician
 
 
The natu­ral basis of any mean­ing­ful mu­si­cal ac­tiv­ity lies al­ways in the in­ner friend­ship of the mu­si­cian with these mighty, in­ti­mately re­lated pow­ers of space and time, and the suc­cess of the mu­si­cian lies in truth­fully pre­sent­ing this im­mor­tal re­la­tion­ship.

   
 
If the mu­si­cian suc­ceeds in win­ning the two great pow­ers of space and time for his in­ti­mate friends – by re­al­iz­ing the full value of their al­li­ance on the level of his own per­son­al­ity –, he be­comes im­mor­tal him­self and in­spires us lis­ten­ers to im­mor­tal­ity. Then space and time are his two mighty pa­trons in the glo­ri­fi­ca­tion of the high ideal of true hu­man free­dom.

 
Musical Performance on the Level of Immortal Freedom
 
 
The friend­ship with space is es­tab­lished through the un­der­stand­ing, and the friend­ship with time is es­tab­lished through the feel­ing.

 
The Lively Unity of Space and Time
 
 
In clas­si­cal com­po­si­tion space and time are inimately re­lated like great friends.

   
 
And thus, dur­ing the ex­peri­ence of clas­si­cal mu­sic, time-aware­ness on the level of the feel­ing be­comes space-aware­ness; and space-aware­ness on the level of the un­der­stand­ing be­comes time-aware­ness;
and fi­nally, space and time are known as unity – as the ho­lis­tic per­fect be­ing, which with his mi­racu­lous arms, space and time, of­fers us lis­ten­ers the im­mor­tal­ity-giv­ing nectar of life.

 
The Immortality-Giving Nectar of Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
.