GERMAN ACADEMY OF SCIENCES
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

 

 

Astronomy of Mind EQ x IQ

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VII            
  THE PROCESS OF CREATING MUSIC            
         
 
Field of Cognition – Enlivened Silence


 
 
 
Here the realm of knowl­edge-giv­ing si­lence is reached, from where the truth­ful art­ist cre­ates mu­sic for his own sake as well as for the sake of his lis­ten­ers; for his own sake, be­cause this kind of natu­ral crea­tiv­ity means an up­surge of in­ner bliss within the art­ist him­self, and for the sake of the lis­tener, be­cause within the lis­tener, too, the ex­peri­ence of such natu­ral, in­ner hu­man ac­tiv­ity is evoked which brings hap­pi­ness and joy.

 
The Listener’s Glimpse of Musical Evolution
 
 
The lis­tener then suc­ceeds in get­ting a glimpse of the po­ten­tial of natu­ral, in­ner hu­man evo­lu­tion; and the de­sire to gain mas­tery over this hap­pi­ness-giv­ing field of life natu­rally awak­ens within him.

   
 
This start­ing point of in­ner hu­man crea­tiv­ity, in which to­nal­ity and rhythm are fused into unity, is the very be­gin­ning of mu­sic.

 
The Seed of the Magic of Music
 
 
This be­gin­ning with­out end is struc­tured in the con­scious­ness of the lis­tener by the mu­si­cal in­te­gra­tion of un­bounded space with in­fi­nite time, and a men­tal state of sus­pen­sion is at­tained: an ex­pres­sion of two­fold un­bound­ed­ness.
Here lies the seed of man’s love of mu­sic – of man’s love of life.

   
 
Thus, rhythm is not at all the means for the iso­lated struc­tur­ing of time in a com­po­si­tion, but ac­cord­ing to the much more so­phis­ti­cated views just out­lined, rhythm is the only ap­pro­pri­ate means for the glo­ri­fi­ca­tion of space.

 
Rhythm as a Means to Glorify Tonality
 
 
On the other hand, to­nal­ity is not an iso­lated mu­si­cal pa­rame­ter but the only ap­pro­pri­ate means for the glo­ri­fi­ca­tion of time.

 
Tonality as a Means to Glorify Rhythm
 
 
This is the ex­plana­tion for the in­ti­mate un­ion of space and time in mu­sic.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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