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 Core of Practising the Art
of Music


 
 
 
In true clas­si­cal mu­sic this fusion of space and time lies hid­den deep within the sub­atomic field of sound – be­neath the in­fi­nite, or­gan­ized di­ver­sity of its in­te­grated over­tone-me­chan­ics.

 
Sovereignty over the Subatomic Field of Sound
 
 
There­fore, mas­tery over the over­tone-me­chan­ics is the core of prac­tis­ing the art of mu­sic.

   
 
In the field of in­ter­pre­ta­tion, too, an in­te­grated, dy­namic sys­tem is re­quired to gain con­trol over all the com­po­si­tional pa­rame­ters for the space-time fusion in the mu­si­cal sound-space. Only through a tech­nol­ogy of over­tone con­trol ruled by higher con­scious­ness the mu­si­cian is ca­pa­ble of mak­ing au­di­ble a truly enli­vened mi­cro­cosm even in the acous­tic space.

 
The Integrated, Dynamic System of Overtone Control
 
 
Thus, con­trol over the rhythm proves to be the es­sen­tial key to open up the for­ma­tive space of mu­sic. And in the hands of a truth­ful mu­si­cian this golden magic key unites the in­ner com­po­si­tional logic with the outer prac­tice of per­form­ance.

 
Opening the Formative Space of Music
 
 
The proc­ess of in­ner com­pos­ing is not only analy­sis, but analy­sis and syn­the­sis melted into one, and on the basis of this unity, mu­sic re­sounds in the mind of the mu­si­cal crea­tor. Re­pro­duc­ing a com­po­si­tion with con­ven­tional physi­cal in­stru­ments, how­ever, suf­fers from the limi­ta­tions of tech­nol­ogy: it does not dis­play this men­tal unity di­rectly.

 
Unity of the Composition in the Art of Sound
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
.