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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

VIII.
THE PHYSICS OF MUSIC

The Dimension
of the Tone

Mastery over
the Instrument

Freedom of the Musician

The System of the Conventional Presentation of Sound

Unlimited Potential for
Structuring the Musical Sound-Space

The Fixed Tone

Modern Sound Production

The Long Forgotten
World of the
Microcosm of Music

Entering the
True World of Music

Musical Sovereignty in
the Inner-Tonal
Planetary Systems

The Inner World
of Power of the Melody

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VIII            
  THE PROCESS OF CREATING MUSIC            
         
 
The Dimension of the Tone


 
 
 
The world of the tone, even of the tone we hear inside with our in­ner ear, is the ob­jec­tive sphere of mu­sic, its outer shell. This tone may be struc­tured as sim­ple and un­in­tel­li­gent as the ele­ments in the field of matter, or as com­plex and in­tel­li­gent as the physi­ol­ogy of liv­ing be­ings – de­pend­ing on which mu­si­cal spirit abides within the tone, which mu­si­cal struc­tural means enli­vens it from within, and which de­gree of or­der it embod­ies.

 
The Physics of the Tone
 
 
Thus, the tone is the body of the mu­sic – but not the mu­sic it­self.

 
The Organism of Music
 
 
The or­gan­ism of the tone is its in­ner to­nal­ity, and the po­ten­tial of the tone ap­pears in its over­tone-me­chan­ics.

   
 
Mo­tifs are the enli­ven­ing in­ner forces of the or­gans of the tone – the ele­ments of to­nal­ity.
Here, in the world of the mu­si­cal sound-space, the sub­jec­tive and the ob­jec­tive sphe­res of mu­sic meet:
ob­jec­tive – with re­gard to the phys­ics of the tone, its over­tone struc­ture;
sub­jec­tive – with re­gard to its in­ner so­ci­ol­ogy, its in­ner for­ma­tive forces, e.g. the mo­tifs.

 
The Tone as the Medium of the Subjective and the Objective Spheres of Music
 
 
Thus, on the level of the mi­cro­cosm of mu­sic, to­nal­ity is the natu­ral link be­tween the sub­jec­tive and the ob­jec­tive sphe­res of mu­sic.

That as­pect of to­nal­ity which sounds is the gross “ma­te­rial” body of mu­sic, and that as­pect which does not sound is the subtle, the “imma­te­rial” body of mu­sic – which, how­ever, is the basis of the gross sound­ing body, be­cause from it the mu­si­cal ideas of the com­po­si­tion flow into the sound, thus turn­ing it into mu­sic.

 
Tonality as the Link between the Subjective and Objective Spheres of Music

The Tonality of Music in the Tone
 
 
In the con­ven­tional per­form­ance we know the so-called sound or tone of an in­stru­ment.
Physi­cally, its sound-spec­trum is based on pe­ri­odi­cally os­cil­lat­ing over­tones, and this in­stru­ment sound is sup­ported by the mu­si­cian who, when pro­duc­ing a sound, leaves the in­stru­ment pre­domi­nantly to it­self. This is also called pro­duc­ing “in­stru­mentspe­cific sounds.”

 
The Generation of Tones in Conventional Performance
 
 
How­ever, dur­ing his in­ner mu­si­cal crea­tive proc­ess the com­poser does not bind him­self to the sound of an in­stru­ment but rather thinks, “How can the mu­sic that I just heard inside be gen­er­ated out­side with in­stru­ments?”

 
The Original Tone-Concept of the Composer
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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