GERMAN ACADEMY OF SCIENCES
GERMAN ACADEMY OF SCIENCES
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Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
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

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

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


 
 
 
As stated ear­lier, the com­poser origi­nally does not bind him­self to an in­stru­ment-spe­cific tone but rather thinks,
“How can the mu­sic I have heard within be pro­duced out­side?”

 
Control over the In­stru­ment-Specific Sound
 
 
With re­gard to the in­stru­ment, the con­ven­tional prac­tice of play­ing and per­form­ing fol­lows the path of least re­sis­tance
of the in­stru­ment, but it does not win the deep trust of the lis­tener.

 
Bondage of the Musician
 
 
This is why, dur­ing the last cen­tu­ries, mu­si­cal forms were changed rap­idly. Through ever new mu­si­cal or­ders the com­pos­ers wanted to in­spire the per­for­mers to seize con­trol – a natu­ral mas­tery – over their in­stru­ments and thus hoped to free them from the dust of life­lessness.

 
The Conventional Means for Gaining Control over the Instrument
 
 
The fact that Wagner’s or­ches­tra, for in­stance, sounds dif­fer­ent from Beethoven’s or­ches­tra – even if their re­spec­tive mu­sic is played by the very same or­ches­tra, is sim­ply the ex­pres­sion of the com­poser’s in­ces­sant strive to en­cour­age the mu­si­cian’s mas­tery over his in­stru­ment; for, some­one who does not mas­ter his in­stru­ment with his mind may well pro­duce sounds but not liv­ing mu­sic. And some­one who does not truly want to mas­ter his in­stru­ment is not fit for a mu­si­cian – a fact which is con­firmed by many in­stru­men­talists who retire early from prac­ti­cal mu­si­cal ac­tiv­ity and be­come mu­sic “edu­ca­tors” or con­duc­tors.

 
The System of New Musical Orders
 
 
Suc­cess­ful mu­si­cal edu­ca­tion, how­ever, is based on per­sonal ex­ample.

 
True Musical Education
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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