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Peter Hübner
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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

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VIII            
  THE PROCESS OF CREATING MUSIC            
         
 
Modern Sound Production


 
 
 
The tech­nol­ogy of the Dy­namic Space Stereo­phony is like nour­ish­ing the root, re­sult­ing in a sub­stan­tial, ho­lis­tic enliv­en­ment of the tree of mu­sic.

 
Substantial, Holistic Enlivenment of Music
 
 
In con­ven­tional mu­sic, the char­ac­ter of an in­stru­ment ap­peared as an ex­plicit timbre – which re­sulted from the fixa­tion of the spec­tra of over­tones in our con­ven­tion­ally limp use of the in­stru­ment. To­day, with the tech­nol­ogy of the Dy­namic Space Stereo­phony, the most di­verse timbres now appear in multi-di­men­sional forms.

 
The Instrument Characteristics in the Making
 
 
As if stretched out in space, the spec­trum of over­tones moves as if breath­ing, and dis­plays a life of its own, thought im­pos­si­ble so far.

 
Enlivening the Overtone-Spectrum
 
 
Imag­ine a bouquet of flow­ers, com­pres­sed al­most to a point. One could hardly dis­tin­guish the col­ours, let alone rec­og­nize any spa­tial struc­ture. This cor­re­sponds to the con­ven­tional in­stru­ment sound.

 
The Compressed Tone
 
 
The vir­tual op­po­site takes place in Dy­namic Space Stereo­phony. The so-called in­stru­ment char­ac­ter­is­tic, the in­di­vid­ual sound of the in­stru­ment, for ex­ample the fixed sound of a vio­lin, is stretched out in space in its in­di­vid­ual over­tones. This is ac­com­plished by dividing the tone of the vio­lin into its over­tones and assigning them their re­spec­tive places at vari­ous points in the acous­tic space.
This tech­nique alone, how­ever, would only mean to give a spa­tial struc­ture to some­thing which is dead.

 
The Sound Gains Control in the Acoustic Space
 
 
There­fore, one now “breathes life” into the sound of the vio­lin. To do so the in­di­vid­ual over­tones are set into a play­ful motion with each other, as we know it from the course of the stars.

 
The Inner Enlivenment of the Sound
 
 
Thus, a new world of com­po­si­tion arises in the in­ner world of the sound, in the mi­cro­cosm of mu­sic.

   
 
Di­rected by the pat­tern of the com­po­si­tional logic, the in­di­vid­ual sounds of the over­tones are in­ter­woven with each other in space and are enlarged, re­duced, en­grossed, and re­fined, so that from within a new in­ner com­po­si­tion per­me­ates the old outer com­po­si­tion, and crea­tively enli­vens it.

 
The Second Dimension of the Composition in the Tone
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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