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Peter Hübner
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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

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   VIII            
  THE PROCESS OF CREATING MUSIC            
         
 
Entering the True World of Music


 
 
 
Only this in­ner in­sight into the mu­si­cal sound-space, now enli­vened in mani­fold ways, can open up the true world of mu­sic to the lis­tener.

 
The Listener’s Insight into the Inner Life of the Musical Sound-Space
 
 
So far, the paramount im­por­tance of this in­wardly un­fold­ing mi­cro­cosm of the mu­si­cal sound-space has not been real­ized at all by the ex­perts in mu­si­col­ogy – even though it is this subtle di­men­sion of mu­si­cal poetry in par­ticu­lar that en­ables the virtuoso to por­tray life.

 
The Subtle Dimension of Musical Poetry
 
 
The dis­tance be­tween each of the over­tones is the means for struc­tur­ing space, and the rhythm, in which the over­tones struc­ture the mu­si­cal sound-space, is the means for struc­tur­ing time.
Thus, in the mi­cro­cosm of mu­sic, the rhyth­mi­cal struc­ture is as­so­ci­ated with time and the in­ter­val struc­ture with space.

 
The Musical Means for Structuring Space and Time
 
 
In the gross, outer mac­ro­cosm of the com­po­si­tion, rhythm and in­ter­val are not able to ex­press space and time suf­fi­ciently and to re­al­is­ti­cally dis­play an in­te­grated space-time re­la­tion­ship within the lis­tener.
This re­quires com­po­si­tional power over the mi­cro­cosm of mu­sic, i.e. the in­stru­men­tal con­trol over the me­chan­ics of over­tones – the world of subtle sounds which, be­cause of their high level of en­ergy, di­rectly touch the in­ner power of imagi­na­tion within us lis­ten­ers.

 
Controlling the Rise of Space and Time in Music
 
 
When ob­serv­ing our solar sys­tem from an­other solar sys­tem in re­spect to its struc­ture, one would proba­bly, due to the great dis­tance, only rec­og­nize the plane­tary orbits but not life it­self – be­cause at such great dis­tances the liv­ing enti­ties of our uni­verse are hid­den from the view of the spec­ta­tor.

 
The Distance of the Listener to the Live Elements of the Musical Universe
 
 
In mu­sic we find a cor­re­spond­ing case in the con­ven­tional in­stru­ment sound as it is rou­tinely pro­duced by to­day’s con­ven­tion­ally trained per­fect in­stru­men­talist.

 
The Musical Field of the Unlively
 
 
Be­cause of the con­ven­tional, in­stru­ment-ori­ented pro­duc­tion of sound the acous­tic-men­tal dis­tance of the lis­tener to the mu­si­cal sound-space, to the in­di­vid­ual tone, be­comes so great that he does not even ex­pect an enli­vened world of its own within the in­stru­men­tal tone, just as, when look­ing from an­other solar sys­tem, one is un­able to imag­ine that our small earth has room for so many in­di­vid­ual hu­man destinies.

 
The Acoustic-Mental Distance of the Listener to the Musical Sound-Space
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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