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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            
         
 
The Inner World of Power
of the Melody


 
 
 
Each tone of the melody de­ter­mines all tones past and all those yet to come. Un­der the aus­pices of the se­quence, the me­lodic guid­ance struc­tures it­self from the world of the har­mony. From here, past, pre­sent, and fu­ture can not only be com­pre­hended, but even in­flu­enced.

 
The Power Relationship in the Melodic Unfoldment
 
 
This al­most un­be­liev­able mas­tery over even the past is not based on any outer act of will, but on in­tui­tion, and is not con­trolled through the fac­ulty of un­der­stand­ing; it hap­pens in­no­cently, from the deep­est depth of feel­ing, with­outh analytic in­ten­tion.

 
Intuition
 
 
If a com­poser lacks a natu­ral mas­tery over this fun­da­men­tal power of in­tui­tion, then mu­si­cal art is not pos­si­ble. The mu­si­cian, who is sup­posed to sim­ply say the truth, be­comes an in­ter­preter, a transcriber of truth, who tries to de­scribe in­fin­ity from a com­pletely dif­fer­ent men­tal realm, i.e. from his own, finite world – with­out suc­cess, be­cause of his lack of cog­ni­tive power.

 
The Musical Art
 
 
Based on this in­sight, one may say that the over­tone mo­tifs, ac­tive within the sound, are re­lated to the ap­par­ent mo­tifs – which are noth­ing but suc­cessions of tones – in the same way as some­one’s in­ner un­fold­ment of per­son­al­ity is re­lated to his outer ac­tiv­ity.

 
The Inner Activity of the Motifs
 
 
If this “in­ner ac­tiv­ity” of the over­tone mo­tifs does not take place in the mi­cro­cosm of mu­sic, it cor­re­sponds to the move­ments of a robot, which may look like hu­man yet has no life.

 
Overtone Motifs Sound-Space
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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