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Peter Hübner
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MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

XII.
MUSIC AND SPEECH

Speech

The Superiority of Music
over the Language of Today

Fundamental Research

The Organ of Speech

The Smithy of Thought

Sovereignty over Bound and Free Creativity

The Dimension of
Creative Unfoldment

Control over the World
of Thinking

Content and Form,
Meaning and Structure

The Share of the
Senses of Perception
in the Process of
Gaining Knowledge

The Language of Music

How Our Ancestors
Used Language

Conclusions from the
Ancient Records

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Our Ancestors

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Our Ancestors

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   XII            
  THE PROCESS OF CREATING MUSIC            
         
 
The Share of the Senses of Perception in the Process of
Gaining Knowledge


 
 
 
Our five senses of per­cep­tion – hear­ing, touch, sight, taste, and smell – are only in­di­rectly in­volved in the proc­ess of gain­ing knowl­edge. They convey to the in­tel­lect, to our or­gan of cog­ni­tion, the play­ful ex­pres­sion of that which has been men­tally cre­ated, and thus com­ple­ment the monologue of our self-aware­ness to the full cycle of a thought which is cre­ated out of the self-aware­ness, and which again merges back into the self-aware­ness.

 
The Completeness of the Creative Monologue
 
 
The thought is of­fered to the de­lighted senses by the mind, and is only the con­crete image of an in­ner, ab­stract form, of an idea in the world of our self-aware­ness. And from the level of his self-aware­ness, the mu­si­cian com­pre­hends the syn­the­sis of con­tent and form and ex­pres­ses this unity in his mu­sic – the unity of the mu­si­cal crea­tor with the mu­sic cre­ated and with the proc­ess of cre­at­ing mu­sic.

 
The Concrete Image of the Inner Abstract Form
 
 
As ex­plained ear­lier it is the mu­si­cal poet in par­ticu­lar who condenses con­tent and form in such a way that these two com­po­nents do not fall apart so that the mu­sic will reach both the feel­ing and the un­der­stand­ing of the lis­tener in an in­te­grated man­ner.
At the same time, we have ex­plained, his mu­si­cal in­stru­ment is to the mu­si­cian at best a means for the outer pres­en­ta­tion of what he origi­nally must hear within.
And more­over we have stated that speech ba­si­cally is also the do­main of mu­sic – which means that es­sen­tially there is no dif­fer­ence be­tween speech and mu­sic.

 
The Function of the True Musical Poet
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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