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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

V.
THE THREE GREAT
STEPS OF THE
MUSICAL PROCESS OF
GAINING KNOWLEDGE

The Three Steps
towards Truth

The Cognizant Music
Listener

The Object of Knowing
in Music

The Process of Knowing

The Art of Drawing
Conclusions in Music

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Force of the Harmony

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Musical Logic

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the Self-Awareness in
the Listener

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of Creativity

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   V
     
 
THE THREE GREAT STEPS OF THE
MUSICAL PROCESS OF GAINING KNOWLEDGE
     
         
 
The Object of Knowing in Music


   
 
The ob­ject of know­ing is in­volved in the mu­si­cal proc­ess of know­ing: as the mu­sic, em­bed­ded in the acous­tic space, in the sound-spaces, in the motif-spaces, in the melody and se­quence-spaces, as well as in the in­fi­nite space of the har­mony.

 
The Group of Musical Force-Fields
 
 
The ob­ject of know­ing in­cludes the mu­si­cal rep­re­sen­ta­tion of cos­mic evo­lu­tion just as well as the rep­re­sen­ta­tion of the un­fold­ment of our very in­di­vid­ual life: our birth, our in­di­vid­ual growth, and our in­di­vid­ual per­fec­tion, but also the de­vel­op­ment of so­cial groups and en­tire peo­ples, in­deed, of man­kind as a whole.

 
The Evolution in Music
 
 
The ob­ject of know­ing there­fore does not con­sist of fixed mu­si­cal pa­rame­ters – which, from a su­per­fi­cial point of view, might at best rep­re­sent the un­change­able atom, the un­change­able plant, the un­change­able ani­mal, or the un­change­able man.
Real clas­si­cal mu­sic shows all ob­jects of know­ing in per­ma­nent mu­si­cal change: in per­pet­ual trans­for­ma­tion, in play­ful united un­fold­ment and – in the more subtle layers of mu­sic – in in­creas­ingly har­mo­ni­ous, mutual pervasion.
Truly clas­si­cal mu­sic af­fords the lis­tener the knowl­edge about the per­ma­nent change of any­thing that may ever change.

 
The Rhythm of Life as the Musical Object of Knowing
 
 
In the grosser layers of mu­sic, the changes are more con­crete, more spe­cific, more pro­nounced, more de­tailed, and more re­lated to sin­gle, eas­ily com­pre­hen­si­ble ob­jects.
In the sub­tler strata of mu­sic, how­ever, the ob­jects of know­ing be­come more and more ab­stract, more com­pre­hen­sive and more gen­eral – and the changes, then, which they ex­press, denote ten­den­cies and trends, or in­flu­ences, rather than lo­cal­ized con­crete ef­fects of forces.

 
Concretization and Abstraction in Music
 
 
More­over, in the more subtle mu­si­cal force-fields the ob­jects of know­ing are rep­re­sented more clearly than on the grosser lev­els of mu­sic.
And once the lis­tener en­ters the sub­tler fields of mu­sic, he per­ceives these fields of mu­si­cal state­ment more and more dis­tinct – more ab­stract though, yet in­creas­ingly clearer.

 
Structural Clarity of the Musical Objects of Knowing
 
 
The dif­fer­ence of knowl­edge in the more gross or in the more subtle mu­si­cal force-fields may be com­pared to the dif­fer­ence be­tween a per­fectly formed chew­ing gum and a dia­mond per­fectly cut to the same shape.
Just as light pene­trates the dia­mond and, as op­posed to the chew­ing gum, pro­duces its sparkling brilliance and clar­ity, like­wise the light of a more con­densed proc­ess of gain­ing knowl­edge in­creases the clar­ity of our prac­ti­cal in­sight into the sub­tler ele­men­tary layers of mu­sic.

 
The Purpose of Structural Density in the Musical Force-Fields
 
 
For even though the chew­ing gum may con­sist of the same ba­sic ma­te­rial as the dia­mond, the lat­ter is of a much higher de­gree of den­sity and or­der, and is there­fore more able to il­lus­trate the prin­ci­ples of form­ing.

   
 
The same prin­ci­ple ap­plies in mu­sic: just as the chew­ing gum is more suited for wrapping the dia­mond than vice versa, the mu­si­cal sound-space is easier trans­formed into the body of the motif-space than vice versa; and in the same way the motif-space is easier trans­formed into the body of the har­mony-space than vice versa.

 
The Natural Structural Order in Music
 
 
The proc­ess of mu­sic has a natu­ral struc­ture, and the mu­si­cal proc­ess of know­ing pro­ceeds in cor­re­spondence with this hi­er­ar­chy of mu­sic.
Step by step it ex­tends over all the mu­si­cal force-fields – from the grosser to the finer, and into the in­fi­nite field of the har­mony.

 
The Natural Direction of the Cognitive Process in Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
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