UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
UNIVERSITY OF THE FUTURE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   I   5  
  THE PROCESS OF CREATING MUSIC      
         
 
Creative Music Listening


   
 
Be­fore the com­pe­tent com­poser writes down the score he hears his mu­si­cal work in all its di­ver­sity within him­self. Only then he de­fines the in­stru­men­ta­tion to re­pro­duce out­side the mu­sic he has heard within.
The com­poser ex­peri­ences the mu­sic, which he hears inside, as some­thing com­pletely sepa­rate from the score. The de­vel­op­ment of a score, the draft for the ex­ter­nal re­ali­za­tion, then is a men­tal act of will of the mu­si­cal crea­tor – in con­trast to his origi­nal in­ner hear­ing.

 
The First Performance of Music
 
 
A com­po­si­tion origi­nates with­out any par­ticu­lar effort of the com­poser’s will. It grows within his mind as a natu­ral ex­pres­sion of his enli­vened fan­tasy.

 
The Naturalness of Creative Hearing
 
 
The mu­sic, which the com­poser hears within, is the origi­nal lan­guage of his own feel­ing and think­ing; and, ac­cord­ingly, the mu­sic of his in­ner sphere un­folds only within his own world of feel­ing and think­ing.
In this re­spect the com­poser is the first lis­tener of his mu­sic be­fore he writes it down or per­forms it; and, while writ­ing it down, he no longer ex­peri­ences him­self to be cre­at­ing, but rather “hear­ing” and “cog­niz­ing.”

 
The Cognizant Composer
 
 
The field of com­pos­ing is by no means a field of outer in­stru­men­tal ex­peri­men­ta­tion; in its es­sence, it is the ex­peri­ence of a clear and dis­tinct in­ner hear­ing. And only when the in­wardly-lis­ten­ing mu­si­cal crea­tor intends to com­mu­ni­cate to oth­ers what he has heard within, the art of com­pos­ing re­quires the solid knowl­edge of a prac­ti­cal tech­nol­ogy to per­form his mu­sic.

 
Beyond the Experiment
 
 
Only now the mu­si­cal crea­tor re­quires a clear knowl­edge of no­ta­tion to write down the score with com­plete con­fi­dence, in or­der to cre­ate a bridge on which his in­ner origi­nal mu­si­cal im­pres­sion can, in its purest pos­si­ble form, find its way to the in­ter­preter.

 
The Bridge from the Musical Creator to the Interpreter
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

I.
THE PROCESS OF
CREATING MUSIC

The World of
Enlivened Silence

The Origin of the
Art of Sound

Responsible Authorship

The Firmament of Music

Creative Music Listening

Writing Down the Score

The Conventional
Practice of Notation

The Error of the Interpreter

The Language of Truth

 

 

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