UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
UNIVERSITY OF THE FUTURE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   I   8  
  THE PROCESS OF CREATING MUSIC      
         
 
The Error of the Interpreter


   
 
How­ever, to­day’s in­ter­pret­ers are vic­tim of a cru­cial error which afflicts the en­tire con­ven­tional ma­chin­ery of mu­sic per­form­ance and re­pro­duc­tion.
The mu­si­cian takes the sym­bols of an in­ner in­spi­ra­tion, as re­corded by the com­poser, for exact in­struc­tions on the outer mu­si­cal event.

 
Lack of Understanding of the Symbols of Inner Enlivenment
 
 
The error is ex­actly the same as if one would take the sym­bolic let­ters of an un­known lan­guage for the pic­ture of a land­scape and er­ro­ne­ously at­tempt to de­scribe it as such. How­ever, lan­guage is fraught with mean­ing, and it is the mean­ing in par­ticu­lar which ac­counts for its true value.

 
“Music” without Meaning
 
 
Due to the time-pre­vailing, chang­ing un­der­stand­ing of the es­sence of mu­sic, of the pos­si­bili­ties of in­stru­men­ta­tion, and par­ticu­larly of play­ing tech­niques, the in­ner un­der­stand­ing of a score of Beethoven at Beethoven’s time was com­pletely dif­fer­ent from the un­der­stand­ing of to­day’s mu­si­cian who is formed by our time.

 
Time-Prevailing Insight
 
 
Thus, the sys­tem­atics of writ­ing down a score at Beethoven’s time was based on a con­cept quite dif­fer­ent from the pre­sent sci­en­tific, ana­lyti­cal think­ing. Hence, to­day, a score of Beethoven is like the writ­ing of a com­pletely dif­fer­ent time, and if some­one knows not how to read that writ­ing, sim­ply be­cause he is a child of our time, he will not com­pre­hend Beethoven’s score from the same an­gle from which it was writ­ten. By read­ing it, such an in­ter­preter of to­day will natu­rally be un­able to com­pre­hend Beethoven’s com­po­si­tional idea, let alone to real­ize it with an or­ches­tra.

 
Realizing the Compositional Idea
 
 
There­fore, to­day’s tech­nique of con­vey­ing mu­sic cor­re­sponds to a Frenchman, who learns Chi­nese verses from an Af­rican and pass­ing them on – with­out un­der­stand­ing their mean­ing – to Turks with the aim of spread­ing euphony.

 
The Music Scene
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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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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