UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
UNIVERSITY OF THE FUTURE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   II   11  
  THE PROCESS OF CREATING MUSIC      
         
 
The Classical Scope of Music


   
 
In con­ven­tional mu­sic analy­sis, the sys­tem­atic method of in­ner crea­tiv­ity was re­moved from the view of the mu­sic stu­dent, by call­ing it “reve­la­tion,” in com­plete dis­re­gard of the ac­tual mean­ing of “reve­la­tion”: to re­veal, to dis­close to eve­ry­one.

 
Music Beyond the Musical Sound-Space...
 
 
The con­ven­tional, tech­no­cratic study of in­stru­ments, the study of mu­sic the­ory, the study of com­pos­ing, and the study of con­duct­ing there­fore are in no way re­lated to the re­al­ity of a com­po­si­tion.

 
Original Classical Music
 
 
To the clas­si­cal com­poser, his innate abil­ity of in­ner hear­ing is also his natu­ral start­ing point for writ­ing down the score.

 
The Playful Mastery over the Inner-Human Forces
 
 
This in­ner hear­ing is of an ele­men­tary spa­tial na­ture – much more ele­men­tary than spa­tial vi­sion; at the same time this spa­tial hear­ing de­pends on the ears as lit­tle as, dur­ing dream­ing, our sight de­pends on the eyes.

 
Music as a Force of Nourishment
 
 
To­day, the mean­ing of “spa­tial” is gen­er­ally as­so­ci­ated with “what can be seen,” i.e. with the lim­ited space. How­ever, by vir­tue of the me­chan­ics of ex­peri­ence, space can be ex­peri­enced far more dra­mati­cally in the field of the in­ner hear­ing, and there­fore an ade­quate defi­ni­tion, in com­mon terms of to­day, of the phe­nome­non of spa­tial ex­peri­ence, as the com­poser knows it, is re­quired.

 
Conventional Technology
 
 
From the view­point of the clas­si­cal com­poser, the word most suit­able to cap­ture the na­ture of “space,” as­so­ci­ated with his in­ner hear­ing, is “di­men­sion.” And when a com­po­si­tion un­folds within the mu­si­cal crea­tor, it seems to him as if he rushes through worlds – striding from one di­men­sion to an­other.

 
New Discoveries
 
 
For the great clas­si­cal com­pos­ers from Bach, Haendel, Haydn, Mozart, Beethoven, Schubert and Schu­mann, to Wagner and Brahms, it was only natu­ral to ob­serve as unin­volved wit­nesses the dy­namic un­fold­ment of a com­po­si­tion within their mind. While hear­ing mu­sic, this in­ner im­pres­sion is only natu­ral, and there­fore the mu­si­cal crea­tor wants to bring it about within the lis­tener, too.

 
The Field of Human Cognition
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 1

II.
THE CLASSICAL
TEACHING SCOPE
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