UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
UNIVERSITY OF THE FUTURE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   VI   43  
  THE PROCESS OF CREATING MUSIC      
         
 
The Deeper Musical Sense


   
 
The outer phe­no­mena that ac­com­pany change in the en­vi­ron­ment – dis­played by the struc­tural changes of the mu­si­cal sound-space – are, due to his natu­ral dis­tance to the en­vi­ron­ment, less in­ti­mate to the in­di­vid­ual and there­fore less im­por­tant than the varia­tions of his own char­ac­ter, than the in­ner play of his quali­ties which are dis­played in the ap­plied motif-tech­nique – in the melody.

 
The Variation of Music in the Play of Human Qualities
 
 
To the lis­tener there­fore, the tone, or the se­ries of tones per­formed is far less im­por­tant than their un­derly­ing, deeper mu­si­cal mean­ing.

   
 
This ex­peri­ence shows that, while lis­ten­ing to the mu­sic out­side, man is, in fact, quite dis­cretely dedi­cated to his in­ner ful­fil­ment, and that he aims at in­creas­ing his very own in­ner joy.

 
The Musical Fulfilment of the World of Human Aspirations
 
 
Here clas­si­cal mu­sic dem­on­strates that man, in his as­pi­ra­tion for the ful­fil­ment of his in­di­vid­ual life, is not so much focussed on outer suc­cess as it may appear from the rou­tine of day-to-day life. The ma­te­rial strive, rep­re­sented in mu­sic by the outer struc­tur­ing of the sound-space, is only the outer, nec­es­sary effort through which man wants to se­cure the ful­fil­ment of his in­ner realm of de­sires, which is rep­re­sented in mu­sic by the in­ner enliv­en­ment of the mu­si­cal sound-space: by the ap­plied motif-tech­nique, the ap­plied se­quence-tech­nique, and the ap­plied har­mony-tech­nique.

 
Materialism and Idealism in Music
 
 
Be­cause the mecha­nism of in­ner mas­tery over the realm of hu­man hap­pi­ness had van­ished from day-to-day life in the past, man be­came used to pre­tend that ex­ter­nal ful­fil­ment of de­sires and a ma­te­ri­alis­tic life style were the most im­por­tant mat­ters for the in­di­vid­ual. Thus, cor­re­spond­ingly, the outer analy­sis of the com­po­si­tion, the outer in­stru­men­tal struc­tur­ing of the tone, and the outer cere­mony of mu­si­cal per­form­ance gained ever greater pub­lic im­por­tance, cul­mi­nat­ing in high ma­te­rial re­wards for the su­per­fi­cial “in­ter­pret­ers.”

 
The Loss of Musical Sovereignty over the World of Human Happiness
 
 
Yet eve­ry­one of us knows deep within his own think­ing and feel­ing that the re­ali­za­tion of one’s very own in­ner world of de­sires is most dear to us, and we there­fore are far from be­ing amused when we dis­cover that some­one wants to re­strict us in our ho­liest, in­ner­most realm of life.

 
Outer Safeguarding of the Inner Fulfilment of Desires
 
 
Only be­cause outer ma­te­rial sub­sis­tence is a natu­ral pre­req­ui­site for the pos­si­bil­ity of in­ner ful­fil­ment of de­sires, cer­tain ma­te­ri­alis­tic ac­tivi­ties are nec­es­sary to se­cure the outer ex­is­tence.

   
 
How­ever, nei­ther the com­poser nor the true mu­si­cian have ever de­voted them­selves to this ad­mit­tedly nec­es­sary outer field of life; not that they con­sid­ered this outer ac­tiv­ity for sub­sis­tence in­sig­nifi­cant, but they real­ized that their task was to strengthen the field of the in­ner for­ma­tion of life – the world of in­ner ful­fil­ment of de­sires – as a natu­ral bal­ance to the out­ward di­rec­tion of the ma­te­rial way of life.

 
The Life Style of the True Musician
 
 
Through their mu­sic the great mu­si­cal crea­tors wanted, and still want, to keep alive, in man’s eve­ry­day aware­ness, the knowl­edge that the true pur­pose of our in­di­vid­ual and so­cial life can only be real­ized through the com­plete ful­fil­ment of our in­ner­most, per­sonal as­pi­ra­tions.

 
The Musical Task
 
 
In the light of this in­spi­ra­tion any ex­ter­nal, ma­te­ri­alis­tic ac­tiv­ity is but a triv­ial ne­ces­sity for se­cur­ing our in­ner ful­fil­ment of de­sires; be­cause to enjoy in­wardly one must also be intact out­wardly.

 
The Necessity of Outer Musical Activity
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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MUSIC THEORY 1

VI.
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