UNIVERSITY OF THE FUTURE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
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PART   XI
  110  
 
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC
     
         
 
Purposeful Development of Performance in the Field of our Neurophysiology


   
 
For the re­spon­si­ble, right­eous mu­si­cal art­ist, the per­sonal in­sight into the natu­ral re­la­tion­ship be­tween self-aware­ness, in­tel­lect, feel­ing and un­der­stand­ing, mind and neu­ro­physi­ol­ogy, is of cru­cial im­por­tance.

 
Basic Research of the Musical Artist
 
 
Even the mu­si­cian at work de­pends on the ex­cel­lent func­tion of his neu­ro­physi­ol­ogy.
But the lis­tener, too, needs an in­ner-mu­si­cal tech­nol­ogy to sys­tem­ati­cally in­crease his neu­ro­physi­ologi­cal per­form­ance – if he wants to go to the bot­tom of the mu­si­cal mean­ing.

 
The Significance of the Neurophysiology in Music
 
 
Not only is our neu­ro­physi­ol­ogy re­spon­si­ble for our outer hear­ing abil­ity, it also de­ter­mines the accuracy of the mu­si­cal rep­re­sen­ta­tion of the tones in our mind.

 
The Neurophysiology as the Key to Gaining Knowledge in Music
 
 
The av­er­age neu­ro­physi­ologi­cal func­tion­ing of an in­di­vid­ual not prac­tised in gain­ing knowl­edge in mu­sic is able to grasp only lim­ited val­ues of the mu­si­cal sound-space – only cer­tain tone se­ries, cer­tain in­ter­val steps, as well as pre­domi­nantly pe­ri­odic, rhyth­mi­cal struc­tures.

 
The Concept of Quality of the Musical Tone-Presentation in Our Mind
 
 
With the ex­cep­tion of the gen­ius, the depth of even the mu­si­cal tone-space is un­known to the av­er­age mu­sic lis­tener, to the mu­si­cian, and unfor­tu­nately also to the mu­sic teacher not prac­tised in the proc­ess of gain­ing knowl­edge in mu­sic.

   
 
The motif-space, but even more so the se­quence-space – let alone the space of the har­mony – remain com­pletely in­ac­ces­si­ble to the ex­peri­ence of an in­di­vid­ual un­trained in the re­fine­ment of the mu­si­cal hear­ing.

   
 
Our gain­ing of knowl­edge in mu­sic and our crea­tive ac­tiv­ity in mu­sic, there­fore, de­pend on a di­rect in­crease of per­form­ance in the field of our neu­ro­physi­ol­ogy, and a mod­ern sci­ence of mu­sic – if it intends to be suc­cess­ful in the clas­si­cal field of mu­sic – will have to unlock this gate to true un­der­stand­ing of mu­sic and true mu­si­cal-hu­man works by chang­ing its think­ing on clas­si­cal mu­sic.

 
Neurophysiology and Modern Musicology
 
 
The neu­ro­physi­ol­ogy in par­ticu­lar is an im­por­tant means of cog­ni­tion for the mu­si­cal crea­tor to ex­peri­ence the outer in­di­vid­ual ef­fect of his mu­sic and to judge its value for the lis­tener.
Even if the gen­ius mu­sic crea­tor, or also the mu­si­cian skilled in re­fined mu­si­cal think­ing, only thinks the mu­si­cal work on the level of his mind, then very spon­ta­ne­ously he makes the di­rect ex­peri­ence in his neu­ro­physi­ol­ogy of the ef­fect of this mu­sic on the har­mo­ni­ous func­tion­ing of his or­gans.

 
Neurophysiology as a Means of Cognition for the Music Creator
 
 
Mu­sic may in­flu­ence the or­der of the en­ergy proc­esses in our nerv­ous sys­tem.
Ample proof of this fact is given by the frenzy of de­struc­tion of young peo­ple in the wake of beat and pop con­certs.

 
The Effect of Music on the Neurophysiology
 
 
By means of clas­si­cal mu­sic, it is pos­si­ble to­day to gain com­plete, ho­lis­tic in­sight into the natu­ral re­la­tions of our in­ner hu­man worlds of cog­ni­tion and of crea­tion.

 
Fundamental Research Techniques of a Successful Modern Science of Music
 
 
Based on this in­sight, we mu­si­cians can con­ceive and for­mu­late ob­ser­va­tions, au­then­tic by sci­en­tific cri­te­ria, with a depth of ex­pres­sion that has al­ways been at the com­mand of our great clas­si­cal mu­sic crea­tors in a natu­ral way; a depth which they de­sire for their lis­tener, which they ex­pect from the mu­si­cian as well as from the mu­sic teacher.

   
 
The sci­ence of mu­sic will have to de­vote it­self to this in­crease in per­form­ance of the neu­ro­physi­ol­ogy.

   
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

XI.
INDIRECT AND DIRECT
GAINING KNOWLEDGE
IN MUSIC

Ancient Truths in Music

The Golden Net of
Knowledge in Music

The Great Musical
Sense of Achievement

The Organs of Cognition in the Process of Gaining
Knowledge in Music

Necessity of the
Neurophysiological
Integration

The Performance of the
Self-Awareness in the
Musical Process of
Knowing

The Self-Awareness
Systematically Practises
Self-Identification

Insight into the Basis
of Music

Fundamentals of
Modern Musicology

Limitations of Conventional
Musical Education

Increase of Performance
of the Intellect in Music

The Eigenfunction of
the Intellect as the
True Musical Creator

The Journey to the Eternal Sources of Music

The Highest Intellectual
Achievement
Possible to Man

Authentic Successful
Musicology

The Music Listener
at the Origin of All
Creative Thinking

Purposeful Development
of Performance in the
Field of our
Neurophysiology

The Musician and His
Surroundings

The True Organs of
Finding Truth in Music

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition