UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   II   12  
  THE PROCESS OF CREATING MUSIC      
         
 
The Universe of Musical Sound-Space


 
 
 
Due to the cur­rent prac­tice of play­ing and per­form­ing, such a three-di­men­sional, spa­tial im­pres­sion of the uni­verse of mu­sic in its subtle vi­bra­tion can­not arise within the lis­tener, be­cause to­day’s mu­sic ex­perts them­selves have this in­ner crea­tive hear­ing only in frag­ments.
How­ever, it is this lively, in­ner mu­si­cal vi­bra­tion in the fusion of space and time which pri­mar­ily con­sti­tutes the true world of mu­sic.

 
Gaps in the Creative Hearing
 
 
If, due to a nar­row and tech­no­cratic mu­si­cal edu­ca­tion, such a world of sound-spaces in pow­er­ful motion is not made ac­ces­si­ble to the lis­tener, mu­sic is not pre­sented prop­erly; the com­poser’s in­ner, for­ma­tive power is wasted; the “in­ter­pre­ta­tion” has failed; any in­stru­men­tal or tech­ni­cal effort is of no avail.

 
Narrow Technocratic Musical Education
 
 
At around the turn of the cen­tury, even the com­pos­ers lost the crea­tive knowl­edge of the in­ner, men­tal mu­sic-form­ing proc­ess: as a non-mu­si­cal substitute the in­tel­lec­tual con­cept of twelve-tone com­po­si­tion was in­tro­duced, later on fol­lowed by the serial com­pos­ing tech­nique – which was quite in­ter­est­ing ar­ith­meti­cally, but com­pletely unlively as a con­cept for writ­ing mu­sic – as if there was no in­ner hear­ing at all.

 
The Loss of Creative Hearing
 
 
Thus, mu­sic was de­prived of its in­ner spark of life and con­se­quently could not be suc­cess­ful (as the era of “con­tem­po­rary mu­sic” – the avantgarde – bears au­di­ble wit­ness).
A mar­ginal phe­nome­non of this loss of the in­ner di­men­sion of crea­tive hear­ing is the pop, punk, and beat scene – the hapless call of the youth for the lost mu­sic.

 
The Call for the Lost Music
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

II.
THE CLASSICAL
TEACHING SCOPE
OF MUSIC

The Technology of
Human Forces

The Classical Scope
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The Universe of
Musical Sound-Spaces

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