UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
  PART   II   14  
  THE PROCESS OF CREATING MUSIC      
         
 
The Musical Career


 
 
 
The mu­si­cal career truly be­gins where mu­sic be­gins. He who really de­sires to cre­ate mu­sic, must know how and from where it origi­nates.

 
The Basis of Studying Music
 
 
It may sound absurd but even the larg­est part of what is termed “clas­si­cal mu­sic” to­day is be­ing pro­duced with­out fun­da­men­tal ex­per­tise, be­cause the of­fi­cial mu­sictrain­ing In­sti­tu­tions are lack­ing a sys­tem to sci­en­tifi­cally in­ves­ti­gate, or even teach, the ori­gin of mu­sic.

 
Fundamental Expertise
 
 
In In­sti­tu­tionalized mu­sic edu­ca­tion the ori­gin of mu­sic is as­sumed to be where the proc­ess of the ac­tual crea­tion of mu­sic has al­ready ended.
By quot­ing the great com­pos­ers of all times, the bi­og­ra­phies con­firm that not one of them learned com­pos­ing from out­side, from any In­sti­tu­tion. In fact, they even were often ex­cluded from of­fi­cial stud­ies be­cause of their con­tempt for the purely su­per­fi­cial stan­dards of mu­si­cal train­ing.

 
The Testimony of the Great Musical Artists
 
 
There­fore, the great mu­si­cal poets of man­kind passed the love of mu­sic and the tech­nique of com­pos­ing qui­etly and di­rectly on to each other – with­out the teach­ing In­sti­tu­tion as a me­dia­tor.

 
The Great Musical Poets as Free and Independent Teachers
 
 
Un­der­standa­bly there­fore, the pure sci­ence of mu­sic was a se­cret sci­ence in which only very few were ac­com­plished – the great com­pos­ers them­selves.
Birth seemed to de­ter­mine who was to be their dis­ci­ple, and who was to pass on the knowl­edge of cre­at­ing mu­sic, with the means of his time, to his own gen­era­tion.

 
The Secret Science
 
 
At one time or an­other in his life, maybe un­der the im­pres­sion of a very poor pres­en­ta­tion of a great com­po­si­tion, such a young man would, within his mind, free the mas­ter­piece from the de­fi­cien­cies of the in­ter­pre­ta­tion, and then ex­peri­ence his own per­fect per­form­ance.

 
The Perfect Personal Performance
 
 
Such a men­tal re­vi­sion meant de­let­ing the as­pect of in­ter­pre­ta­tion, and re­al­iz­ing the very sub­stance of the com­po­si­tion.

 
The Creative Substance
 
 
In this man­ner, af­ter some prac­tice, the se­cret tal­ented stu­dent had ac­quired the skill of com­pos­ing from the great mu­si­cal poet, and the foun­da­tion for his own mu­si­cal-crea­tive task was laid.

 
The Secret Student
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 1

II.
THE CLASSICAL
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