DEUTSCHE AKADEMIE DER WISSENSCHAFTEN UND KÜNSTE
DEUTSCHE AKADEMIE DER WISSENSCHAFTEN UND KÜNSTE
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Grundgesetz der Akademie

The Cosmic
Education Program

Introduction

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
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

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   XI
     
 
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC
     
         
 
Ancient Truths in Music


   
 
The knowl­edge about our in­ner hu­man forces is defi­nitely not new; most proba­bly it is very an­cient.

 
The Knowledge about the Inner Human Forces
 
 
Mu­sic is par­ticu­larly quali­fied to convey this very knowl­edge – which might in­clude all other knowl­edge – but how then should one ex­pect mu­sic to sud­denly pro­duce some­thing com­pletely new?

   
 
The tools with which the tone crea­tors draw from the an­cient well of knowl­edge since times im­me­mo­rial have cer­tainly be­come obsolete again and again in the course of time – rusted, or in need of repair or even of re­ne­wal.
But nev­er­the­less, at all times the pure spring wa­ter in the well of eter­nal wis­dom was drawn vigourously and in­ces­santly.

 
Imperishable Source of Musical Truth
 
 
And those who pos­sessed the great­est skill here are known as the great com­pos­ers.
Cer­tainly, their urge arises from their per­sonal knowl­edge – their own in­ner ex­peri­ence – of the true nour­ish­ing value of this im­mor­tal­ity-grant­ing sound­ing sap of life.

 
The Immortality-Promising Nectar in Music
 
 
The im­pulse for their greater crea­tive deeds, how­ever, came just as much from their knowl­edge of the de­mand for this nectar in their sur­round­ings.

 
The Great Sound Creators as Dutiful Administrators of the Truth
 
 
Only in this way can we ex­plain the tirelessness and imperturbabil­ity with which they repaired the ves­sels of mu­si­cal com­mu­ni­ca­tion of truth which had be­come leaky and there­fore less ef­fi­cient, or with which they in­vented and em­ployed com­pletely new sound­ing ves­sels to convey knowl­edge.

   
 
All this ac­tiv­ity we com­monly call “mu­sic his­tory,” and we in­ter­pret it as the “de­vel­op­ment of the mu­si­cal forms.”

 
Unreal Musical History
 
 
This craft of re­pair­ing, im­prov­ing, and newly de­signing the mu­si­cal con­tainers for the ob­tain­ment of truth, was then mis­taken for the evo­lu­tion of a mu­sic the­ory.

 
Music Theory as the Evidence of the Systematic Strive for the Conveyance of Truth
 
 
But just as lit­tle as a vessel is iden­ti­cal to the wa­ter it car­ries, as lit­tle is our outer mu­si­cal his­tory and the mu­sic the­ory linked to it iden­ti­cal with the mu­sic – al­though it bears wit­ness of it.

   
 
No sur­prise then, if to­day one at­tempts to iden­tify mu­sic by its as­pect of sound, by ana­lyz­ing the grossest as­pects of the sounds, their rela­tive pitch and du­ra­tion, mak­ing one­self be­lieve to know mu­sic.
This effort re­minds of some­one look­ing from all sides at the wreck of a bucket, riddled with holes, and meas­ur­ing it, in or­der to deduce the na­ture of wa­ter in this way.

 
Conventional Musical Research Searching for the Means of Cognition
 
 
Cer­tainly, from the tightness and size of a con­tainer we may deduce, by usual stan­dards, its po­ten­tial of car­ry­ing wa­ter.
But the na­ture of the con­vey­ance of knowl­edge in mu­sic is not such that it al­lows in­sight into its magi­cal realm by so sim­ple a logic.

 
Conventional Music Analysis beyond Life
 
 
If we in­tended to enter the finer mu­si­cal layers of knowl­edge with a mu­si­cal vessel to fathom the truth en­closed in mu­sic, then we would need to adapt the struc­ture of the con­tainer to the con­di­tions of the mu­si­cal or­der pre­sent in each mu­si­cal layer.

 
The Density of the Musical Fields of Cognition
 
 
Now, a con­tainer for draw­ing mu­si­cal truths may be com­pared to a sieve which has holes of vari­able size so as to sift out the pieces of knowl­edge that are em­bed­ded in the vari­ous mu­si­cal layers of knowl­edge, and that are most con­spicu­ous there.
Thus the sieve re­mains very light, for if the holes were filled it would be harder to han­dle.

 
The Structural Flexibility of the Musical Tools of Knowing
 
 
If one re­stricted one­self to draw­ing wa­ter, for ex­ample, then a com­pletely closed vessel might be re­quired.
If, how­ever, one wants to catch live fish in the wa­ter, then for vari­ous rea­sons the shape of a net is more suited, and it has there­fore been most widely adopted.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
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