GERMAN ACADEMY OF SCIENCES AND ARTS
GERMAN ACADEMY OF SCIENCES AND ARTS
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO ACADEMIC LIFE
   Faculties:   Music & Musicology · Philosophy · Medical Sciences · Education · Pythagoras · Consciousness · Humanities · Natural Science · The Dragon · The Veda · Culture · Opera & Arts

 

Home

Site Map

Basic Law of the Academy

The Cosmic
Education Programm

Introduction to the University of the Future

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

VIII.
EQUIVOCATION

Equivocation Due to
Separateness of
Meaning and Form

The Dual Musical Truth

Equivocation through
Deducing the Meaning
from the Form

Equivocation through
Deducing the Form
from the Meaning

Superficial Deduction

The System of the
Creative Process in Music

Contradiction
to Fundamental Truths
in the Musical
Gaining of Knowledge

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the University

 

 






UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   VIII
     
 
EQUIVOCATION
     
         
 
Equivocation through Deducing
the Form from the Meaning


   
 
Hav­ing reached the ab­so­lu­te mu­si­cal force-field of the har­mony, we real­ized that the ac­tual re­al­ity of mu­sic exists be­yond space and time.
And from this new stand­point we found the rela­tive mu­si­cal proc­ess of evo­lu­tion in space and time to be a more or less exact, yet lim­ited re­flec­tion of this uni­ver­sal mu­si­cal-dy­namic re­al­ity.

 
The Absolute Reality of Music beyond Space and Time
 
 
And as we be­come crea­tive out of this state of pure self-aware­ness in a natu­ral and spon­ta­ne­ous man­ner, and as our crea­tive po­ten­tial ex­pands in a free flow of thought from the ab­so­lu­te mu­si­cal level of the har­mony to the rela­tive spaces of the se­quences, mo­tifs, and tones, then we carry in a very natu­ral man­ner the ab­so­lu­te mean­ing, which we found in the har­mony, like sparks of an im­meas­ur­able glow into the rela­tive world of mu­sic.

We are sure: we com­pose.

 
The Creative Path of Musical Specification
 
 
It is these sparks which then safely guide the lis­tener, who still stands at the be­gin­ning of his rela­tive mu­si­cal proc­ess of know­ing and who strives for the knowl­edge of higher truth, through the rela­tive mu­si­cal force-fields of the mu­si­cal sound-space, of the mo­tifs, and of the se­quences, and into the ab­so­lu­te mu­si­cal world of the har­mony, and which sys­tem­ati­cally put him into the po­si­tion of a mu­si­cal crea­tor.

 
Lights on the Way to Musical Knowledge
 
 
Thus, as mu­si­cal crea­tors, we very natu­rally deduce from the mean­ing of mu­sic with­out space and time, to the form of mu­sic within space and time, and we know mean­ing and form one af­ter the other – i.e. sepa­rate from each other in time.

 
Evolution of the Musical Force-Fields
 
 
With re­spect to the mu­sic lis­tener, how­ever, the se­quence is re­versed.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
.