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

X.
THE ULTIMATE GOAL OF GAINING KNOWLEDGE
IN MUSIC

Ultimate Knowledge
in Music

The Creative Power
of the Absolute
Sound-Substance

The Art of Discrimination
in Music

The Art of Not Being
Bound in Music

The Six Treasures
of Musical Cognition

Control over the Mind

Control over the Sense
of Hearing

Abstaining from Limitation

Patience

Belief

Equanimity

Desire for Liberation

 

 

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   X
     
 
THE ULTIMATE GOAL OF GAINING KNOWLEDGE IN MUSIC
     
         
 
Belief


   
 
As long as we search for truth in the lim­ited field of the mu­si­cal forces, we will be­lieve that higher mu­si­cal fields of cog­ni­tion exist and that we can reach them on our way of knowl­edge.
In this state of rela­tive mu­si­cal cog­ni­tion only the im­me­di­ate, lim­ited mu­si­cal struc­ture ac­tu­ally exists for us, and based on our ex­peri­ence of the tonal rep­re­sen­ta­tion we ini­tially per­ceive only the world of the mu­si­cal sound-space ex­ist­ing; the motif-space still re­mains closed to us.

 
Believing in the Truth in Music
 
 
When we have en­tered the mu­si­cal motif-space later in the pro­gress of our mu­si­cal know­ing, then we can take the re­al­ity of the mo­tifs for gran­ted; the world of the se­quences, how­ever, is still closed to us.
Even­tu­ally, when we have en­tered the mu­si­cal force-field of the se­quence by cog­ni­tion, then the se­quences appear to us as a re­al­ity, and yet the in­fi­nite force-fields of the har­mony remain to be dis­cov­ered.

 
Believing in Higher Musical Fields of Cognition
 
 
When, dur­ing our proc­ess of cog­ni­tion, we de­duced the motif-space from the mu­si­cal sound-space, we did so by our abil­ity of be­lief.
Ini­tially, we be­lieved only very gen­er­ally in the ex­is­tence of sub­tler forces which gov­ern the mu­si­cal sound-space from within.

 
Musical Belief Moves the Stars of Music
 
 
This be­lief en­cour­aged our mu­si­cal proc­ess of cog­ni­tion and speeded our entry into the world of the mo­tifs.

   
 
Hav­ing reached the mu­si­cal force-field of the mo­tifs, our be­lief turned into con­fi­dence; it so turned out that the in­ner world of forces in the mu­si­cal sound-space, so far only as­sumed, really exists – that there are forces which, from a field of a higher mu­si­cal or­der, di­rect the ele­ments of the mu­si­cal tone-space, the tones, in their move­ment, in their struc­tural changes.

 
From the Musical Belief to Musical Cognition
 
 
In the same man­ner, we pro­ceeded fur­ther into the higher mu­si­cal fields of cog­ni­tion, and going through the motif-space and the se­quence-space, we fi­nally ar­rived at the in­fi­nite mu­si­cal space of the har­mony.
Si­mul­ta­ne­ously, our be­lief in each new mu­si­cal force-field re­spec­tively turned into con­fi­dence; what used to be an as­sump­tion or hy­pothe­sis so far, turned into per­sonal proof: the in­ner force-fields, only as­sumed so far, in­deed ex­isted in re­al­ity.

 
Revelations in the Higher Musical Fields of Knowledge
 
 
Once we have reached the world of the har­mony, we per­ceive very dis­tinctly that this ab­so­lu­te mu­si­cal force-field of the har­mony alone truly exists – that in con­trast to that, the rela­tive force-fields, which we had taken for so real so far, in re­al­ity do not exist at all but are rather a mirage-like ex­pres­sion of the to­tal mu­si­cal re­al­ity within the ab­so­lu­te field of the har­mony.

 
Musical Shadow Images
 
 
This be­ing so, we even have to make our­selves be­lieve – just to put some sense into our mak­ing mu­sic – that mu­si­cal truth can be found in the rela­tive mu­si­cal proc­ess.
For, as we cog­nize in the ab­so­lu­te force-field of the har­mony and draw from it, our very clear ex­peri­ence is: that, be­ing a mere re­flec­tion of this per­fect, ab­so­lu­te force-field of mu­sic, the re­stricted, rela­tive mu­si­cal force-field is in re­al­ity not at all existant.

 
Believing in the Reality of the Musical Performance
 
 
Logi­cally, af­ter such ex­peri­ence, we should ex­pect our­selves to re­frain from ac­tion in that shad­owy world in the first place; for what can we ex­pect from such pseudo acts? Our ab­so­lu­te mu­si­cal world of the har­mony alone has true value.

 
Musical Questions of Conscience of the Creative Music Listener
 
 
But from our per­sonal ex­peri­ence we know that we went in steps of knowl­edge from the lim­ited mu­si­cal proc­ess of gain­ing knowl­edge to this in­fi­nite space of the har­mony, and that there­fore it should well be pos­si­ble to make the in­fi­nite value of the har­mony shine through in the rela­tive mu­si­cal proc­ess of cog­ni­tion – even in a quasi imagi­nary form.

 
The Light of Music in the Practice of the Performance
 
 
This we know from our past ex­peri­ence, for we have gradu­ally per­ceived the ab­so­lu­te mu­si­cal force-field of the har­mony our­selves dur­ing our rela­tive mu­si­cal proc­ess of know­ing.
But look­ing out from the height of our pre­sent stand­point in the har­mony to the rela­tive worlds of mu­sic, our very per­sonal im­pres­sion is that, com­pared with the real, ab­so­lu­te, mu­si­cal force-field of the har­mony, these sphe­res have no real value of their own.

   
 
This we know from our past ex­peri­ence, for we have gradu­ally per­ceived the ab­so­lu­te mu­si­cal force-field of the har­mony our­selves dur­ing our rela­tive mu­si­cal proc­ess of know­ing.
But look­ing out from the height of our pre­sent stand­point in the har­mony to the rela­tive worlds of mu­sic, our very per­sonal im­pres­sion is that, com­pared with the real, ab­so­lu­te, mu­si­cal force-field of the har­mony, these sphe­res have no real value of their own.

 
Memories of the Musical Road of Fulfilment
 
 
And with our rela­tive and ab­so­lu­te mu­si­cal ex­peri­ence di­verg­ing, we hoped like be­liev­ers to suc­ceed in pic­tur­ing the ab­so­lu­te mu­si­cal re­al­ity in the rela­tive lim­ited mu­si­cal proc­ess of know­ing.

 
The Belief of the Composer
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
.