DEUTSCHE JUGEND UNIVERSITÄT
DEUTSCHE JUGEND UNIVERSITÄT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
.
 
PART   V
  41  
 
THE THREE GREAT STEPS OF THE
MUSICAL PROCESS OF GAINING KNOWLEDGE
     
         
 
The Art of
Drawing Conclusions in Music


   
 
In the mu­si­cal proc­ess of gain­ing knowl­edge the art of rea­son­ing lies in the lis­tener con­clud­ing from a level of lower mu­si­cal knowl­edge to a level of higher mu­si­cal knowl­edge – from a level of lower mu­si­cal or­der to a level of higher mu­si­cal or­der.
This proc­ess of gain­ing knowl­edge in mu­sic we also call the proc­ess of mu­si­cal re­fine­ment – the proc­ess of tran­scend­ing mu­si­cal or­ders; and on the level of our mind we also call it gen­er­ally the proc­ess of tran­scend­ing.

 
The Systematic-Logical Path through the Musical Orders
 
 
The art of draw­ing con­clu­sions in mu­sic sys­tem­ati­cally leads us lis­ten­ers into the depth of the mu­si­cal mean­ing.

 
The Knowledgeable Path to the Musical Meaning
 
 
By vir­tue of our fac­ulty of logic, we con­clude in a sys­tem­atic proc­ess of know­ing from the or­der of the tones, that re­sound in the mu­si­cal sound-space, the in­au­dible mo­tifs in­her­ent in the tones.
We no­tice more and more clearly that in the mu­si­cal sound-space the tones move on very dis­tinct orbits.

   
 
We per­ceive more and more clearly that these orbits are not pe­ri­odi­cal, and that they are not sim­ply non-pe­ri­odi­cal ei­ther, but that their change is mean­ing­ful, that they are re­lated to each other.
And with good rea­son we there­fore con­clude that they must be gov­erned by forces of a higher or­der.

   
 
And by ex­amin­ing with our awak­en­ing un­der­stand­ing these forces of a higher or­der, which seem to gov­ern the mu­si­cal tone-space from within, we fi­nally rec­og­nize the force-fields of the mo­tifs, and we per­ceive the mo­tifs in the tonal frames as if in bod­ies.
We com­pre­hend them with the same sim­ple in­sight as we rec­og­nize the in­di­vid­ual char­ac­ter that dwells in the body of a liv­ing be­ing.

 
Musical Journey into the Force-Fields of the Motifs
 
 
In the course of the mu­si­cal event, we gradu­ally be­come more fa­mil­iar with the forces of the mu­si­cal mo­tifs, for we real­ize how they move the tones as their ce­les­tial bod­ies in the fir­ma­ment of mu­sic; and sud­denly we dis­cover in the mo­tifs the natu­ral in­di­vid­ual forces of liv­ing be­ings il­lus­trated – our own in­di­vid­ual hu­man forces.

 
The Listener Perceives the Rulers over the Stars of Music
 
 
Also we no­tice that, as it un­folds in the melody, the mu­si­cal motif not only rules those tones that di­rectly sur­round it – that it is not con­cerned with its own body alone; but we real­ize that the motif also plays with the tones of other mo­tifs.
In­deed, even­tu­ally we even dis­cover a di­rect in­di­vid­ual in­ter­play be­tween the mo­tifs them­selves.

 
The Play of Motifs
 
 
At this moment of our proc­ess of gain­ing knowl­edge in mu­sic, we lis­ten­ers have al­ready left the ma­te­rial-physi­cal world of the mu­si­cal sound-space.
Our focus is now mainly on the in­au­dible, yet so pow­er­ful in­di­vid­ual forces of the mo­tifs.

 
The Individual Forces of Music
 
 
And step by step, by focussing more and more on the mu­si­cal play of these motif forces among them­selves, and by dis­cov­er­ing in it the in­ter­play of in­di­vid­uals in gen­eral – our own in­ter­play with the in­di­vid­uals around us – we fi­nally real­ize that we our­selves are de­scribed in more and more mo­tifs, those mu­si­cal de­scrip­tions of in­di­vid­ual hu­man forces.

 
The Musical Journey to the Force-Fields of the Sequences
 
 
Even­tu­ally, we reach a point where we can no longer dis­tin­guish whether we as­soci­ate only with this motif or also with that motif – with these or with those forces of our in­di­vid­ual un­fold­ment. Then we find our­selves in the po­lyph­ony, walk­ing many ways of in­di­vid­ual un­fold­ment si­mul­ta­ne­ously, thus ad­vanc­ing into the mu­si­cal force-fields of the se­quences.
Just as a mother or a fa­ther see them­selves un­folded in their chil­dren, we now see our­selves pic­tured with our very per­sonal quali­ties in the many mu­si­cal un­fold­ments of the mo­tifs.

 
The Social Sphere of Life within the Musical Sound-Space
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 2

V.
THE THREE GREAT
STEPS OF THE
MUSICAL PROCESS OF
GAINING KNOWLEDGE

The Three Steps
towards Truth

The Cognizant Music
Listener

The Object of Knowing
in Music

The Process of Knowing

The Art of Drawing
Conclusions in Music

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition