FREIE VOLKSUNIVERSITÄT
FREIE VOLKSUNIVERSITÄT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
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PART   IV
  29  
 
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH
     
         
 
The Example of the Composer
in the Cognitive Process in Music


   
 
No copy can be made with­out an origi­nal; and like­wise, in the field of mu­sic the lis­tener, too, will not be able to walk the path of knowl­edge if the com­poser has not walked it in ad­vance him­self.

 
The Composer on the Musical Path of Cognition
 
 
It may cer­tainly appear to the in­ter­preter that he merely de­scribes some kind of way to the lis­tener; for the true mu­sic lis­tener, how­ever, the com­poser him­self treads this path in the course of the mu­si­cal act and thus ac­com­pa­nies his lis­tener per­son­ally to the heights of mu­si­cal knowl­edge.

 
The Musical Creator and the Listener on the Musical Path of Cognition
 
 
From this it is plau­si­ble that, while he cre­ates it, the com­poser walks off that path of cog­ni­tion, which he de­scribes in the mu­si­cal work.
This again re­quires natu­rally that the com­poser walks this path with all of his be­ing, from the depth of his heart and with a clear mind, and that he com­mits all of his feel­ing and un­der­stand­ing: to pave the way of mu­si­cal gain­ing knowl­edge in all its as­pects for his lis­tener.

 
The Composer Creates the Path of Knowledge for the Listener
 
 
Un­der­standa­bly, hav­ing been paved in that man­ner, such a path of cog­ni­tion rules out the con­cept of an outer act of com­pos­ing from the very root, and de­mands from the com­poser clairvoyant abili­ties; for right from the onset of his mu­si­cal ac­tiv­ity the com­poser must allow the great, sun-like radi­ant goal of self-knowl­edge to shine from his men­tal eye so that his lis­tener may rush un­per­turbedly through the great worlds of the mu­si­cal force-fields.

 
The Goal of Self-Knowledge Shining like the Sun
 
 
As men­tioned ear­lier, the com­poser has a two­fold task here, and si­mul­ta­ne­ously he sets the mu­sic lis­tener a two­fold ex­ample:

   
 
on the one hand, dur­ing the en­tire proc­ess of cre­at­ing mu­sic the com­poser him­self re­mains in the state of pure self-aware­ness and does, in this re­spect, not in the least enter the field of sound­ing mu­sic – he re­mains in the per­fect mu­si­cal world of the har­mony;

 
The Perfect Music-World of the Harmony
 
 
on the other hand, the com­poser si­mul­ta­ne­ously leaves this unlim­ited world and en­ters the lim­ited world of the se­quences, the mo­tifs, and even the out­er­most field of the mu­si­cal sound-space – the ma­te­rial sphere of mu­sic.

 
The Way of the Composer to the Music Listener
 
 
So, he en­ters the world where his lis­tener pa­tiently waits, he takes him by the hand and guides him on joyful ways through the motif-spaces and se­quence-spaces into the in­fi­nite do­main of the har­mony, to­wards him­self.
In that man­ner, the mu­si­cal crea­tor guides his lis­tener into that world where the lis­tener cog­nizes him­self – where cre­at­ing and lis­ten­ing to mu­sic are one: where all things are one.

   
 
While on the one hand, in the ab­so­lu­te force-fields of the har­mony, the com­poser sets the mu­sic lis­tener the ex­ample of some­one liv­ing in the light of truth, cog­niz­ing uncloudedly, immovable on the out­side, sway­ing in his own hap­pi­ness – in­deed the pic­ture of a true mu­si­cal crea­tor – on the other hand, si­mul­ta­ne­ously he is the per­sonal ex­ample of a suc­cess­ful mu­sic lis­tener, in that he walks con­fi­dently ahead of the lis­tener from the lim­ited world of the mu­si­cal sound-space to the unlim­ited sphe­res of the har­mony.

 
The Music Creator in the Light of Truth
 
 
Walk­ing the path of mu­si­cal knowl­edge for him­self gives the lis­tener the ex­peri­ence of right ac­tion.
For when he reaches the heights of mu­si­cal truth while com­ing from the mu­si­cal sound-space, and ar­rives at the ab­so­lu­te mu­si­cal fields of the har­mony, he makes the per­sonal ex­peri­ence of non-ac­tion; be­cause, in the field of the har­mony, the lis­tener sud­denly real­izes that mu­sic is self-crea­tive – flow­ing within it­self, act­ing within it­self.

 
Action and Non-Action as Musical Unity
 
 
And when even­tu­ally the lis­tener him­self, from his state of self-aware­ness, be­comes crea­tive very natu­rally and com­pletely ef­fort­lessly, he ex­peri­ences the unity of non-ac­tion and ac­tion – by re­main­ing, on the one hand, in the field of the har­mony, i.e. rest­ing in the state of pure self-knowl­edge, and by crea­tively tread­ing the path, on the other hand, in his self-cre­ated mu­si­cal world, and to act re­ju­ve­nat­ingly in it.

   
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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UNIVERSAL
MUSIC THEORY 2

IV.
THE LIVING EXAMPLE
OF THE MUSICAL COGNITION OF TRUTH

The Example of the
Composer in the
Cognitive Process in Music

Fixed Principles in the Process of Gaining
Knowledge in Music

The Stream of Musical
Gaining Knowledge

The Process of Musical Consideration

Streams of Energy and Intelligence in the
Process of Gaining
Knowledge in Music

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Musical Process
of Knowing

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Carries his Natural Responsibility

The Listener’s Freedom from Fate

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition