DEUTSCHE AKADEMIE DER HARMONIE
DEUTSCHE AKADEMIE DER HARMONIE
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Grundgesetz der Akademie

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Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

I.
THE PROCESS OF
CREATING MUSIC

The World of
Enlivened Silence

The Origin of the
Art of Sound

Responsible Authorship

The Firmament of Music

Creative Music Listening

Writing Down the Score

The Conventional
Practice of Notation

The Error of the Interpreter

The Language of Truth

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   I            
  THE PROCESS OF CREATING MUSIC            
         
 
The Origin of the Art of Sound


   
 
The ori­gin of mu­sic is at the ori­gin of our hu­man think­ing, where our feel­ing and our un­der­stand­ing be­gin. It is also where our hear­ing be­gins, for the in­ner hear­ing origi­nates where the world of our think­ing be­gins.

 
Where our Feeling and Understanding begin
 
 
Ac­cord­ingly, the ori­gin of mu­sic is not at all of his­toric na­ture, but it is per­ma­nent, ever-pre­sent; it is the “Now,” em­brac­ing past and fu­ture.

 
The Unhistorical History of Music
 
 
Mu­sic arises in man from the level of the com­mon ori­gin of feel­ing, un­der­stand­ing, and hear­ing. With his sense of hear­ing, his in­ner ear, the mu­si­cal crea­tor pur­sues the thought that is ris­ing from the si­lence of his heart, and by sur­vey­ing it with the help of his sense of hear­ing, he com­pre­hends its mu­si­cal struc­ture.

 
The Musical Thought Rising
 
 
Dur­ing this proc­ess of sur­vey­ing, his in­tel­lect, on the level of his in­ner feel­ing and on the level of his un­der­stand­ing, reg­is­ters the ex­peri­ence of his sense of hear­ing, evalu­ates it and takes cor­rective de­ci­sions for the course of the mu­si­cal event:
This, really, is the field of prac­ti­cal com­pos­ing.

 
Integrated Musical Creation
 
 
Ini­tially, the com­poser does not hear a fin­ished thought – i.e. with his sense of hear­ing he does not sur­vey a thought that is al­ready pro­duced. From the very be­gin­ning al­ready, at the ori­gin of a thought, he de­cides deep within him­self, what and how he will think.

 
The Place of Origin of the Musical Thought
 
 
Ac­cord­ingly, for the mu­si­cal crea­tor, the in­ner tone or sound, per­ceived with his sense of hear­ing, al­ready is the end of his com­pos­ing, not its be­gin­ning.

 
Beginning and End of the Art of Sound
 
 
Sur­vey­ing the men­tal mu­si­cal event with his in­ner sense of hear­ing not only serves the mu­si­cal crea­tor to per­son­ally verify, but also to enjoy his in­ner con­cert.

 
The Inner Concert
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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