DEUTSCHE AKADEMIE DER HARMONIE
DEUTSCHE AKADEMIE DER HARMONIE
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Grundgesetz der Akademie

The Cosmic
Education Program

Introduction

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

XI.
INDIRECT AND DIRECT
GAINING KNOWLEDGE
IN MUSIC

Ancient Truths in Music

The Golden Net of
Knowledge in Music

The Great Musical
Sense of Achievement

The Organs of Cognition in the Process of Gaining
Knowledge in Music

Necessity of the
Neurophysiological
Integration

The Performance of the
Self-Awareness in the
Musical Process of
Knowing

The Self-Awareness
Systematically Practises
Self-Identification

Insight into the Basis
of Music

Fundamentals of
Modern Musicology

Limitations of Conventional
Musical Education

Increase of Performance
of the Intellect in Music

The Eigenfunction of
the Intellect as the
True Musical Creator

The Journey to the Eternal Sources of Music

The Highest Intellectual
Achievement
Possible to Man

Authentic Successful
Musicology

The Music Listener
at the Origin of All
Creative Thinking

Purposeful Development
of Performance in the
Field of our
Neurophysiology

The Musician and His
Surroundings

The True Organs of
Finding Truth in Music

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the Academy

 

 






UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   XI
     
 
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC
     
         
 
Increase of Performance
of the Intellect in Music


   
 
If our in­tel­lect wants to in­crease its per­form­ance, it must refine it­self struc­tur­ally.
For this, the co­or­di­na­tion of our feel­ing and un­der­stand­ing is of cru­cial im­por­tance; and this co­or­di­na­tion in turn is per­formed by our self-aware­ness.

 
Increase of Structural Density through the Coordination of Feeling and Understanding
 
 
Con­se­quently, our self-aware­ness is re­spon­si­ble for the proc­ess of condensation and thus, for the in­crease of per­form­ance of our in­tel­lect, and it pro­vides the nec­es­sary means.

 
The Contribution of the Self-Awareness in the Increase of Performance of the Intellect
 
 
As with our self-aware­ness, within our in­tel­lect, too, we find a dif­fer­ent struc­tural den­sity.

   
 
Where in our in­tel­lect the struc­tural den­sity is lower, we rec­og­nize our forces of un­der­stand­ing – the natu­ral fac­ulty of dis­crimi­na­tion of our in­tel­lect – in their func­tion most dis­tinctly; and this is also from where the re­freshing coolness streams into our mind and gives our think­ing the crys­tal-clear mu­si­cal form.

 
Different Structural Densities of the Intellect
 
 
And where in our in­tel­lect the struc­tural den­sity is higher, we iden­tify our forces of feel­ing, our natu­ral fac­ulty of syn­the­sis, most clearly.
And this is also from where the enli­ven­ing warmth streams into our mind and gives our think­ing the crea­tive flow.

 
The Structural Range of the Intellect from Feeling to Understanding
 
 
A bal­anced re­la­tion be­tween the cog­ni­tion of unity and of mul­ti­plic­ity in a mu­si­cal work – dur­ing the crea­tive proc­ess of mu­sic it­self, as well as dur­ing the mu­sic hear­ing – re­quires a bal­anced re­la­tion be­tween the feel­ing and the un­der­stand­ing of the com­poser dur­ing his crea­tive proc­ess: it is there­fore based on the in­te­gra­tion of his in­tel­lect.

 
A Balanced Relation between Diversity and Unity in Music
 
 
If, for ex­ample, in the proc­ess of cre­at­ing mu­sic his feel­ing pre­domi­nates in the com­poser, the den­sity of in­for­ma­tion is higher, and the risk arises that, due to the den­sity be­ing too high, the di­ver­sity in­her­ent in the com­po­si­tion is not per­ceived by his lis­tener.

 
Balanced Function of the Composer’s Feeling and Understanding
 
 
If, how­ever, his un­der­stand­ing pre­domi­nates in the com­poser dur­ing his crea­tive proc­ess, then the mu­si­cal den­sity of the work is lower and the as­pect of di­ver­sity domi­nates over unity.
Thus, there is dan­ger that the unity of the com­po­si­tion is not per­ceived by his lis­tener.

   
 
Any kind of mu­si­cal cog­ni­tion – which in­deed rests on the com­pre­hen­sion of the mu­si­cal for­ma­tive forces of the motif, the melody, the se­quence, and the har­mony – is ex­clu­sively based on the in­te­grated func­tion­ing of our in­tel­lect.

 
The Functioning of the Intellect in Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
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