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Grundgesetz der Akademie

The Cosmic
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Introduction

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Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

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

The Inner Logic of the
Musical Process
of Knowing

The Musical Creator
Carries his Natural Responsibility

The Listener’s Freedom from Fate

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   IV
     
 
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH
     
         
 
The Inner Logic
of the Musical Process of Knowing


   
 
Very clearly the lis­tener real­izes that only the ar­eas of a higher mu­si­cal or­der bring him more joy and greater hap­pi­ness.
There­fore, his de­ci­sion as to the path is not really a matter of much con­sid­era­tion; the ques­tion of whether to take the path to­wards an in­fe­rior mu­si­cal or­der, or to remain on the same level, or to fol­low the path to re­gions of a su­pe­rior mu­si­cal or­der, an­swers it­self from his ex­peri­ence: cer­tainly, he will natu­rally de­cide for greater per­sonal joy.
Ob­jec­tively, how­ever, the choice re­mains with him.

 
The Natural Forces of Fate in the Process of Musical Evolution
 
 
We know from ex­peri­ence that now and then man chooses the more un­com­fort­able, the more com­pli­cated, the less ful­fill­ing, the uglier, the meaner, the more life­less – be­cause of some outer, in­tel­lec­tual con­sid­era­tion he be­lieves that in the end he will still draw a greater gain from such choice; he hopes that by choos­ing the un­com­fort­able he will still reap more joy and greater hap­pi­ness in the end.

 
Detours of Human Gaining Knowledge beyond Music
 
 
The clas­si­cal com­poser does not build on such con­sid­era­tions; he thinks they are too com­pli­cated and there­fore unprac­ti­cal, if the joy of his lis­tener is con­cerned. For his mu­sic lis­tener, the com­poser aims at the di­rect way to in­ner hap­pi­ness and in­ner joy; he knows that, for hap­pi­ness to last, the first pre­req­ui­site lies in the co­or­di­na­tion of the lis­tener with the prime forces of na­ture, i.e. in the mu­si­cal unison of the mu­sic lis­tener with the in­fi­nite har­mony – in the lis­tener be­ing one with his uni­ver­sal self.

 
Coordination of the Music Lover with the Prime Forces of Nature
 
 
From the view­point of the mu­sic crea­tor then, eve­ry­thing for his mu­sic lis­tener re­sults from it­self; be­cause in the same way as, with the com­poser, the proc­ess of cre­at­ing mu­sic from the level of his self-knowl­edge very natu­rally fol­lows cos­mic laws of un­fold­ment, the joyful, crea­tive will of the lis­tener fol­lows the same com­pre­hen­sive, natu­ral laws of un­fold­ment from the height of his pure self-cog­ni­tion – once he has reached the mu­si­cal height of the har­mony – and there­fore moves with­out re­sis­tance in ac­cor­dance with na­ture.

 
Musical Knowledge of the Cosmic Laws of Unfoldment
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
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