WORLD UNION OF THE ACADEMIES OF ACADEMIC EXCELLENCE
WORLD UNION OF THE ACADEMIES OF ACADEMIC EXCELLENCE
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO ACADEMIC LIFE
   Faculties:   Music & Musicology · Philosophy · Medical Sciences · Education · Pythagoras · Consciousness · Humanities · Natural Science · The Dragon · The Veda · Culture · Opera & Arts

 

Home

Site Map

Basic Law of the Academy

The Cosmic
Education Programm

Introduction to the University of the Future

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

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

The Musical Experience of the Almighty Creative
Force of the Harmony

The Purpose of
Musical Logic

Musical Enlivening of
the Self-Awareness in
the Listener

The Joy-Giving Process
of Creativity

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the University

 

 






UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   V
     
 
THE THREE GREAT STEPS OF THE
MUSICAL PROCESS OF GAINING KNOWLEDGE
     
         
 
Musical Enlivening
of the Self-Awareness in the Listener


   
 
In par­ticu­lar, the proc­ess of cog­ni­tion relies on the mu­si­cal enliv­en­ment and stimu­la­tion of our self-aware­ness, which is achieved through our tools of cog­ni­tion, feel­ing and un­der­stand­ing, and which gradu­ally puts us lis­ten­ers into the role of a crea­tor of mu­sic.

 
Systematic Path of the Listener towards the Musical Creator
 
 
The in­te­gra­tion of these three si­mul­ta­ne­ous proc­esses in the proc­ess of gain­ing knowl­edge makes up the en­tirety of our gain­ing knowl­edge in mu­sic.
And at dif­fer­ent times of the whole proc­ess, some­times the one, and some­times the other of these three proc­esses domi­nates.

 
Integration of the Three Great Steps of Music
 
 
At the be­gin­ning of eve­ry hear­ing proc­ess in a con­cert of clas­si­cal mu­sic, first of all the outer hear­ing domi­nates, and only then the pro­jec­tion of the acous­tic tone pat­tern in our men­tal space.

 
Gradual Awakening of the Musical Tools of Cognition
 
 
But very gradu­ally the in­tel­lec­tual fac­ulty of dis­crimi­na­tion of our un­der­stand­ing and the in­tel­lec­tual fac­ulty of syn­the­sis of our feel­ing gain in­flu­ence, and we enter the in­ner crea­tive worlds of mu­sic – first the in­ner sound-spaces, then the motif-spaces, then the se­quence-spaces, and fi­nally the in­fi­nite space of the har­mony.

   
 
In this moment, our in­ner breath is stimu­lated by the in­ner breath of the mu­sic to flow, and its enli­ven­ing winds permeate our mind and make it vibrate as the ab­so­lu­te sound-sub­stance.

 
Knowing the Dynamic Continuum of Absolute Music
 
 
As soon as our mind has struc­tur­ally been raised in this man­ner to the value of com­pre­hen­sive cos­mic func­tion, its proc­ess of know­ing also as­sumes the func­tion of cos­mic achieve­ment: on the level of unity we per­ceive all the di­ver­sity of mu­sic as a dy­namic con­tin­uum be­yond space and time, and we ex­peri­ence eve­ry in­di­vid­ual as­pect as an in­te­gra­tive part of the whole.

   
 
Only now our self-con­scious­ness gains the sym­pa­thetic, life-sup­port­ing en­vi­ron­ment which it needs for its per­sonal free un­fold­ment, and it be­gins to stir deep within us; it be­comes crea­tively ac­tive and en­ters the realms of our mind which swing in unity.

 
The Self-Awareness Assumes the Free Rulership over the Musical Tools of Cognition
 
 
In this moment our self-con­scious­ness as­sumes the free rul­er­ship over our tools of cog­ni­tion, as­sumes the co­or­di­nated rul­er­ship over feel­ing and un­der­stand­ing and de­ter­mines with these, as its for­ma­tive forces, all fur­ther mu­si­cal de­vel­op­ment.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
.