DEUTSCHE AKADEMIE DER WISSENSCHAFT
DEUTSCHE AKADEMIE DER WISSENSCHAFT
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Peter Hübner
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MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

X.
THE ULTIMATE GOAL OF GAINING KNOWLEDGE
IN MUSIC

Ultimate Knowledge
in Music

The Creative Power
of the Absolute
Sound-Substance

The Art of Discrimination
in Music

The Art of Not Being
Bound in Music

The Six Treasures
of Musical Cognition

Control over the Mind

Control over the Sense
of Hearing

Abstaining from Limitation

Patience

Belief

Equanimity

Desire for Liberation

 

 

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition
.
 
PART   X
     
 
THE ULTIMATE GOAL OF GAINING KNOWLEDGE IN MUSIC
     
         
 
Ultimate Knowledge in Music


   
 
The har­mony is the ulti­mate goal of gain­ing knowl­edge in mu­sic, the ulti­mate cog­ni­tion of mu­sic.
The har­mony is able to edu­cate man in truth and to re­veal to him that mu­sic in its pu­rity is noth­ing else than life it­self, as it is natu­rally lived on the level of pure self-aware­ness.

 
Musical Education of Man in Truth
 
 
Only the har­mony dis­closes to the lis­tener striv­ing for mu­si­cal knowl­edge the true re­la­tion­ship be­tween the ab­so­lu­te mu­sic and its lim­ited ex­pres­sion, the rela­tive mu­si­cal force-fields.

 
The Unity of Absolute and Relative Musical Cognition of Reality
 
 
Know­ing the har­mony is based on the per­cep­tion of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te tone-sub­stance, that cos­mic vi­bra­tion which, on the one hand, com­bines the ab­so­lu­te mu­si­cal world of the har­mony with the rela­tive mu­si­cal worlds of the se­quences, the mo­tifs, and the mu­si­cal sound-space, and keeps them to­gether, and which on the other hand, from the in­fi­nite full­ness of the har­mony be­yond space and time, pro­duces the full­ness of the rela­tive mu­si­cal hap­pen­ing within space and time and trans­forms it into the gar­ment of the vari­ous mu­si­cal fields of cog­ni­tion.

   
 
In the state of pure self-aware­ness, look­ing out of the ab­so­lu­te mu­si­cal field of the har­mony into the rela­tive mu­si­cal proc­ess, the crea­tive lis­tener real­izes that all of this lim­ited mu­si­cal hap­pen­ing, those mu­si­cal worlds of the se­quences, the mo­tifs, and the mu­si­cal tone-space, do not exist so real as the ab­so­lu­te mu­sic in the in­fi­nite force-field of the har­mony.

 
View from the Absolute World of Music to the Relative Musical Process
 
 
Look­ing out from the world of the har­mony into the mu­si­cal force-fields of the se­quences, the mo­tifs, and the tones, the lis­tener is re­minded of the ex­peri­ences on his past rela­tive path of knowl­edge.

 
Unreal Musical Memories
 
 
The motif world, which gov­erns the mo­tifs from within, had not really been within his reach.
The world of the se­quences, which forms the basis of the mo­tifs and which gov­erns them from within, was not within his reach, ei­ther.

   
 
But still, he de­duced their ex­is­tence from the ef­fects which the mo­tifs and the se­quences had pro­duced in the mu­si­cal sound-space.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
                                     
                                     
                                     
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