UNIVERSITÄT DER GESUNDHEIT
UNIVERSITÄT DER GESUNDHEIT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
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PART   I
  9  
 
THE OBJECT OF GAINING KNOWLEDGE IN MUSIC
     
         
 
The Structure of the Fields
of Cognition in Music


 
 
 
When the for­ma­tive quali­ties of our neu­ro­physi­ol­ogy pro­ject the out­ward mu­si­cal re­al­ity of the con­cert onto the sur­face of our mind, and our think­ing as­sumes the form of the outer mu­si­cal pres­en­ta­tion, then our (in­ner) sense of hear­ing com­pre­hends in its proc­ess of per­cep­tion the sound­ing struc­ture of the mind and passes this in­for­ma­tion of the mu­si­cal event through our in­tel­lect (through our feel­ing and our un­der­stand­ing) on to our self-aware­ness.

 
The Mixed Form of Inner and Outer Musical Comprehension of Reality
 
 
By iden­tifying it­self with the mu­si­cal pro­jec­tion as it sounds in our mind our self-aware­ness, in turn, is be­ing stimu­lated to vibrate, and by means of our in­tel­lect it pro­duces associative pat­terns, re­lated to the mu­si­cal work, on the sur­face of our mind. In prin­ci­ple, pro­duc­ing these pat­terns of as­so­cia­tion cor­re­sponds to a crea­tive act.

   
 
But still, there is a dif­fer­ence to a true crea­tive act, in that the crea­tive im­pulse came from with­out and not ex­clu­sively from within.

 
The Creative Stimulation from Outside
 
 
This is the method of “crea­tive hear­ing,” and it serves to edu­cate the mecha­nism of our crea­tiv­ity.

 
Training the Musical Creativity
 
 
In this proc­ess, our in­tel­lect is taught to im­ple­ment cor­rective de­ci­sions and to rec­tify the pic­ture of the mu­si­cal re­al­ity which is de­liv­ered from out­side by the in­ter­preter and to refine it: to bring it to per­fec­tion: to re­store it to the state of truth that was origi­nally ex­pres­sed by the com­poser.

   
 
The tones rep­re­sent the world of the un­enli­vened na­ture just as, for ex­ample, phys­ics and chem­is­try cir­cum­scribe it with words.
Thereat, in the mu­si­cal sound-space, mu­sic rep­re­sents this un­enli­vened sphere of na­ture di­rectly while phys­ics and chem­is­try, for ex­ample, only de­scribe it, cir­cum­scribe it with words, which lack the char­ac­ter of an il­lus­tra­tion.

 
The Unenlivened Nature in Music
 
 
By ap­ply­ing higher prin­ci­ples of or­der and more subtle means of form­ing, the mu­si­cal mo­tifs as the in­ner, tran­scen­den­tal re­al­ity of the tones depict the world of in­di­vid­ual cog­ni­tion just as psy­chol­ogy, too, de­scribes it with words.
By vir­tue of the mu­si­cal logic, mu­sic in this proc­ess pic­tures the motif-space, this sub­jec­tive in­di­vid­ual sphere of knowl­edge di­rectly in the depth of the mu­si­cal sound-space whereas psy­chol­ogy de­scribes it with words alone, with­out the char­ac­ter of an il­lus­tra­tion.

 
The Enlivened Nature in Music
 
 
By ap­ply­ing even higher prin­ci­ples of or­der and even more subtle means of form­ing, the se­quences as the in­ner tran­scen­den­tal re­al­ity of the mo­tifs rep­re­sent the world of liv­ing so­cial knowl­edge just as so­ci­ol­ogy, too, cir­cum­scribes it with words.
By vir­tue of the mu­si­cal logic, mu­sic di­rectly pic­tures this sub­jec­tive, so­cial sphere of knowl­edge in the depth of the motif-spaces while so­ci­ol­ogy de­scribes it only by word, with­out the char­ac­ter of an il­lus­tra­tion.

 
Social Communities in Music
 
 
By ap­ply­ing the high­est mu­si­cal prin­ci­ples of or­der and the most subtle mu­si­cal means of form­ing, the har­mony as the in­ner, tran­scen­den­tal re­al­ity of the se­quences de­picts the world of in­di­vid­ual, so­cial, and eco­logi­cal unity, as psy­chol­ogy, so­ci­ol­ogy, and ecol­ogy, too, to­gether cir­cum­scribe it with words.

 
The Manifold Unity of Life in Music
 
 
In the depth of the se­quence-spaces, with the help of the mu­si­cal logic, mu­sic di­rectly pic­tures this su­preme and most per­fect sphere of cog­ni­tion of in­di­vid­ual, com­mu­nity, and ecol­ogy as a sin­gle entity while psy­chol­ogy, so­ci­ol­ogy, and ecol­ogy to­gether de­scribe it only by word, with­out the char­ac­ter of an il­lus­tra­tion.

   
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
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Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

I.
THE OBJECT OF
GAINING KNOWLEDGE
IN MUSIC

The System of the
Fields of Knowledge
in Music

The Function of the Fields
of Cognition in Music

Immediate Knowledge
of the Musical Meaning

The Structure of the Fields
of Cognition in Music

The Fields of Knowledge
of the Musical Representation

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UNIVERSAL MUSIC THEORY 2
The Practical Fundamentals of Universal Cognition