UNIVERSITÄT DER GESUNDHEIT
UNIVERSITÄT DER GESUNDHEIT
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO THE UNIVERSITY
. . .Deutsche Übersetzung in Arbeit
.
 
PART   III
  24  
 
IMMORTAL AND MORTAL TRADITION OF MUSIC
     
         
 
Doubt in the Process
of Finding Musical Truth


 
 
 
By the word, “doubt” means “dou­ble,” or “dou­ble full­ness”; and be­tween these two full­nesses many ques­tions may arise.

   
 
In mu­sic, the har­mony is the one full­ness; it en­com­passes all mu­sic and all mu­sic that sounds, too.
This first full­ness is the full­ness of mu­sic on the level of self-knowl­edge just as the mu­si­cal crea­tor ex­peri­ences it.

 
Harmony – the One Great Fullness of Music
 
 
The sec­ond full­ness is the full­ness of mu­sic in the mu­si­cal force-fields of the se­quences, the mo­tifs, and the tones as it re­veals it­self to us in space and time.
This sec­ond full­ness is the full­ness of our outer mu­si­cal ex­peri­ence, and it re­veals it­self to us within our sys­tem­atic proc­ess of mu­si­cal cog­ni­tion, within our dy­namic rela­tive ex­peri­ence of mu­sic.

 
The Musical Force-Fields – the Other Fullness of Music
 
 
These two full­nesses of mu­si­cal knowl­edge are ap­proached in very dif­fer­ing ways.

 
Feeling and Understanding in the Musical Encounter
 
 
The one full­ness, the full­ness of the har­mony, is made ac­ces­si­ble through our syn­the­siz­ing feel­ing.
And it swings from the level of our self-con­scious­ness to the worlds of the se­quences and the mo­tifs even to the mu­si­cal sound-space.
The sec­ond full­ness we ac­cess by our ana­lyz­ing un­der­stand­ing; this full­ness reaches from the mu­si­cal sound-space to the motif-spaces and the se­quence-spaces, and even into the in­fi­nite space of the har­mony.

   
 
If, in our proc­ess of mu­si­cal know­ing, the ab­so­lu­te sound-sub­stance is not ef­fec­tive, and if our mind, our in­tel­lect, and our senses are not permeated by the vi­bra­tion of the ab­so­lu­te sound-sub­stance, then our feel­ing and un­der­stand­ing be­come un­co­or­di­nated be­cause by their very na­ture by vir­tue of the syn­the­siz­ing func­tion of the feel­ing and the ana­lyz­ing func­tion of the un­der­stand­ing these two pow­er­ful forces of cog­ni­tion di­verge from one an­other and thus tread sim­ply op­po­site paths of mu­si­cal gain­ing knowl­edge.

 
Feeling and Understanding Uncoordinated
 
 
The absence of a com­mon knowl­edge of the ab­so­lu­te sound-sub­stance on the level of feel­ing and un­der­stand­ing must split our in­tel­lec­tual proc­ess of cog­ni­tion into two sepa­rate paths that con­tra­dict each other by their very na­ture and which could, even with the great­est ef­forts on the side of the mu­si­cian or the lis­tener, not be united with­out the per­cep­tion of the ab­so­lu­te sound-sub­stance.

 
The Rift in the Intellectual Process of Gaining Knowledge in Music
 
 
Nec­es­sar­ily, such a rift in our proc­ess of gain­ing mu­si­cal cog­ni­tion disunites our en­tire proc­ess of find­ing truth and con­fronts us with two fun­da­men­tally dif­fer­ent, if not op­posed, state­ments for eve­ry sin­gle mu­si­cal phe­nome­non.
Based alone on this rift in our proc­ess of cog­ni­tion, the con­tra­dic­tion of these state­ments forces our feel­ing and our un­der­stand­ing into op­pos­ing roles, and each of these tools of cog­ni­tion then tries to reserve it­self the sole right of the proper find­ing of truth.

 
Contradiction in the Process of Musical Cognition
 
 
Set to ac­tion, a proc­ess of cog­ni­tion split in that man­ner pro-duces dis­com­fort in the lis­tener be­cause, as this torn proc­ess of know­ing pro­ceeds, his two tools of cog­ni­tion, feel­ing and un­der­stand­ing, are at jar like a mar­ried couple bickering.
De­ny­ing each other the ex­clu­sive right of find­ing truth, they both claim that very right for them­selves and both are right from their re­spec­tive points of view.

 
The Rise of Doubt in Music
 
 
In this man­ner arises in the lis­tener what is com­monly termed doubt, an ex­pres­sion of utter non-com­pre­hen­sion of truth al­though the lat­ter is al­leg­edly ca­pa­ble of in­te­grat­ing two com­pletely op­posed in­sights.

   
 
In the proc­ess of gain­ing knowl­edge in mu­sic the natu­ral and suc­cess­ful dis­so­lu­tion of such un­der­stand­able doubt is a di­rect re­sult of the enliv­en­ment of the ab­so­lu­te sound-sub­stance in our mu­si­cal tools of cog­ni­tion. That means it oc­curs on a level com­pletely dif­fer­ent from where the heated con­flict be­tween our fac­ul­ties of know­ing, i.e. feel­ing and un­der­stand­ing, takes place.

 
Eliminating the Doubt in Music
 
 
Enli­ven­ing the ab­so­lu­te sound-sub­stance within the mu­si­cal tools of cog­ni­tion puts the com­poser, and the mu­sic lis­tener just as well, on the level of mu­si­cal unity be­yond space and time and within, for this cos­mic vi­bra­tion cre­ates the unity be­tween the feel­ing and the un­der­stand­ing.
Thus, the threat of a con­flict be­tween these di­verg­ing forces of cog­ni­tion is elimi­nated by vir­tue of their natu­ral, struc­tural in­te­gra­tion on a su­pe­rior level.

 
Natural Integration of the Tools of Cognition
 
     
     
       
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
     
.

 

 

 




Home

Site Map

Motto

The Cosmic
Education Program

Introduction

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 2

III.
IMMORTAL AND MORTAL
TRADITION OF MUSIC

The Measure of Musical Perfection

The Freedom of the
Musical Meaning

Doubt in the Process
of Finding Musical Truth

Producing Heat and
Cold in Music

The Harmonizing Nature
of True Classical Music

The Intention of
Conveying Truth in Music

The Totality of All
Happiness of Life in Mind

 

 

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