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THEORETICAL FUNDAMENTALS
UNIVERSAL
MUSIC THEORY 1
I. The Process of
Creating Music
II. The Classical Teaching Scope of Music
III. The Inner Mechanics
of Creating Music
IV. Didactics of Music
V. The Force-Fields in Music
VI. The Purpose of
Music Tradition
VII. Space and Time in Music
VIII. The Physics of Music
IX. The Systems of Order
in Music
X. Scientific Fundamentals of Music Aesthetics
XI. The Science of Music
XII. Music & Speech
.
 Peter Huebner
 Founder of the
 Micro Music Laboratories
 MAIN LINKS
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Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X
Part XI
Part XII
 
 
 
Universal Music Theory 1
THE PRACTICAL FUNDAMENTALS OF
UNIVERSAL CREATIVITY

THEMES

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                           

PART I
THE PROCESS OF CREATING MUSIC

 
  1. The World of Enlivened Silence
  2. The Origin of the Art of Sound
  3. Responsible Authorship
  4. The Firmament of Music
  5. Creative Music Listening
  6. Writing Down the Score
  7. The Conventional Practice of Notation
  8. The Error of the Interpreter
  9. The Language of Truth
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART II
THE CLASSICAL TEACHING SCOPE OF MUSIC

 
  1. The Technology of Human Forces
  2. The Classical Scope of Music
  3. The Universe of Musical Sound-Spaces
  4. Authentic Conveyance of Truth
  5. The Musical Career
  6. The Creative Craft
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART III
THE INNER MECHANICS OF CREATING MUSIC

 
  1. The Dimension of Music
  2. The Beginning and End of Creating Music
  3. The Natural Seat of the Musical Creator
  4. Control over the Composition
  5. The Free, Inner, Formative Will
  6. The Emperor of Music
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART IV
DIDACTICS OF MUSIC

 
  1. The Study of Musical Creativity
  2. Conventional Knowledge of Music
  3. Modern Music Analysis
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART V
THE FORCE-FIELDS IN MUSIC

 
  1. The Musical Performers and Their Laws
  2. The Motif
  3. The Masculine and the Feminine Musical Motif
  4. Training the Free Formative Will
  5. Motif Recognition
  6. Motif-Technique
  7. Power and Powerlessness of Musical Interpretation
  8. Scenes from the Inner World of Human Evolution
  9. Integration of Levels of Creativity
  10. The Differentiated Apprehension of the Power of the Harmony
  11. Perfection of the Formative Forces in Music
  12. The Melody
  13. The Manifold Shape of the Melody
  14. The Path of the Human Character in the Musical Form
  15. The Sequence in Music
  16. The Gate of Harmony to the Outer Music
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART VI
THE PURPOSE OF MUSIC TRADITION

 
  1. Supreme Musical Knowledge
  2. Safeguarding the Individual Path of Life
  3. The Deeper Musical Sense
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART VII
SPACE AND TIME IN MUSIC

 
  1. The Concept of Space in Music
  2. The Two Ways of Experiencing Space
  3. Space-Experience in the Microcosm of Music
  4. Space-Time Integration in Music
  5. Space-Time Fusion through the Integration of the Musical Spaces
  6. The Integrated Play of Time and Space
  7. The Potential of the Musician
  8. The Relationship of Rhythm and Tonality
  9. Field of Cognition – Enlivened Silence
  10. The Core of Practising the Art of Music
  11. Conventional and Modern Mechanisms of Musical Performance
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART VIII
THE PHYSICS OF MUSIC

 
  1. The Dimension of the Tone
  2. Mastery over the Instrument
  3. Freedom of the Musician
  4. The System of the Conventional Presentation of Sound
  5. Unlimited Potential for Structuring the Musical Sound-Space
  6. The Fixed Tone
  7. Modern Sound Production
  8. The Long Forgotten World of the Microcosm of Music
  9. Entering the True World of Music
  10. Musical Sovereignty in the Inner-Tonal Planetary Systems
  11. The Inner World of Power of the Melody
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART IX
THE SYSTEMS OF ORDER IN MUSIC

 
  1. Tonality
  2. Differences in Understanding as Reflected by Language
  3. The Beginnings of Musical History
  4. The “New Sound” Composers of the 20th Century and the Range of Intervals
  5. Advancing to the Transcendental Play of Music
  6. Musical Insight into the Culture of Peoples
  7. Musical Relationships
  8. The Musical Path to Self-Knowlegde
  9. Homophony
  10. Polyphony
  11. The Counterpoint
  12. The Threefold Perfect Form of the Harmony
  13. Relations in Music
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART X
SCIENTIFIC FUNDAMENTALS OF
MUSIC AESTHETICS

 
  1. The Image of Musical Beauty
  2. The Embodiments of Harmony
  3. Motivation and Responsibility of the Musician
  4. Reversal of the Reality of Creating Music
  5. Analysis of the Process of Creating Music
  6. Music Theory
  7. The Natural Potential of the True Artist
  8. Synthesis of the Artistic and Cultural Achievement of Music
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART XI
THE SCIENCE OF MUSIC

 
  1. The Scope of the Science of Music
  2. The Inner Breath of Music
  3. The Function of the Inner Breath in Music
  4. The Scientific Aspect in Music
  5. The Perfect Musical Description
  6. The Twofold System of Music Analysis
  7. The Aspect of Humanities in Music
  8. The True Field of Science in Music
  9. The Sociology of Music
  10. The Ecology of Music
  11. The Physics of Music
  12. The Physiology of Music
  13. The Economy of Music
  14. Music Critique
  15. Dance in Music
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

PART XII
MUSIC AND SPEECH

 
  1. Speech
  2. The Superiority of Music over the Language of Today
  3. Fundamental Research
  4. The Organ of Speech
  5. The Smithy of Thought
  6. Sovereignty over Bound and Free Creativity
  7. The Dimension of Creative Unfoldment
  8. Control over the World of Thinking
  9. Content and Form, Meaning and Structure
  10. The Share of the Senses of Perception in the Process of Gaining Knowledge
  11. The Language of Music
  12. How Our Ancestors Used Language
  13. Conclusions from the Ancient Records
  14. The Legacy of Our Ancestors
  15. The Task Set by Our Ancestors
 
         

With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES