Micro Music Laboratories®
Micro Music Laboratories®


Home

Site Map

Editorial

THEORETICAL FUNDAMENTALS

UNIVERSAL
MUSIC THEORY 1

VII.
SPACE AND TIME
IN MUSIC

The Concept of Space
in Music

The Two Ways of Experiencing Space

Space-Experience in
the Microcosm of Music

Space-Time Integration
in Music

Space-Time Fusion
through the Integration
of the Musical Spaces

The Integrated Play of
Time and Space

The Potential of the
Musician

The Relationship of
Rhythm and Tonality

Field of Cognition -
Enlivened Silence

The Core of Practising
the Art of Music

Conventional and
Modern Mechanisms
of Musical Performance

 

Peter Hübner
Founder of the
Micro Music Laboratories

MAIN LINKS

STORE

 






Theoretical Fundamentals
  PART   VII            
  SPACE AND TIME IN MUSIC            
         
 
Space-Time Integration in Music


   
 
This fusion of space and time does not mean that our op­pos­ing hu­man quali­ties and their ex­pres­sions in the mu­si­cal sound-space are sus­pended. The mu­si­cal means for stimu­lat­ing the space-aware­ness remain sig­nifi­cant on the level of our mind, but now we rec­og­nize them, from the com­mon basis of space and time in the in­fi­nite, as the di­ver­sity of our own in­ner self-con­scious­ness.

 
The Technology of Space-Time Fusion
 
 
To un­der­stand how clas­si­cal mu­sic may stimu­late the aware­ness of space and time in an alert lis­tener, we think of the fear­less user of a swing-boat: high up, just be­fore he turns over at the peak, he reaches a point where he is stand­ing still, a moment of weight­less­ness, in which he for­gets the world, and only one ques­tion is left: “For­ward or back­ward?” At this moment all prob­lems are for­got­ten.

 
Weightlessness in the Musical Presentation
 
 
In such a state of sus­pen­sion, the spaces, as ex­peri­enced by our un­der­stand­ing, permeate the spaces as re­vealed to us by our feel­ing, and the longer we main­tain the state of mutual permeation of feel­ing and un­der­stand­ing, the stronger is our ex­peri­ence of enli­vened si­lence.

 
The State of Suspension of the Musical Space-Time Permeation
 
 
This permeation of feel­ing and un­der­stand­ing in the space-time re­la­tion­ship, to the com­plete in­te­gra­tion of feel­ing and un­der­stand­ing of the lis­tener, can only be achieved if the mu­si­cian mas­ters the en­tire field of mu­sic in an in­te­grated man­ner.

 
Integrated Control Over the Musical Force-Fields
 
 
Out­wardly, the achieve­ment of the mu­si­cian lies par­ticu­larly in his mas­tery of the over­tone-me­chan­ics – the level of the mu­si­cal sound-space.

 
Space-Time Fusion in the Musical Sound-Space
 
 
On a level su­pe­rior to the sound-space, in the motif-space, which de­ter­mines the mu­si­cal sound-space from within, our ex­peri­ence of the fusion of space and time is even more pro­found when, through the in­ner power of the se­quence-tech­nique, di­verg­ing mo­tifs turn around and return to each other.

 
Space-Time Fusion in the Motif-Space
 
 
On a level su­pe­rior to the motif-space, in the melody-space, the fusion of space and time within our aware­ness is achieved even more ef­fec­tively when a motif un­ex­pect­edly changes and, as if in dis­guise, sud­denly ap­pears from be­hind the cur­tain of the mu­si­cal stage and real­izes the prin­ci­ples of the melody-tech­nique.

 
Space-Time Fusion in the Melody-Space
 
 
On a level su­pe­rior to the melody-space, on the level of the se­quence-spaces, the ex­peri­ence of weight­less­ness is pro­duced even more pow­er­fully when a se­quence, with all its pa­rame­ters bal­anced, trans­forms into an­other se­quence.

 
Space Space-Time Fusion in the Sequence-Space
 
 
On the high­est level of mu­si­cal crea­tiv­ity weight­less­ness is achieved in our aware­ness when a sound, a motif, a melody, or a se­quence iden­ti­fies with the har­mony, rec­og­nizes its origi­nal home, re­mains there for a moment, and then, strength­ened, con­tin­ues its crea­tive jour­ney through the world of mu­sic.

 
Space-Time Fusion in the Infinity of Harmony
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



           
.