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THEORETICAL FUNDAMENTALS

UNIVERSAL
MUSIC THEORY 2

VIII.
EQUIVOCATION

Equivocation Due to
Separateness of
Meaning and Form

The Dual Musical Truth

Equivocation through
Deducing the Meaning
from the Form

Equivocation through
Deducing the Form
from the Meaning

Superficial Deduction

The System of the
Creative Process in Music

Contradiction
to Fundamental Truths
in the Musical
Gaining of Knowledge

 

Peter Hübner
Founder of the
Micro Music Laboratories

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Theoretical Fundamentals
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PART   VIII
     
 
EQUIVOCATION
     
         
 
The Dual Musical Truth


   
 
In the course of these ex­peri­ences – dur­ing our rela­tive mu­si­cal proc­ess of gain­ing knowl­edge, and dur­ing our free mu­si­cal proc­ess of crea­tion – each time a com­pletely dif­fer­ent mu­si­cal truth dis­closes to us.

 
Musical Knowledge of the Listener and of the Composer
 
 
If the ex­peri­ence of the ab­so­lu­te sound-sub­stance is lack­ing in our tools of cog­ni­tion, then we nec­es­sar­ily deduce only the ex­tremely lim­ited shadow images of the mu­si­cal re­al­ity and we even be­lieve that these shadow images are the whole mu­si­cal re­al­ity.

 
Lack of the Absolute Sound-substance in the Tools of Cognition
 
 
If, how­ever, we per­ceive the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance clearly in our tools of cog­ni­tion, then sud­denly, by vir­tue of this per­cep­tion, a com­pletely dif­fer­ent in­sight re­veals it­self.
As if with seven-league boots we now enter the ab­so­lu­te mu­si­cal force-field of the har­mony with­out any ob­sta­cles, and per­ceive there an in­fi­nite, unlim­ited flow of mu­sic be­yond space and time.

 
Knowing the Eternal Reality of Absolute Music
 
 
And we real­ize that this al­mighty force-field of the har­mony is the one and only eter­nal re­al­ity of the true mu­si­cal event in its su­preme per­fec­tion.
Then we must admit that, in com­pari­son, the outer rela­tive mu­si­cal event is but a mere shadow, a re­flec­tion hardly visi­ble.

   
 
This ambiguity of our cog­ni­tive valuation of mu­sic is there­fore based on a non-ex­peri­ence, or on an ex­peri­ence, of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance in our tools of cog­ni­tion.
And whereas, in the proc­ess of mu­sic, we per­ceive only the form of the mu­sic as it were, we com­pre­hend on the ab­so­lu­te mu­si­cal level of the har­mony the con­tent of all mu­sic.

 
Cognition of Meaning and Form in Music
 
 
While the form of mu­sic de­vel­ops in space and time, its con­tent re­mains dy­namic and in an in­fi­nite flow of unlim­ited di­ver­sity within its origi­nal realm of the har­mony.

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



           
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