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THEORETICAL FUNDAMENTALS

UNIVERSAL
MUSIC THEORY 2

XI.
INDIRECT AND DIRECT
GAINING KNOWLEDGE
IN MUSIC

Ancient Truths in Music

The Golden Net of
Knowledge in Music

The Great Musical
Sense of Achievement

The Organs of Cognition in the Process of Gaining
Knowledge in Music

Necessity of the
Neurophysiological
Integration

The Performance of the
Self-Awareness in the
Musical Process of
Knowing

The Self-Awareness
Systematically Practises
Self-Identification

Insight into the Basis
of Music

Fundamentals of
Modern Musicology

Limitations of Conventional
Musical Education

Increase of Performance
of the Intellect in Music

The Eigenfunction of
the Intellect as the
True Musical Creator

The Journey to the Eternal Sources of Music

The Highest Intellectual
Achievement
Possible to Man

Authentic Successful
Musicology

The Music Listener
at the Origin of All
Creative Thinking

Purposeful Development
of Performance in the
Field of our
Neurophysiology

The Musician and His
Surroundings

The True Organs of
Finding Truth in Music

 

Peter Hübner
Founder of the
Micro Music Laboratories

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Theoretical Fundamentals
.
 
PART   XI
     
 
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC
     
         
 
Necessity of the
Neurophysiological Integration


   
 
Con­se­quently, our in­ner sense of hear­ing, which now feels the sur­face of our mind, try­ing to glean from it the in­for­ma­tion on the sound­ing outer event, re­ceives only part of the mes­sages and yet be­lieves firmly that it has re­ceived the com­plete mes­sage.

 
Technical Sources of Error in the Musical Analysis
 
 
How­ever, it can only hear as much as our mind has dis­played.

   
 
Incom­plete as it is, this mes­sage, which our in­ner sense of hear­ing has queried from our mind, is trans­ferred to the un­der­stand­ing and to the feel­ing, which in turn pass the incom­plete mes­sage on to our self-con­scious­ness, to­gether with the cor­re­spond­ingly incom­plete re­sults of their eval­ua­tion.

 
Errors in the Tools of Cognition Propagating
 
 
If our self-aware­ness is un­crea­tive and unlively from within, it knows noth­ing of the natu­ral po­ten­tial of in­fi­nite di­ver­sity of the tone and of its im­mense, innate flexi­bil­ity, and there­fore it does not ex­pect in the first place that the sound, per­ceived so incom­plete from out­side, is more flexi­ble, more agile, more so­phis­ti­cated and struc­tur­ally more dy­namic in it­self than it ap­pears.
And owing to this ig­no­rance, it settles for the lesser in­for­ma­tion which has been trans­mit­ted so mu­ti­latedly from out­side to inside.

 
Structural-Dynamic Deficiencies in the Uncreative Music Consumer
 
 
So, we ob­serve an uncriti­cal at­ti­tude of the self-con­scious­ness to­wards the mu­si­cal events in the sur­round­ings, or to­wards the mu­si­cal in­flu­ences re­spec­tively, and in this man­ner a non-criti­cal lis­tener be­comes a typi­cal mu­sic con­sumer.

 
Uncritical Attitude of the Unenlivened Self-Awareness of the Listener
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
 With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



           
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