DEUTSCHE FORSCHUNGSAKADEMIE DER SAKRALEN MUSIK
DEUTSCHE FORSCHUNGSAKADEMIE DER SAKRALEN MUSIK
SCIENTIFICALLY INTRODUCING UNIVERSALITY TO ACADEMIC LIFE
   Faculties:   Music & Musicology · Philosophy · Medical Sciences · Education · Pythagoras · Consciousness · Humanities · Natural Science · The Dragon · The Veda · Culture · Opera & Arts
. . .Deutsche Übersetzung in Arbeit

 


Home

Site Map

Grundgesetz der Akademie

The Cosmic
Education Program

Introduction

Academic Institutes

Peter Hübner
Developer of the University

 

Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

XI.
THE SCIENCE OF MUSIC

The Scope of the
Science of Music

The Inner Breath of Music

The Function of the
Inner Breath in Music

The Scientific Aspect
in Music

The Perfect Musical
Description

The Twofold System
of Music Analysis
of the Composer

The Aspect of
Humanities in Music

The True Field of
Science in Music

The Sociology of Music

The Ecology of Music

The Physics of Music

The Physiology of Music

The Economy of Music

Music Critique

Dance in Music

 

 

Astronomy of Mind EQ x IQ

Hall of Harmony

International Experts

Educational Program
Health

Scientific Research

International Media

International Congresses

Membership

Application to the Academy

 

 






UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   XI            
  THE PROCESS OF CREATING MUSIC            
         
 
The Physiology of Music


   
 
The physi­ol­ogy of mu­sic has two as­pects: ob­jec­tive and sub­jec­tive.

   
 
The ob­jec­tive as­pect of the physi­ol­ogy of mu­sic con­cerns the en­tire range of the mu­si­cal sound-space – as far as it does not di­rectly in­clude the field of crea­tiv­ity.

 
The Objective Field of the Physiology of Music
 
 
The ob­jec­tive field of the physi­ol­ogy of mu­sic in­cludes the knowl­edge of the think­ing proc­ess as well as the prac­ti­cal mas­tery over the mind as a mu­si­cal in­stru­ment – the sub­mis­sion of the mind to the rule of the self-aware­ness, to the crea­tive will of the mu­si­cian.

   
 
More­over, the ob­jec­tive physi­ol­ogy of mu­sic is con­cerned with the mu­si­cian’s imagi­na­tion re­gard­ing the faith­ful in­ter­pre­ta­tion.

   
 
The sub­jec­tive field of the physi­ol­ogy of mu­sic con­cerns the in­ner re­la­tions of pow­ers of the mu­si­cal com­po­si­tional pa­rame­ters – the har­mony, the se­quence, the melody, and the motif – with the mu­si­cal sound-space, i.e. the junc­tion point of our in­ner-hu­man pow­ers with our mind.

 
The Subjective Field of the Physiology of Music
 
 
The ef­fect of the in­ner men­tal pro­duc­tion of mu­sic on the physi­ol­ogy of the mu­si­cian or on the physi­ol­ogy of the lis­tener there­fore does not be­long to the field of the physi­ol­ogy of mu­sic, but to its ecol­ogy.

 
The Effect of the Inner Mental Production of Music on the Musician's or the Music Listener's Physiology
 
 
The physi­ol­ogy of mu­sic, the en­tire struc­ture of the mu­si­cal sound-space on the level of the mind, is only the outer men­tal image of that which has been cre­ated within: the mu­si­cal re­sult in the mind of the mu­si­cal art­ist. The physi­ol­ogy of mu­sic is the true mu­si­cal pre­miere which the mu­si­cal art­ist sur­veys with his sense of hear­ing.

 

The Physiology of Music as the Outer Image of that which has been Created Within
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
.