GERMAN ACADEMY OF SCIENCES AND ARTS |
GERMAN ACADEMY OF SCIENCES AND ARTS |
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 |
PART VIII | |||||||||||||||||||||||||||||||||||||
THE PROCESS OF CREATING MUSIC | |||||||||||||||||||||||||||||||||||||
The Inner World of Power of the Melody |
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Each tone of the melody determines all tones past and all those yet to come. Under the auspices of the sequence, the melodic guidance structures itself from the world of the harmony. From here, past, present, and future can not only be comprehended, but even influenced. |
The Power Relationship in the Melodic Unfoldment |
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This almost unbelievable mastery over even the past is not based on any outer act of will, but on intuition, and is not controlled through the faculty of understanding; it happens innocently, from the deepest depth of feeling, withouth analytic intention. |
Intuition |
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If a composer lacks a natural mastery over this fundamental power of intuition, then musical art is not possible. The musician, who is supposed to simply say the truth, becomes an interpreter, a transcriber of truth, who tries to describe infinity from a completely different mental realm, i.e. from his own, finite world without success, because of his lack of cognitive power. |
The Musical Art |
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Based on this insight, one may say that the overtone motifs, active within the sound, are related to the apparent motifs which are nothing but successions of tones in the same way as someone’s inner unfoldment of personality is related to his outer activity. |
The Inner Activity of the Motifs |
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If this “inner activity” of the overtone motifs does not take place in the microcosm of music, it corresponds to the movements of a robot, which may look like human yet has no life. |
Overtone Motifs Sound-Space |
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